Scott Marshall - Creative tech director.
- Isobel Arden
- 10 hours ago
- 4 min read
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Meet Scott Marshall, the creative director of post production technology.
Scott Marshall has always lived somewhere between disciplines—equal parts maker, orchestrator, and sonic explorer. He’s not one for fanfare, but if you’ve dipped a toe into immersive art, extended reality, or spatial audio over the past two decades, chances are you’ve crossed paths with his work.
Founder of BCVR Immersive and Bamsound Creative Group, Scott’s career reads less like a straight line and more like a constellation of quietly pioneering projects—each one stitched together by his signature ability to translate big, tangled ideas into experiences you can see, hear, and sometimes even walk through.
Early Work and Foundation (Pre-2010s)
Scott cut his teeth in sound—long before “spatial” became a buzzword—designing for film, television, and interactive media. While others chased trends, he tuned into atmosphere and emotion, honing his instincts across formats and platforms. This period laid the foundation for his ongoing obsession with how sound shapes space—and how space shapes us.
The Rise of Bamsound and Cross-Disciplinary Experiments (2010–2015)
Through Bamsound Creative Group, Scott began straddling commercial and cultural projects, building a reputation for designing audio that didn’t just accompany visuals but challenged them. His collaborations during this era included fashion films, environmental campaigns, and branded content that resisted neat categorisation. Think less soundtrack, more sound-world.
The Launch of BCVR and XR World-Building (2016–2020)
Founding BCVR Immersive marked a shift—not away from sound, but towards complete experience architecture. Here, Scott evolved into a creative director who could wrangle teams of developers, designers, and technologists into cohesive vision. Under his leadership, BCVR delivered mixed reality projects for the V&A Museum, Frieze Art Fair, and W Hotels, often merging heritage storytelling with cutting-edge tech. These weren’t just immersive experiences—they were layered, location-aware provocations built with precision.
Earth-XR and Sustainability in the Metaverse (2020–Present)
Never one to chase digital bells and whistles for their own sake, Scott co-created Earth-XR, an augmented reality platform with an ecological conscience. The project uses AR not for spectacle but for education—helping audiences visualise the invisible effects of climate change and imagine alternatives. This sits neatly within his broader ethos: using tech to deepen understanding, not distract from it.
Teaching, Thought Leadership, and Dolby Atmos Work
Alongside production, Scott’s taken his ideas into the classroom—mentoring students in spatial audio, immersive sound design, and storytelling for emerging media. His Dolby Atmos work also continues to evolve, often pushing the limits of what spatial mixing can express beyond cinema and into fully interactive environments.
Today
Now, Scott exists somewhere at the intersection of sound, space, and story. He’s still leading projects, still questioning industry norms, and still most comfortable when he's making the intangible tangible.
Scott Marshall's Fantasy Cultural year + This or That game
In the interview above Mark created Scott's Fantasy Cultural Year from the answers to a few simple questions. There are no wrong answers ;-)
Scott’s journey of cultural discovery began by being transported to the terrace at the barbican center, enjoying the brutalist architecture, holding an expresso martini, reading The Hobbit.
Their conversation was filled with humour, anecdotes, and playful challenges from Scott’s responses to the questions.
His adventure unfolded when a wealthy family foundation invited him to embark on a year-long global research project who would like to invest in research in the arts. Specifically to establish where the emerging where VR and immersive art is flourishing and where it's not flourishing, and what the emerging trends might be.
There's a book deal, a Ted Talk and a global university lecture tour. As well as a series of TV interviews about what Scott found out about immersive art.
Scott decided to start in Amsterdam.
The catch? He had to limit your musical, listening to one very specific genre of music for 12 months, to the exclusion of all else. Scott said it would have to be some sort of minimalist, electronic. Almost Amazonic.
Scott chose to enjoy a range of cultural activities in this trip, including:
A ballet performance
Austrian Austrian dish
Formula One event
Max Cooper's art exhibition
Crowded House concert
West Side Story visit
Watching Gravity
Post production audio completed by Bamsound Creative
Scott had the opportunity to invite anyone, living or not, to have lunch with him in Amsterdam. Scott chose Elon Musk. Putting a spin on it, Mark asked Scott who he thought Elon Musk would invite, with the decision being Donald Trump or Tim Peake.
The music ban was lifted on Scott's plane home. The first artist he chose to listen to was Max Richter.
In the This or That game Mark presented Scott with a series of options and Scott had to choose one quickly. Options included still or sparkling, mac or pc, car or motorcycle, tea or coffee, library or museum.
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Mark Walmsley FRSA FCIM AGSM
Chief Culture Vulture
Arts & Culture Network
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