Exploring Stage Lighting Education in Metaverse

Wai Tong Meng Xia Huamin Qu

Texas A&M University Texas A&M University The Hong Kong University of Science
College Station, Texas, USA College Station, Texas, USA and Technology
wtong@tamu.edu mengxia@tamu.edu Hong Kong SAR, China
huamin@cse.ust.hk

Figure 1: We developed a VR prototype for stage lighting education. The real-world stage lighting scenarios (a) are mimicked by
a virtual auditorium (b) for learning purposes while providing a user-friendly but non-realistic user interface and interaction
for efficient controls (c).
ABSTRACT 1 INTRODUCTION
This paper investigates stage lighting education in the metaverse Metaverse has emerged as a prominent and transformative influ-
from a practical perspective. We conducted participatory design ence in education, offering innovative solutions to address chal-
with practitioners and stakeholders from a local university to de- lenges associated with resource-intensive learning environments
velop a VR-based stage lighting system for the Technical Theater and physical limitations that hinder student access. This paradigm
Arts course. Over six months, we derived a list of design require- shift allows for the scaling up of educational experiences, providing
ments (e.g., Level of realism serves the purpose of learning) and learners with immersive opportunities previously constrained by
developed a prototype VR system for stage lighting education. Our cost or logistical feasibility.
contributions include the establishment of design requirements The ongoing evolution of immersive technologies, coupled with
for stage lighting education in the metaverse, the development of the exploration of the Metaverse, has led to a diverse range of stud-
a prototype system, and insights from integrating VR in course ies investigating the impact of VR on various learning scenarios.
development. This research paves the way for further exploration From health-related [1, 21] and foreign language learning [12, 14]
and refinement of VR applications in educational settings. to computer science [6, 15] and science education [8, 13], VR has
demonstrated notable advantages, including increased student mo-
CCS CONCEPTS tivation, enjoyment, and understanding compared to traditional
• Human-centered computing → Virtual reality; • Applied methods [10]. A recent study by Villena et al. [18] highlighted the
computing → Education; Performing arts. efficacy of immersive VR in promoting greater student learning.
Beyond motivational benefits, VR addresses physical limitations
KEYWORDS in traditional learning environments, offering innovative opportu-
nities, such as teaching cinematography in the Metaverse [19, 20].
Stage lighting education, virtual reality, participatory design
However, much of the existing research has been confined to one-
ACM Reference Format: time lab sessions/experiments for a particular learning task, neces-
Wai Tong, Meng Xia, and Huamin Qu. 2024. Exploring Stage Lighting Educa-
sitating a comprehensive examination of VR in designing an actual
tion in Metaverse. In Extended Abstracts of the CHI Conference on Human Fac-
course perspective.
tors in Computing Systems (CHI EA ’24), May 11–16, 2024, Honolulu, HI, USA.
ACM, New York, NY, USA, 6 pages. https://doi.org/10.1145/3613905.3650924 This work aims to bridge this gap by exploring the use of VR in
real-world practice, providing valuable insights for educators and
Permission to make digital or hard copies of part or all of this work for personal or stakeholders seeking to harness the full potential of VR in education.
classroom use is granted without fee provided that copies are not made or distributed
for profit or commercial advantage and that copies bear this notice and the full citation We focus on stage lighting education since it is in demand in the
on the first page. Copyrights for third-party components of this work must be honored. real world from a local university. First, students from different
For all other uses, contact the owner/author(s). campuses could not access the auditorium that provided the stage
CHI EA ’24, May 11–16, 2024, Honolulu, HI, USA
© 2024 Copyright held by the owner/author(s).
and lighting equipment for learning. Second, the auditorium might
ACM ISBN 979-8-4007-0331-7/24/05 be occupied by other events, which limits the usage and practice
https://doi.org/10.1145/3613905.3650924
CHI EA ’24, May 11–16, 2024, Honolulu, HI, USA Wai Tong, Meng Xia, and Huamin Qu

of students. Third, instructors worry about causing damage to Moreover, VR presents a solution to physical limitations that
professional equipment while teaching and learning, limiting the traditional learning environments may face, such as resource con-
hands-on experience for students to learn. straints or the inherent risks associated with certain places. For
As a result, we cooperate with the university to work with in- instance, researchers [19, 20] have delved into the exploration of
structors and staff from the media technology center to implement teaching cinematography in the Metaverse, highlighting the plat-
stage lighting education (a major part of the Technical Theater Arts form’s ability to transcend traditional constraints and create inno-
Course) with VR technology. Employing a participatory design ap- vative learning opportunities. The irrelevant to the physical world
proach, a multidisciplinary team, including the course instructor of promotes distance learning, which allows students to access learn-
stage lighting, a practitioner of stage lighting, and the director and ing materials and resources anytime and anywhere.
the head of the media technology center, engaged in a six-month it- However, it is important to note that much of the existing re-
erative development process for the Technical Theater Arts Course search on education in the metaverse, especially lighting-related
scheduled in Spring 2024. This collaborative effort resulted in de- education, has been conducted in controlled laboratory settings, of-
sign requirements encompassing efficacy in learning assessment, ten focusing on specific aspects of course design. This narrow scope
the importance of realism, the need for seamless communication, limits our understanding of the practical deployment of VR tech-
and the centrality of usability. Guided by these criteria, a VR pro- nology in real-world course practices. To address this gap, we aim
totype system was developed to meet the design requirements for to study how to utilize VR in the course from a practical view. This
virtual stage lighting education. We further discussed the lessons includes building the learning platform, supporting communication
learned during the co-design and development between different between instructors and students, and enabling the evaluation of
stakeholders. Due to the late-breaking nature of this work, one the learning outcome. Many practical considerations have been
more iteration on system development with the participation of covered, including the realism of the scene and interactions. We
students and the comprehensive evaluation will be covered in fu- aim to contribute valuable insights for educators and stakeholders
ture work. In conclusion, the contributions of this late-breaking looking to harness the full potential of VR in education.
work are:
• a set of design requirements for stage lighting education distilled 3 PARTICIPATORY DESIGN AND DESIGN
from a multidisciplinary team with different stakeholders REQUIREMENTS
• a prototype VR system for stage lighting education based on the To better design a system that fits into and enhances the existing
design requirements practice and gather more practical insights, we adopt participatory
• lessons learned in developing course with VR technology design research practise [17]. We co-designed with different stake-
holders in the university and iteratively discussed and developed
2 RELATED WORK the prototype for the Technical Theater Arts Course that will be
taught in the Spring of 2024, starting in February. This approach
The intersection of VR and education has become a focal point in ensures that the VR system for stage lighting education aligns with
recent years, capturing the attention of researchers and education the specific needs and workflows of the educational environment,
practitioners [10]. The ongoing evolution of immersive technolo- enhancing its effectiveness and relevance.
gies drives this heightened interest. Within this landscape, there is
a growing exploration of how the Metaverse can significantly im- 3.1 Context
pact various learning scenarios, ranging from health-related [1, 21],
foreign language learning [12, 14] to computer science [6, 15] and Our context is stage lighting education. It is one major part of the
science education [8, 13]. Technical Theater Arts Course at the local university. It is conducted
Notable advantages of leveraging VR in education are increased in the hall of the auditorium on the main campus. This course was
students’ motivation, enjoyment, and understanding compared designed for students interested in stage management, lighting,
to traditional methods [10]. For example, a recent study by Vil- sound, and video setup.
lena et al. [18] concluded that immersive VR can promote greater
student learning compared to control conditions by analyzing 21
3.2 Participants
studies from 2010 and 2021. Moreover, a recent work by Zhu et We worked closely with four key stakeholders: the course instructor
al. [21] demonstrated that VR improves situated awareness in of stage lighting, a stage lighting practitioner, the director, and the
health-related education. They showed that VR data stories can head of the media technology center.
promote situated awareness by enhancing people’s connection to
risky situations in public health education compared to 2D data 3.3 Methods and Timeline
stories. Moreover, a fully immersive VR experience with a head- Over six months, we engaged in a co-design process to develop
mounted display offers a higher sense of presence than a 3D desktop the VR system for theater lighting education. To accommodate the
application [16], which might possibly increase memory [3] and diverse schedules and locations of our participants, we alternated
support better skill learning [5] and embodied learning [9]. The between in-person and remote meetings, convening bi-weekly to en-
immersive nature of VR has the potential to transform the learning sure consistent progress and engagement. Each session was planned
experience, making it more dynamic and participatory for students. to focus on specific aspects of the system’s design and functionality,
These benefits are a promising aspect of the Metaverse’s role in allowing us to gather targeted feedback and insights. At the same
education. time, our development approach was iterative, emphasizing the
Exploring Stage Lighting Education in Metaverse CHI EA ’24, May 11–16, 2024, Honolulu, HI, USA

importance of regular input and feedback from our stakeholders.

This iterative process helped refine the system’s features and us-
ability and ensured that the final product closely aligned with the
real-world needs and expectations of those in the field of stage
lighting education.

3.4 Result
We adopted thematic analysis [2] on the feedback from the biweekly Figure 2: This figure shows the shared virtual auditorium
meetings and discussions. The analysis consists of two steps. First, with two users. (a) the point of view from the user named
two authors independently open-coded [4] the feedback (exclud- “test 1”. (b) the point of view from the user named “test 2”. (c)
ing technical details such as bug reports and UI design) from the user “test 2” is observing the light effect with user “test 1” on
biweekly meetings and discussions. When there was confusion or stage with the animated avatar.
conflict regarding any code, the coder would explain the code, and
then two coders would discuss it until they reached a consensus
before modifying the code. We generated seven codes (flexibility, virtual environment, such as the constraint of having only eight
safety, learning assessment, realism, communication, usability, and lights operational simultaneously in Unity.
replacement of learning in reality). Second, we further discussed Other aspects that need not be highly realistic (R2-2) Aspects like
and organized them into three themes: motivation & educational the texture and fine-grained details of objects, such as the per-
benefits, design requirements, and evaluation of learning outcomes. formers on stage and background scenes, need not be highly
realistic, though they should be easy for the learners to recognize.
3.4.1 Motivation & Educational Benefits. The primary motivation Moreover, the interaction mechanism could be non-realistic. In
for utilizing VR in stage lighting education stems from its flexibility a real auditorium, some lights need to be pulled down to the
and safety. VR enables students to learn at any time and place with- ground from the ceiling to adjust the angle. The control panel
out needing access to a physical theater or equipment, which might is also only set in a specific location. However, in the metaverse,
be otherwise engaged. This virtual environment allows for exten- these interactions could be optimized for learning purposes and
sive experimentation and exploration without the risk of damaging designed to be anti-physic for easy manipulation. For example,
expensive professional equipment. every student has a control panel beside their controller, and
they can adjust the angle of every light using the control panel
3.4.2 Requirements. Requirements can be summarized in learning anywhere.
assessment, realism, communication, and usability. • Offer channels for natural communication (R3): To facilitate
• Support teaching mode and assessment mode in VR (R1): teaching activities and the communication between the instruc-
The VR platform should support both the teaching mode and the tors and the students, as well as students and students, the system
assessment mode. In teaching mode, it enables communication should provide channels for natural communication in VR, such
between the teacher and students and also among students. The as gesture and voice. Rather than typing, gesture and voice may
teacher can better demonstrate lighting and instruct students. introduce less cognitive load during the learning process.
It also enables group activities in the metaverse. In assessment • Provide user-friendly user interface (R4): The user interface
mode, students can practice themselves without receiving help (UI) must be intuitive, facilitating effective learning outcomes.
from instructors or peers so that their performance can be as- An example is a light control panel that allows students to adjust
sessed. Extra functions should be provided to facilitate assess- light properties and observe the effects in real-time, familiarizing
ment, e.g., recording for homework. them with the characteristics of theater lighting equipment.
• Level of realism serves the purpose of learning (R2): Re-
searchers generally seek highly realistic VR rendering and inter- 3.4.3 Evaluation of Learning Outcomes. The ability of the VR sys-
action for better user experience. However, in education, the level tem to represent learning outcomes in the real world is a key con-
of realism of the components serves the purpose of learning. sideration. While the metaverse can accelerate the acquisition of
Certain elements require high fidelity for learning purposes (R2- stage lighting knowledge by providing unlimited access to virtual
1) The physical structure of lights, including barn doors and space and equipment, VR cannot entirely replace learning in reality,
hangers, and the interaction mechanisms for rotating lights and as students still need hands-on experience with physical equipment
adjusting their degrees of freedom should be as realistic as pos- to fully acquire the necessary skills. The ultimate role of VR in stage
sible. The graphics, particularly light effects, are crucial for an lighting education is to quickly impart knowledge and concepts
authentic learning experience. The space and the layout of the before students proceed to actual practice.
seats and lights should match the real-world setting to facilitate
the transfer of learning from the metaverse to the real world. 4 SYSTEM
For these aspects, if realism cannot be achieved due to technical We iteratively developed a prototype based on the requirements
constraints, the information should be conveyed to the learners distilled. In this section, we provide a comprehensive overview of
clearly to avoid misunderstanding and confusion in learning. For the design and functionality of our immersive educational platform,
example, the system should communicate the limitations of the followed by the implementation details of the prototype.
CHI EA ’24, May 11–16, 2024, Honolulu, HI, USA Wai Tong, Meng Xia, and Huamin Qu

4.2.1 Interface Design. The system presents a familiar WIMP-style

user interface for users to control the light settings (R4). The UI is
attached to the user’s left-hand controller; thus, users can freely edit
the light setting regardless of their current location in the virtual
auditorium. The interface is divided into three panels: the user list
panel, light plan panel, and the control panel (Figure 3).
To facilitate easy communication, we create a user list panel,
as shown in Figure 3(A), for users to be aware of the current users
in the room and whether they are speaking or not. The user list
panel will be displayed on the left side of the light plan panel only
when users enter teaching mode. From there, users can adjust the
volume of other participants using the sliders or mute their voices
in the room by clicking on the mute icon button.
Figure 3: This figure shows the user interface for the VR stage
A light plan panel, as shown in Figure 3(B), is provided on the
lighting education system. (a) the user list panel that shows
UI for users to learn the position of the lights. The light plan is
a list of current users in the shared virtual space. (b) the light
arranged in rows and columns, depicting individual stage lights
plan panel that shows the 2D map of the lights’ location and
with distinct icons. The icons are color-coded, suggesting different
its corresponding state. (c) the control panel of the currently
types or states of lighting status, i.e., white for off, yellow for on, and
selected light. It can modify values including (c1) barn doors
orange for selected. This panel also serves as a selection interface,
control, (c2) reset angle button, (c3) intensity slider, (c4) inner
where a user can choose specific lights to control or inspect instead
and outer ring angles, and (c5) color and temperature.
of picking the light on the ceiling.
Once a light has been selected, the control panel opens on the
right, as shown in Figure 3(C), which exhibits a more detailed set
of controls for manipulating the selected light. This panel includes
4.1 Teaching and Assessment sliders and buttons that allow for the adjustment of various light
The system accommodates both teaching and assessment modes, properties, including: Shape. Users can also adjust the barn doors’
harmonizing collaborative teaching and individualized assessment. openness of each light to create different light shapes, as shown in
A focal point on seamless teacher-student interactions affords ver- Figure 3(C1). Each light has four barn doors; users can use the icon
satility for diverse instructional tasks, encompassing one-to-many on the top left corner to select one door for adjustment. Users can
teaching and individual assessment. use the slider below to adjust the opening angle of the selected barn
Teaching Mode: Within the teaching mode, the system estab- door. All barn doors are opened by default. Rotation. Users can
lishes a shared environment conducive to teaching scenarios (R1), change the rotation of the light by using the thumbstick on the con-
as shown in Figure 2. This mode is specifically designed to facilitate troller. A “Reset Angle” button is presented in the UI (Figure 3(C2))
synchronous interactions and the state of the lights between instruc- to reset the positioning of the selected light to a default state. In-
tors and students, fostering real-time engagement, discourse, and tensity. Intensity affects the lights’ brightness. A slider allows the
shared exploration of stage lighting effects. As such, all light settings user to modify the brightness of the light from ’Weak’ to ’Strong’
are shared between instructors and students. The changes made by Figure 3(C3). Field Angle and Focus. Users can adjust the field
one user are immediately affected and reflected by other users. Com- angle by modifying the outer ring angle of the light. Operating with
municative Features. To allow teacher-student and student-student the inner ring angle slider can adjust the focus of the light, resulting
communication, voice chat is provided (R3). Moreover, to facilitate in a different presentation of the shadow. These operations could
the visibility of different users in the same room and the usage of be done using the sliders at the bottom as shown in Figure 3(C4).
body language during teaching, we provided full-body avatars for Color. We include three slides for users to adjust the RGB value of
each user. the current light selected light color on the top right corner of the
Assessment Mode: Conversely, the assessment mode is de- control panel (Figure 3(C5)). Moreover, we introduce temperature
signed to cater to individualized assessments (R1). This mode pro- as a dynamic element influencing light color (R2). It incorporates
vides a dedicated space for students to engage in self-directed learn- domain-specific terms, enriching the overall learning experience in
ing and undertake assignments independently. Teachers can assign real-world scenarios. Users can use the sliders to change the color
tasks and assignments to students individually, instead of collabo- from “cold“ to “warm“.
ratively in the teaching mode. Recording. We utilized the built-in
recording and screenshot functions provided by the headset for
assignment recording (R1).

4.2.2 Locomotion. Users can teleport to any floor, including the

4.2 User Interface and Interactions stage, in the virtual auditorium using the trigger button of the
To allow students to set up and observe lights for a stage, we im- controller. To allow users to observe the stage lighting effect from
plemented a user interface and interactions for users to control the perspective of audiences, we placed several rows of seats for
different light settings and navigate the virtual environment. users to teleport to experience the actual effect in different locations.
Exploring Stage Lighting Education in Metaverse CHI EA ’24, May 11–16, 2024, Honolulu, HI, USA

4.3 Real-world Scenario Integration where students have different roles or learning goals to be achieved.
The background scene is crafted using the actual layout of the Realism could be dynamic for different students to fit their learning
physical stage and supplemented with real-world objects, including goals in the VR environment for personalized learning.
animated performer models (R2; Figure 1). This approach enables Transfer Learning from Metaverse to Reality. It is important
students to bridge the gap between virtual and real-world applica- to think about whether the effectiveness of the learning in the VR
tions, promoting a deeper understanding and practical application system can mirror real-world learning outcomes. The metaverse of-
of theoretical knowledge. fers a significant advantage in teaching theater lighting by allowing
unrestricted access to virtual spaces and tools. The instructor and
4.4 User Awareness of Limitations stakeholders mentioned that while VR is excellent for conveying
theoretical knowledge and concepts, it cannot replace the prac-
Our VR application comes with a prompt system, ensuring users are
tical, hands-on experience required in stage lighting. The tactile
aware of the limitations inherent in the virtual environment (R2).
and sensory aspects of working with real light equipment are cru-
A warning is displayed to the user when more than eight lights are
cial for complete stage lighting skill development. In this context,
turned on, as additional lights would have no effect due to system
VR serves as a valuable precursor to hands-on practice, efficiently
limitations. This feature is essential for clearly understanding the
imparting foundational knowledge. Therefore, a suggested future
differences between reality and virtual reality, enabling students to
direction is to explore the optimal distribution of VR and reality-
apply knowledge in the real world with informed expectations.
based courses, ensuring that students learn theoretical concepts
in the virtual auditorium and apply them in real-world scenarios.
4.5 Implementation
This approach aims to harness the strengths of both environments,
The prototype system is developed for users to use with Meta Quest addressing VR’s limitations by integrating practical experiences.
Pro, a state-of-the-art standalone VR head-mounted display with Another direction would be enhancing the tactile experience in VR,
high rendering and computation power. The system is developed as discussed by Levac et al. [11]. Finding ways to simulate hands-on
using the Unity game engine, selected for its versatility and suitabil- practice within VR, perhaps through advanced haptic feedback or
ity on mobile and standalone VR devices. We used Unity Netcode to realistic equipment interactions, can bridge the gap between virtual
facilitate networking features, ensuring seamless collaborative in- and real-world learning.
teractions. The voice communication is supported by Vivox service
in Unity. The 3D scene is constructed using a Building Information
Modeling (BIM) model of an actual auditorium and simplified (for
6 CONCLUSION AND FUTURE WORK
example, removing fine-grained details, merging identical objects, In this paper, we conducted a participatory design with practition-
and reducing the number of polygons) through the 3D modeling ers and stakeholders to explore utilizing stage lighting education
tool Blender to deliver a familiar and smooth virtual environment. in a course. We derived a list of design requirements from a prac-
tical view and developed a prototype system to reflect the design
5 DISCUSSIONS requirements. For the next steps, we will explore more novel educa-
tional interactions in VR rather than simulating the auditorium [7]
Supporting Dynamic Level of Realism for Learning Purpose.
and conduct long-term studies in the course to measure the effec-
Our participatory design process with stakeholders and practition-
ers suggests that the level of realism of the components serves the tiveness of skills and knowledge acquired in the VR environment
purpose of learning, echoing Xu et al.’s findings [20]. We identi- when applied in real-world stage lighting setups. In addition, we
fied more detailed requirements that, on the one hand, the virtual will evaluate the effectiveness of VR-based assessments compared
elements closely related to learning goals should be as real as pos- to traditional methods to understand the potential of VR environ-
sible. For example, our prototype design emphasizes realistic light ments in standardized testing and certification within technical
effects and accurate spatial layouts to enhance learning transfer. If education fields.
technical constraints limit the realism of visual elements related
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