PUSHING THE LIMITS: THE MAKING OF VOYAGER
How director Brendan Feltrup-Exum merged the Joseph Campbell monomyth, practical workshop engineering, custom zero-G wire tracks, and industry mentorship into a cinematic testament to personal resilience.
VOYAGER // CINEMATIC TEASER & PRACTICAL EFFECTS REEL
PRODUCED BY HAYWIRE STUDIOS // DIRECTED BY BRENDAN FELTRUP-EXUM // UNIVERSITY OF TEXAS AT ARLINGTON
A Tumultuous Odyssey Across Light-Minutes
Synopsis: Edison, an aerospace engineer, steals a prototype spacecraft to rescue his wife Suzanne’s lost mission in deep space while confronting the painful breakdown of his marriage.
Suzanne had launched prematurely on her deep-space voyage to outrun the devastating death of their young child and avoid confronting the unhealed fractures in her marriage. When her spacecraft abruptly goes dark in the outer solar system, Edison commandeers the matching sister vessel in a desperate bid to reach her.
As Edison traverses the silent void, he is forced to face the memories, guilt, and emotional negligence that led to their estrangement. The film concludes without Hollywood contrivances: no easy answers are revealed and no magical closure is handed to the protagonist, reflecting the profound, unresolved nature of authentic grief.
"The inability to reach out across light-minutes mirrored the immensity of space. Space travel became the ultimate metaphor for relational distance."
The Hero with a Thousand Faces in the Vacuum
While taking graduate coursework in Buddhist art history, Brendan examined the concept of the monomyth popularized by Joseph Campbell in The Hero with a Thousand Faces and adapted for screenwriters by Christopher Vogler in The Writer’s Journey.
Campbell’s framework outlines the psychological archetype of a character torn from their ordinary world, thrust across the threshold of the unknown, and forced through harrowing trials where they must surrender their illusions to achieve inner transformation.
For Brendan, Voyager was an intensely personal, cathartic exorcism of grief following a painful relational breakup. Where his earlier graduate films (Endeavour and Tango) kept the audience at an arm’s length behind genre caricatures, Voyager dared to expose genuine vulnerability:
"This film not only allowed me to confront the issue deliberating in my mind, but also allowed me to confront my fear of feeling exposed as an artist."
SET PHOTOGRAPHY & MINIATURE WORKSHOP
Explore authentic production stills from the set of Voyager. Full-scale cockpit construction, aerial zero-G wire rigs, miniature fabrication, and optical camera tests.
The Scale Starship Miniature
The Kepler spacecraft miniature on the workbench. Constructed using high-density modeling foam, styrene sheeting, and kit-bashed parts. Tested through an extensive 3D scanning odyssey—from Microsoft Kinect 1.0 & 2.0 to a custom 0.06mm Structured Light Scanner (SLS) and UTARI robotic arm scanners—before landing on high-resolution multi-pass photography compositing.
Full-Scale 20ft Cockpit Interior
Designed and constructed by Brendan and his father, Bruce Feltrup-Exum, over five months (Sept 2013 – Jan 2014). Spanning 20ft x 8ft x 8ft using 2x4s and MDF, the cockpit integrated 8 active computer monitors, 4 status photo displays, and authentic analog avionics gauges reclaimed from an aircraft salvage boneyard.
Christian Heep & Cheryl Allison in Wardrobe
Lead SAG-AFTRA actors Christian Heep (Edison) and Cheryl Allison (Suzanne) suited up on set. Wardrobe paired Vietnam-era military high-altitude flight suits with industrial respirator helmets donated by 3M, modified with in-helmet communications and antifog ventilation.
Zero-G 20ft Aluminum I-Beam Cam Rig
Engineered after consulting with Brian Scheffer at Theatre Arlington, who educated Brendan on theatrical flying techniques and how to construct the zero-G illusion. A 20-foot aircraft-grade 6061 T6 aluminum I-beam was installed down the spine of the vessel with an industrial cam hoist trolley and aircraft cables to suspend Christian Heep.
Optical Thruster Flare Test
In-camera exposure pass guided by advice from visual effects supervisor Mat Beck (True Lies). Filmed with wide-angle glass, maximum studio illumination, and low f-stops, capturing real smoke plumes, xenon backlighting, and anamorphic color gels without digital CG smoothing.
The Lazy Susan Lens-Axis Rolling Rig
To achieve a seamless zero-G optical barrel roll as Edison drifts through the umbilical corridor, Brendan engineered a custom camera rig by fastening a Lazy Susan bearing wheel to a tripod mount, center-balancing the camera with Magic Arms to rotate freely on its exact optical lens axis.
Director Brendan Feltrup-Exum on Set
Writer, director, licensed pyrotechnician, and model builder Brendan Feltrup-Exum framing a shot on the Kepler set. Voyager represented the culmination of three years of graduate research at the University of Texas at Arlington.
SIX TECHNICAL BREAKTHROUGHS OF VOYAGER
Pushing the boundaries of independent cinema through unconventional engineering, left-brained fabrication, and practical optical mastery.
The 20-Foot Cockpit Build
Constructed over five months by Brendan and his father Bruce Feltrup-Exum using 2x4 framing and medium density fiberboard (MDF). Measuring 20ft long by 8ft wide by 8ft high, the set contained eight active computer monitors, four digital photo displays showing live telemetry, and authentic aircraft avionics salvaged from a regional aircraft boneyard.
6061 T6 Aluminum Cam Trolley Rig
After consulting with Brian Scheffer at Theatre Arlington on theatrical flying methods, Brendan installed a 20-foot aircraft-grade 6061 T6 aluminum I-beam down the length of the ship. An industrial cam hoist trolley and aircraft cables suspended Christian Heep in a full-body harness, allowing him to glide effortlessly through the corridor, with cables digitally painted out in post-production.
Lazy Susan Optical Roll Rig
Needing the camera to spin dynamically on its optical center as the actor drifted through the umbilical, Brendan built a custom rig by attaching a Lazy Susan bearing wheel to a tripod mount and center-balancing the camera with Magic Arms—achieving a fluid 360° lens roll without budget for expensive motorized commercial rigs.
The 3D Scanning Odyssey
Brendan explored cutting-edge 3D digitization: testing Microsoft Kinect 1.0 & 2.0, constructing a custom Structured Light Scanner (SLS) calibrated to 0.06mm using David 3D software, and scanning with advanced industrial robotics at the UTA Research Institute (UTARI) before perfecting the aesthetic by compositing high-res photographed miniature passes with motion-tracked shadows.
1986 Jeep Cherokee Stunt
As a licensed pyrotechnician, Brendan acquired a rolling chassis of a 1986 Jeep Cherokee to depict the tragic flashback where the characters' child is lost in an accident. Armed with specialty pyrotechnic detonators, the entire stunt was prepped, rehearsed, and detonated in a single, high-stakes live take.
Corporate & Community Backing
Shunning crowdfunding, Brendan forged alliances with local and national organizations: Lowe's provided discounts on lumber and hardware; 3M donated industrial respirator helmets; KERA/PBS lent their Master Control Room for mission control; and Alliance Texas & ATX Air Services provided aircraft hangars for office and launch pad scenes.
THE CAST OF VOYAGER
Portraying the astronauts, family members, and mission controllers whose lives are forever altered by the Kepler expedition.
Edison
An aerospace engineer driven to the brink of desperation when his wife’s spacecraft loses communication in deep space. Edison steals a matching prototype vessel to pursue her across the void, forced to confront the unhealed grief of their lost child and the painful breakdown of their marriage.
Suzanne
Edison’s wife, who launched prematurely into deep space to escape the agony of their child's death and the unraveling of their relationship. Her silence across the light-minutes of deep space embodies the unreachable emotional distance between two wounded souls.
Edison & Suzanne's Son
Portrays the young son whose tragic death in a sudden vehicle accident shatters Edison and Suzanne's marriage. His memory haunts Edison throughout the solitary deep space journey, acting as the emotional cornerstone of the entire narrative.
Mission Control Director
The steady, authoritative presence overseeing the Kepler launch array and telemetry downlinks from mission control (filmed inside the actual KERA/PBS Master Control Room), attempting to guide and restrain Edison as the unauthorized flight unfolds.
THE CREW OF VOYAGER
The craftsmen, camera operators, grips, technicians, and artisans who brought the practical physical universe of Voyager into reality.
Brendan Feltrup-Exum
MFA candidate at UT Arlington, licensed pyrotechnician, and fabricator who designed the narrative, directed the actors, constructed the miniature, and built the custom camera rigs.
Bruce Feltrup-Exum
Brendan’s father and master craftsman who co-designed and spent five months constructing the 20x8x8 ft physical Kepler spacecraft interior set in his woodshop.
Michael Carpenter
Collaborated closely with Brendan on anamorphic lenses, controlled smoke density, and lighting miniatures with authentic cinematic scale and optical contrast.
Sean Koval
Essential production and camera unit technician on set, managing camera setups, staging, and technical execution across demanding soundstage shoot days.
Aaron Holloway
Crucial team member assisting with mechanical rigging, overhead track alignment, lighting stands, and soundstage safety protocols.
Jonathan Williams
Operated audio acquisition, boom recording, and technical hardware distribution inside the confined wooden spacecraft set.
Barney Duran
Managed electrical distribution and heavy light support for key interior cockpit illumination and exterior studio backlights.
Ryan Britton
Assisted with set assembly, panel wiring, and installation of practical low-voltage LEDs and avionics displays inside the Kepler cabin.
Robert Lane
Supported power runs, dimmer controls, and continuous stage lighting checks throughout long, intensive shooting days.
Oliver Matteck
Handled lens swaps, focus marks, camera maintenance, and slate coordination on both the primary set and miniature tabletop passes.
Iris Lopes
Maintained critical set dressing continuity, wardrobe placement, props organization, and visual consistency across takes.
Brandon Vickers
Provided structural hands-on assistance during crane moves, beam track tests, and physical handling of the 4-foot miniature starship.
Tyler Man
Aided in cockpit sound deadening, cable wrangling, and on-set production support for the cast and camera department.
Andy Chu
Contributed tireless stage support, equipment hauling, safety perimeter maintenance during pyrotechnic setups, and logistics.
INDUSTRY MENTORS & CONSULTANTS
From graduate film faculty to Academy Award-winning cinematographers and veteran VFX supervisors, industry leaders helped guide and educate Brendan on the film’s narrative depth and physical illusions.
Professor Ya'Ke Smith
Brendan’s graduate directing professor at UT Arlington, whose directing workshops and methodology (grounded in Judith Weston's Directing Actors) guided Brendan in breaking down the script, discovering emotional character triggers, and pushing beyond superficial production value into deep narrative vulnerability.
Brian Scheffer
Educated Brendan on the physics and practical mechanics of theatrical flying. Advised on how to best construct the zero-G floating illusion inside the spacecraft using an overhead 20-foot 6061 T6 aircraft-grade aluminum I-beam, an industrial cam hoist trolley, and full-body harness suspension.
Emmanuel 'Chivo' Lubezki
Reviewed the semi-completed Voyager set during NAB 2014 in Las Vegas. Commended Brendan's ambitious courage in tackling an independent space film, providing critical feedback on lighting balance and seamlessly matching interior practical fixtures to exterior space cinematography.
Mat Beck & Todd Masters
Consulted with Brendan on miniature cinematography, sharing veteran insights from blowing up the True Lies bridge: shoot miniatures with high-speed cameras, use the widest lenses possible, pump maximum light into the stage, and keep f-stops as low as possible.
Ahren Shaw
Provided critical script analysis and editorial guidance from pre-production through final cut, helping Brendan tighten narrative pacing and balance visual spectacle with the emotional core of marital reconciliation and grief.
Neil Robinson
Evaluated the film’s composite shots and practical miniature integration, praising the rare level of advanced technical execution and tangible authenticity achieved on an independent student production.
Pip Greasly
Reviewed Voyager during Brendan’s UK research tour, offering valuable technical guidance on dynamic auditory soundscapes, atmospheric sub-bass tones, and mixing practical Foley with musical leitmotifs.
Steve Abrahart
Consulted on complex planar tracking, digital clean plates, and wire removal techniques, enabling the flawless erasure of the overhead I-beam suspension cables from the finished camera frames.
EXPLORE THE REST OF THE VOYAGER CORP
Review our fictional corporate Hammond Aerospace headquarters, examine the Kepler series spacecraft specifications, or return to the main WorksByBrendan portfolio.