OUR Work

Our collective of immersive thought-leaders and experience designers produce innovative marketing campaigns for the XR sector, but also lead on XR reports and research, creative tech R&D projects, video art and digital content for brands. We share our work at international festivals, events and conferences. Explore some of our past work below.

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The Immersive Promotion Bible is a large-scale sector-development bible for marketing immersive experiences. Led by Matthew Freeman, it was co-written with Catherine Allen, Dinah Lammiman, Alison Norrington and Naomi Smyth for StoryFutures Academy in 2021.

The Bible is based on substantial audience and cultural insight, reports, interviews, academic theory and industry advisory panels. It provides a road-map for how to market VR/AR experiences to today's

audiences, and addresses the following research questions:

  • Given the technological hybridity of VR/AR, how can the immersive sector develop promotional strategies that reflect this hybridity? What can be learnt from transmedia, film, games and theatre?

  • How can the immersive sector broaden the audience for VR/AR experiences through innovative promotional content that guides new audiences towards immersive environments?

  • How can the immersive sector communicate both the spectacle of VR/AR and its embodied experiences in/as promotional material?



Thanks to grants from StoryFutures Academy and Bristol+Bath Creative R+D, we have led on the marketing for cutting-edge immersive experiences. The full XR campaigns and walkthrough videos can be explored below.


  • Goliath, a Virtual Reality documentary about living with schizophrenia and the desire to live in online gaming worlds, launching on Oculus in Spring 2021. Goliath is produced by Bristol-based VR company Anagram.

  • The Invited, an Augmented Reality kirigami adaptation of the classic Dracula story, launching as an immersive event in 2021. The Invited is produced by acclaimed international multimedia artists Studio McGuire.

  • Virtual Veronese, a Mixed Reality experience that transports visitors back to the 16th century, where they learn about the history of artist Paolo Veronese and its art. Virtual Veronese ran at The National Gallery in 2019.


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This report is written by Catherine Allen, CEO of Limina Immersive, in partnership with the PEC's researchers from Cardiff University, investigates Limina’s experience of using creative technologies, particularly VR, to reach new audiences. It uses a combination of academic research, audience surveys and Limina’s own studies to discover how people are consuming creative content and the barriers which are preventing them from using the latest technologies.

This report is based on years of in-depth research and draws on a diverse range of sources, from focus groups and sales data, to analysis of the gender balance of executives in UK virtual reality companies. 


This report was produced by Limina's Catherine Allen for Digital Catapult, and funded by Innovate UK. This report is a step towards an immersive media taxonomy for creative formats. It identifies trends within the most impactful and creative consumer-facing experiences released by the immersive media sector over the last 4-5 years. By combining data science with curatorial expertise, Limina identified 15 creative format trends which have particular potential.

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Alison Norrington Executive Produced the VR thread at the Children's Media Conference, including a strand on VR+Kids for The Children’s Media Foundation. This research examined creative challenge of creating robust and relevant VR content for children, ethics and policy around creating VR experiences for children, monetisation and distribution of VR, along with accessibility and awareness needs. Finally, the VR+Kids Research Roadshow brought together media and VR professionals from Leeds to London and Manchester, culminating in this infographic overview:

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Part fable, part moment in history, Sharon Clark's The Foundling is immersive, table-top theatre delivered to your door. Funded by CreativeXR, the work fuses augmented reality, AI, smell and binaural sound, providing audiences with a gothic tale that spills out into your home, reveals a secret that guides audiences towards Raucous's The Undrowned.



Coral Manton's Shared Pasts: Decoding Complexity uses augmented reality technology as a mechanism to reveal layers of narratives built on historic artefacts and places. Immersive technologies are being adopted in the cultural sector to allow users to experience history – however this retelling of history through immersive experience can often simplify complicated stories – focusing on a singular point of view. This project, funded by the South West Creative Technology Network, aims to give a 360 degree view of the past revealing the complexity surrounding cultural collections and landmarks, showing that meaning-making is dependent on the lens through which you see the past.



Claire Skelcey has led numerous marketing campaigns for Raucous, a Bristol-based immersive theatre company. For example, Claire marketed Raucous' The Stick House in 2015, a theatre production making use of a range of creative technology, including AR, holograms, film and music. The key theme of The Stick House’s marketing strategy was to use classic forms of theatre marketing but to push the boundaries within those forms so that The Stick House stood out as something new, exciting and unique. As a then-new company, Raucous had little data and almost no audience base to build on, so were starting afresh as opposed to basing their strategy on learned outcomes from previous shows.

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Dinah Lammiman co-produced this thrilling VR story through her work at PastPorte. Turning Forest was a BBC R&D Virtual Reality experience showcased at Storyscapes, the Tribeca Film Festival’s VR fest. The task was to – almost instantaneously – transport visitors to a world of fantasy forests that would trigger memories of childhood adventure. And to create a near sound-proofed space in which they could let their imaginations fly and become fully immersed.

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Tess Baxter, aka Tizzy Canucci, is an AHRC funded PhD researcher who in 2020 was selected for the Anharmonic Online Film FestivalSupernova Digital Animation Festival in Denver and for the Woolwich print fair. Tess, a printmaker, video artists, writer and photographer, researches life and creativity in the online world ‘Second Life’, and has exhibited her work internationally throughout her PhD studies. One of Tess’s creations to go on show at the various exhibitions is the mesmerising and uplifting Out Of Isolation Came Forth Light, a piece born out of this 'Second Life' virtual world.

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We have done the promotion for numerous events, including the Watershed's Creative Futures: Place & Presence event for Bristol+Bath Creative R+D. We have also delivered TED Talks on VR, chaired the VR industry panel at Raindance Film Festival and the international StoryWorld Conference, produced immersive heritage experiences for the National Trust, the BBC, ss Great Britain and the Imperial War Museum, and are collaborators on immersive theatre festivals and groups including Beyond The Ridiculous, The Invisible Circus, Boomtown Fair and Shangri-La at Glastonbury Festival. Between 2016 and 2020, Limina brought immersive technology shows to over 15,000 in-person audience members, and in 2021 we have given talks on XR marketing at London South Bank University, CREATE Lab and the Watershed.