Posts tagged “Christie

Indy Opera Goes to the Movies

While not quite the same scale as Aida at the RAH, the Indianapolis Opera is in full swing this week and the program is entitled “Opera Goes to the Movies”. The idea is to have a massive movie screen and play clips of various movies that have music from operas….combine that with live singers, a live orchestra, and IMAG and you get the idea. For my part I get to set up, align, and generally babysit two Christie HD 12k’s. All the clips and editing by Derek Tow of South 40 Productions.

The general size of the screen when combined with the physical depth of our stage dictated .73:1.0 lenses which, if you’ve ever had to use them on a big gun Christie, are not the most cooperative of glass. The PJ’s had to be center of screen, which in this case was 18′ so scaffolding had to be done as you can see in the following pics (No, there’s no Pandora’s box on this gig, I just use their totally useful grids). These HD12k’s don’t have Twist or warp, or even enhanced keystone correction, so all the convergence is manual. Big tip for anyone using a rental like these- shoot some lithium grease into the rigging feet and screws before stacking them and sending them in the air! You’ll save a ton of hassle and have less blisters. Trust me. All playback is coming from 2 iMacs (primary and backup) using Playback Pro + running into a Panasonic AV-HS400 and sent down the line HD-SDI. We’re using a 24′ jib, a 33x Canon on sticks, and my Vaddio HD19 cameras for IMAG. Surprisingly- the little PTZ cams look pretty good!

Indianapolis Opera’s executive director John Pickett says that during the planning of this year’s season they wanted to present four entries yet include something that was on a lesser scale financially, while attracting newer audiences at the same time. That’s how Opera Goes to the Movies came about.

“It will be a great situation for people who like film and understand the role that music and opera have played in it. However, they may have never tried or have had limited experience with live opera singing with an orchestra. I think people who are new to opera will love it because it is a lot of the greatest hits of opera that they know or have heard. It will give them some context about it,” says Pickett, who also thinks that the singing “will be of high enough caliber that the ‘foamers’ (those who foam at the mouth or get excited about opera) and aficionados of opera will enjoy it too.”

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Roca Video Rocks PLN

Ian Henderson hipped me to the recent broadcast of Premio Lo Nuestro on Univision this past Thursday. Ian was the Lead Engineer for Roca Video on the gig and it’s pretty insane…This video is the opening act, Daddy Yankee, and it features 6 Coolux Pandora’s Box servers- but it doesn’t end there…
They were T/C’d to the 9 Catalyst servers running the rest of the show! The screens were fed by 12x 20k Christies (front), 7 Barco R22 (rear, with R12 backups), scenic projection was done by the 20k’s, Ian tells me the load-in was 5 days with 3 days for rehearsals, tweaking, alignment, etc. He was also kind enough to send a few snaps of the actual rigging for a couple of the PJ’s (don’t try this at home!). As far as the LED suit goes…I love that it’s actually mapped with the rest of the video and I’d love to see the connections for it!

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New stuff this week….

I’ve been a bit slammed as of late. I haven’t really had time to even surf for content…but I do have a couple of great projects coming up that I’ll be sure to document thoroughly. One is for the Indianapolis Opera called ‘Opera Goes to the Movies’. We’re projecting a 32′ wide image with movie content as well as IMAG. I’ll be using two Christie HD 12k’s with .73:1 lenses. Ought to be a blast lining them up……

The other is Pirates of the Caribbean: Live in Concert. The Indianapolis Symphony Orchestra plays the soundtrack and we screen the movie with sound effects and dialogue intact. I’ll be using two DPI Digital Lightning 35hd’s with 3-4.3:1 lenses from about 120′ front projection. I’ve been stressing over this one a bit…but I’m pretty sure it’ll end up being a walk in the park.

In the meantime: Bart Kresa from BartKresa Design posted a great link to an article over on our Facebook page. He’s doing a workshop and speaking at Event Solutions Idea Factory in Las Vegas, Caesars Palace, February 26 – 29. If you’re anywhere near Vegas around then, this is one to see. Bart was responsible for the Christie booth at InfoCOMM last season and it was unbelievable! See for yourself….

Here’s a vid that features a little bit about the upcoming workshop in Vegas- and be sure to read the great article over at DesignDawgs by Liese Gardner. Thanks Liese!

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How Do You Make a Great Carmapping? Superglue!


I came across this project recently and I can’t believe I didn’t see it sooner! Superglue, an award winning production house based in London, did this campaign for the Toyota Auris and it’s pretty great. The team comprises a dynamic mix of production, post and digital brains working across live action, visual effects, 3D and motion graphics. Superglue operates across the modern media spectrum, creating moving image for everything from banners to broadcast.

Superglue’s projection mapping project for Toyota’s “Get Your Energy Back” campaign was a highly creative and technical challenge, utilising numerous different production techniques. The animation featured 2D, 3D, keyframed animation, dynamics, particle systems and more. Compositing, VFX and general pipeline management was performed in After Effects, whilst 3D work was created using Autodesk Maya and Maxon Cinema 4D. The team made extensive use of both Trapcode Form and Trapcode Particular in bringing to life the ‘hybrid energy’ that was the key part of the campaign’s message.

Hardware included 7 x custom media servers running a prosperity geometry mapping system developed in vvvv. 4 x Christie 18K roadster projectors and 3 x Panasonic 12K projectors. All fitted with short throw lenses.

Be sure to check out their portfolio with other cool projects!
And of course, the ‘making of’ video-

Creative agency : glue Isobar
Production & Post Production Company : Superglue
Projection setup & mapping : Igloo
Animation Director : Simon Cam
Live Action Director : Mark Jenkinson
Producer : Jax Evans
CG Lead : Gavin Rothery
CG Artist : Marcus Chaloner
Production Managers : Vicki Banwell / Marilyn Napaul
DOP : Ed Rutherford
Editor : Jose Gomez
Assistant Editor : Jamie Jenkinson
Music and Sound design : Liam Paton @ Resonate
With thanks to Tower Hamlets, Network Rail & EDF
Software & Plugins used: Maya, After Effects, Cinema 4D, Red Giant Particula & Form

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