Suggestions
Nathan Bazley
Head of Light Speed R&D & Virtual Production at Light ADL
Nathan Bazley is a commercially-minded senior leader and innovator with a wealth of experience in the fields of journalism, technology, and content production. With a career spanning over several years at the prestigious Australian Broadcasting Corporation (ABC), Nathan has built an impressive portfolio in senior roles that span management, production, and technology integration. His ability to blend strategic thinking with a passion for innovative solutions has made him a respected figure in the industry, especially in the realms of spatial technologies, augmented reality (AR), and immersive media.
Professional Background
Nathan Bazley currently serves as the Head of Light Speed at Light ADL, where he pushes the boundaries of innovation strategy and explores new opportunities that arise at the intersection of technology and human experience. His role allows him to not only lead but also inspire teams in developing content that utilizes advanced spatial technologies to engage audiences in novel ways. Recognized for his forward-thinking approach, Nathan effectively communicates potential opportunities in the tech landscape, advocating for the development of solutions that improve the quality of life through innovation.
Before taking on his current role, Nathan held various significant positions at the Australian Broadcasting Corporation (ABC). He began his remarkable journey as a field reporter and producer at 612 ABC Local Radio Brisbane, where his storytelling abilities shone through in engaging narratives that connected with audiences. His talent for communication and passion for journalism paved the way for him to transition to television, where he took on the role of series producer and later became the host of the acclaimed children's news program, Behind the News (BTN).
Throughout his time at ABC, Nathan demonstrated a unique aptitude for marrying technology with storytelling. He served as the Executive Producer for projects such as the BTN 50 Years TV Documentary and Kokoda VR, where he championed immersive storytelling through the use of virtual reality (VR) and AR technologies. His contributions to the organization also showcased his capability as a Senior Project Manager on significant initiatives, including the ABC AR - Space Discovery project, which further illustrated his commitment to leveraging innovative technology for educational and engaging content.
Nathan's experience as the XR/Immersive Technology Lead allowed him to influence the direction and development of the ABC's interactive content strategy across multiple platforms, making waves in how audiences engage with news and information. In addition to his managerial duties, Nathan's creative vision helped shape many of ABC's emerging projects, laying the groundwork for future platforms and content opportunities that resonate with diverse audiences.
Education and Achievements
Nathan's educational background laid the foundational skills that would serve him throughout his illustrious career. He completed his Bachelor's degree in Journalism from Queensland University of Technology, where he acquired critical skills in communication, media production, and storytelling. His education not only prepared him for the fast-paced world of journalism but also ignited his passion for exploring how technological advancements could enhance storytelling methods in significant ways. Nathan's formative years at Dalby State High School also set him on a path of curiosity and innovation, encouraging him to embrace new challenges and ideas.
In addition to his impressive career trajectory, Nathan is known for his ability to synthesize complex technologies with compelling narratives. He has a knack for bringing stakeholders together, ensuring that projects are not only technically sound but also aligned with core creative visions. Nathan’s impressive leadership skills contribute to his ability to communicate effectively across different platforms, ensuring that all team members understand their roles in crafting groundbreaking content.
Achievements
Nathan Bazley's achievements demonstrate an unwavering commitment to innovation and excellence in the media industry. His leadership on the Kokoda VR project represented a significant milestone in immersive storytelling, setting standards in how history can be best experienced through cutting-edge technology. His involvement in the creation of the BTN 50 Years TV Documentary showcased Nathan’s ability to reflect on the past while paving the way for future innovations in journalism.
As a thought leader in innovation strategy, Nathan consistently engages with industry trends and technological advancements, always seeking the next leap in content opportunities that can improve viewer experience. His work at Light ADL continues this legacy, reinforcing his identity as a creator devoted to enhancing how audiences interact with news and information.
In his continued efforts to champion new ideas
Highlights
This question came up recently - why rally behind a specific tool like ICVFX, or a suite of tools like Virtual Production? After all, on the surface this is just another tool in a filmmaker’s kit. There are times when it should be used and there are times when it shouldn’t. Why champion it specifically?
People think it must be the technology, but the tech behind VP isn’t revolutionary, in and of itself. In truth, it's a combination of different parts, both soft and hardware, cleverly adapted from a raft of other industries and now refined for use in this one.
So what am I really rallying for in Virtual Production?
I rally for the change in process that it requires, the flexibility it encourages, the innovative thinking it enables. I rally behind the new people introduced to the industry, with new backgrounds, skill sets, thinking styles and ways of communicating. I rally behind the deconstruction of the traditional filmmaking nucleus that often excludes outside input. I rally for the participation of everyone on set, who are able to see and contribute meaningfully to the end result. I rallying for every actor’s ability to perform in a space that evokes exactly what they are trying to reflect.
I rallying for building less physically, and more digitally. I rally for environmental sustainability, with fewer flights, fewer moves and better work/life balance for those on set. And I rallying for economic sustainability, with more options, greater certainty and fewer impossibilities.
I rally for the ideas that become possible. I rally for the chance to bring the best people and concepts from the film and TV and games industries together within a complementary process, a team that can work together, create together, and produce stories the world hasn’t seen before.
I rally for VP because I think this industry needs to evolve, as every industry does. And I think VP gives us the perfect foundation from which to do just that. VP isn't the end goal, but it is without a doubt an important step that we'll use to climb higher and higher.
As everyone in the production world is aware, projects are still thin on the ground, budgets are tight, and there is more scrutiny on how every dollar is spent. So it’s not surprising to see some consolidation happening in specialty roles. In an ideal world, productions looking to use ICVFX for over, say, 40% of their schedule would have a VP HoD oversee the process. Anything under that would ideally have an advisor to provide oversight & a considered strategy. (The exception to this is if we’re just talking a minor amount of ‘non-hero’ sim travel, etc.)
The reason I recommend this is because it becomes too big of an execution risk to leave it unassigned or sitting under someone without direct knowledge of the space. It leads to doing more VP than necessary, less than economically warranted, using the wrong approach, or having it go off the rails through bad vendor choices or management. In any case, the issues & rectifications cost many times more than that one wage ever would have.
I’ve noticed Ops or VAD teams now commonly offering to provide this advice for free. This is undoubtedly valuable, as long as you also keep in mind that it will generally also be aligned to the best interests of the vendor - suggesting approaches that play into their strengths or within their technical limitations, showing off a capability that is strategically advantageous, or maximising their profit across the project. Sifting through this noise for nuggets of helpful advice is important.
In the recent past, studios used to provide much of this support internally - ensuring a consistent playbook and safety net for all. However many (not all…) have pulled back on this, cutting teams and allowing productions to make their own calls. Creatively, that might sound good, and it’s certainly good for reducing overhead costs within the studio, a number closely scrutinised by investors. However it leads to role consolidation, a vacuum of advice and a reliance on operator/VAD advice I mentioned earlier. It also means lessons aren’t always shared, meaning they’re often repeated.
Finally, if a production doesn’t feel like they can justify client-side VP support, it usually falls on the VFX supe. This can go very well or very badly, depending on their outlook, attitude & experience. But as a general rule, I’d say it’s fraught with danger in the form of misaligned incentives, as their budget is calibrated around providing support during prod and post, not pre. And many savings found when using VP effectively are not realised through the post budget, but rather in physical prod, construction or logistics. This means that a VFX supe needs to voluntarily take on costs & additional responsibilities outside of their direct comfort zone to save other depts money. A holistic approach to budgeting & management would mean better decisions for the production overall. But changing how productions are budgeted seems akin to fighting gravity, so we'll make do with a VP HoD.
