• About Us

    We are optikal bloc, an award-winning video projects company, that delivers unique experiences through live performance video design and video marketing.

    Based in Brisbane, Australia, and boasting a folio of projects from some of the country's leading arts organisations, we pride ourselves on our vibrant aesthetic, attention to detail and ability to deliver to your production needs.

  • Credits

    As Video Designers

    Broadway Entertainment Group: Dein Perry's Tap Dogs (international tour 2018/19)

    shake & stir theatre co: Fourthcoming, Green Day’s American Idiot (Australian national tour 2018), Roald Dahl's Fantastic Mr Fox, A Christmas Carol, Wuthering Heights (Australian national tour 2016), 1984 (Australian national tour 2014), inschool productions

    Queensland Theatre Company: Boy Swallows Universe (Brisbane Festival / QPAC), Country Song, Gasp!, The Mountaintop;

    Circa: Shaun the Sheep's Circus Show;

    Ocean Park Hong Kong / Aerial Angels: Viva Tropicana, Cyber Illusion Spectacular;

    La Boite Theatre Company: Blackrock, Prize Fighter, Pale Blue Dot;

    HOTA: 2021 Gallery Opening Launch, Miss Saigon, Jesus Christ Superstar;

    Opera Queensland: Hansel & Gretel, Candide,La Bohème(projection realisation),FiZZ!,Dirty Apple;

    Harvest Rain: The Wizard of Oz Arena Spectacular, Hairspray: The Big Fat Arena Spectacular;

    Queensland Musical Festival: Voices of Remembrance, Frank & Fearless, The Night Parrot, Help Is On Its Way, One Hundred and One Years;

    Empire Theatre: Wicked, April’s Fool (national Australian tour 2012), We Sat in the Dark;

    Leah Shelton: Terror Australis;

    Anna McGahan/Melanie Wild/Metro Arts: He’s Seeing Other People Now;

    The Good Room: Let's Be Friends Furever (Brisbane Festival), I've Been Meaning To Ask You, I Should Have Drunk More Champagne;

    Polytoxic: Snapshot, The Long-Toothed Devil;

    Counterpilot: Avoidable Perils;

    HHO Events for the Canberra Centenary: Seven Sisters Songline.

    As Video Producers

    We've worked with organisations such as: Brisbane City Council; Brisbane Festival; Brisbane Marketing; Brisbane Powerhouse; Empire Theatre; Event Cinemas; Judith Wright Centre of Contemporary Art; Metro Arts; Opera Queensland; Queensland Theatre; shake & stir theatre co; Sydney Theatre Company; The Good Room and more.


    as Social Video Editor: Big Brother (Endemol Australia / Nine Network)

  • Awards


    Australian Production Design Guild Technical Direction Company Video Design for a Live Performance Award– Avoidable Perils


    Australian Production Design Guild nomination for Video Design / Visual Effects for Live Performance or Screen – Roald Dahl's Fantastic Mr Fox


    Matilda Award for Best Video Design – A Christmas Carol

    Matilda Award nomination for Best Video Design – I've Been Meaning To Ask You

    Del Arte Chart Favourite Lighting / Video Design (with Jason Glenwright) – A Christmas Carol

    Absolute Theatre Scottie Awards Best Technical Design (with Jason Glenwright and Chris Perren) -A Christmas Carol


    Darwin Fringe Festival Golden Croc – Terror Australis


    Del Arte Chart Favourite Lighting / Video Design (with Matt Marshall) – Green Day's American Idiot

    Matilda Award nomination for Best AV Design – Terror Australis

    Adelaide Fringe– John Chataway Innovation Award –Terror Australis


    Gold Matilda Award – optikal bloc for projection and video work on Pale Blue Dot, The Mountaintop, Wuthering Heights, Gasp!and1984

    Matilda Award Best Technical Design –Pale Blue Dot

    Matilda Award nomination forBest Technical Design –The Mountaintop

    Del Arte Chart Favourite Lighting / Video Design (with Jason Glenwright) – Pale Blue Dot


    Matilda Awardnomination for Best Design –1984


  • FOURTHCOMING shows exactly how the use of tech can add to and enhance a viewing experience, rather than using fancy stuff just because you can.
  • Ben Hughes, as lighting designer, ensured the scene work was complemented by the projections; the collaboration between these two departments paid off in vibrant and carefully paced design
  • The show relies heavily on complex technical elements, the obvious one being the projections by video designer Craig Wilkinson. Most effective were character appearances in these projections, looming above the action and allowing greater insight into their emotions. Moments that seemed overly cinematic in the first half, came to fruition at the point where all of these enormous personalities with issues and struggles merged together for the emotional final moment."
  • The first rule of storytelling is to show rather than tell, and this is what lies at the heart of the show’s success as it moves the audience quickly through the many early fast-moving scenes of its gritty coming of age story. Swift scene changes go virtually unnoticed within Renee Mulder’s dynamic [set] design.... and Craig Wilkinson’s video design widens us to be, for example, under a starry sky as moving images bleed across the blank canvas of a stage to create suburban balconies and alike to give things a 3D effect
  • Couple [Ben Hughes' lighting design] with the incredible projection mapping from video designer, Craig Wilkinson, and associate motion designer, Jordan Peña, and an entire universe was created in the mostly blank canvas of the Playhouse set. I’ve seen only one other show with projection mapping of this scale, which was Frozen (The Musical) and I would argue that this was just as good quality and just as immersive.
  • Video designer Craig Wilkinson has recreated the city of Brisbane with towering images of its landmarks – Boggo Road Gaol, Story Bridge, the City Hall clock tower – projected onto the three walls of the set. The use of video allows the set to dissolve reality into fantasy and back again at rapid speed. In one moment the set is a Vietnamese restaurant in Darra; in the next, excerpts of handwritten letters are unfolding on the walls: “I will remember this moment … I will remember the end, through the beginning
  • Renée Mulder’s set design, with videography by Craig Wilkinson and lighting by Ben Hughes, transforms the set from Boggo Road to a pier to various scenes of domesticity. A combination of set and video also allows for the projection of the dangerous, adult figures in Eli’s life onto the back and sides of the stage. Their likenesses are split, jagged, almost grotesque, courtesy of a ladder and raised platform that is part of the physical set.
  • Video design by Craig Wilkinson brings the magic and wonder of Eli’s narration to life with transformative projections, transporting the audience from Darra to Bracken Ridge to Brisbane City, through the prison yard and the school yard, and into Eli’s dreams. These projections are used to establish the setting beautifully, but also to build and release tension, to further the storytelling, and to emphasise Eli’s thoughts and emotions