Tigrelab Talk Show Set Mapping
In what is, perhaps, not so much “videomapping” as “audio-reactive virtual set design”, TV3 produced two very special interviews featuring the scientist and broadcaster Eduard Punset and the presenter and humourist Andreu Buenafuente. The programmes, which generated considerable expectation and required a significant investment, consisted of conversations between Punset and Buenafuente about a range of issues concerning everyday life set against a video mapping projection of almost 100 m2. Tigrelab was chosen to develop the contents of the backdrop, an audiovisual “wall” 24 metres wide and 3.5 metres high. This reactive and continuously changing scene allowed the two men to continue to talk comfortably whilst they were taken from place to place…from a modernist library, to a New York building, to being surrounded by a futurist mesh created using images of codes.
The MIDAS Project
A synesthetic exploration of traditional artistic performance and digital art, MIDASpaces was devised as an interactive projection mapped space for the Creative Arts. Using the latest tracking technology, the space learns and reacts to performance, allowing the artist to explore new improvised choreography live and in time. The team worked in tandem with dancer Tom O’Donnell. Given a narrative revolving around man’s ever-changing relationship with technology; the movements challenge assumptions within performance and the evolving role of the performer within art.
An interactive projection mapped project- MIDASpaces employs a combination of light projection, sound and camera tracking to add a digital dimension to the Creative Arts in a real world space. The project made use of custom software written in openFrameworks (C++) running in conjunction with QuartzComposer (openGL) to create the visuals. (more…)
Indianapolis Opera Das Rheingold Redux
I know….it’s a blast from the past….but since the Met is running the Ring Cycle (and Indianapolis Opera is presenting La Traviata soon) I figured I’d revisit it in a little more detail. Joachim Schamberger directed the stage as well as produced all the video. This production had the orchestra onstage, with the performers downstage utilizing our hydraulic pit elevator. There were two towers of scaffold left and right as well as a small bridge piece across center. We used a seamless cyc on the furthest downstage lineset to project on, and trimmed it about 8′ off the deck. Projection was from a booth about 128′ from the cyc. The aspect ratio ended up being roughly 2.8:1 or well above scope. We used two Panasonic PT-D7700 converged fro the main screen, and two PT-D5600 for super titles.. Playback was from a Macbook Pro using Vidvox’s VDMX. The pics tell the story below:
Spotlight 2011
Tonight is Spotlight 2011, the annual fundraiser for the Indiana AIDS Fund. Every year, professional performers from all over Central Indiana come together for one reason – to raise money for HIV/AIDS education, prevention and testing programs across Indiana. They stand in the spotlight in order to keep the spotlight shining on HIV in Indiana.
It’s held at Clowes Memorial Hall on the campus of Butler University and all the performers and technicians (IATSE Local #30) generously donate their time to make it happen. Projection will include super titles and fundraiser totals over the stage on a 3′ x 24′ super title screen as well as various video playbacks onstage. We’re using 2 Panasonic PT-D5600′s, A Macpro tower, and a Macbook for playback. If yu’d like to make a donation to Spotlight 2011 click HERE
Small Production- Big Projection, Indy Opera does both well
Just got back from a great meeting with Joachim Schamberger at the Basile Opera Center. They’ve wrapped the 2011 production of La Tragedie de Carmen and by all accounts it was quite a success. In a big departure from their normal productions-complete with grandiose sets, a huge performance hall, and a full orchestra- they’ve pared down the whole process and now use a former sanctuary of a church. This fact doesn’t take away from the quality of the performance however, indeed, it is a whole new vehicle. The format is tight and close and…..wait a minute- we talk about projection here!
Joachim has long been a practitioner of “virtual theater design” a process he describes here. In practical terms it means lots of great projection. They used two Panasonic PT-D5500, and one Panasonic PT-D7700- both single-chip DLP’s. The 77 served as the main background unit with a 55 as online backup and the second 55 as the surtitles above the set. Why not converge the 55′s and use the 77 for surtitles you ask? Because converging the 55′s is next to impossible and due to the depth and width (something like 32′), they needed the most pristine image they could get. Those units are also very prone to distorting geometry and focus issues when the temperature goes up, so this configuration made sense to me. The backgrounds were driven from a Macbook Pro 17″ with Vidvox’s VDMX (soon to be reviewed here on PF). The surtitles are of the generic Powerpoint variety. Using VDMX, Joachim is able to send stills as well as .movs with equal ease. A lot of the moving imagery are very slow transitions, so control of the timing is paramount. He used FCP and Photoshop almost exclusively. With the 7700, brightness was overall very good, and required very little sidelight for the actors to not appear to be “projected on”, at the same time allowing for some actors to fade into the background and be less noticeable during tacet parts. There are a couple of projects coming up with the Indy Opera that’ll involve projection in the future, so stay tuned for more! Here’s the prOn from the event:
Software-based Projection/media Control: Part 1, Isadora from TroikaTronix
Any projection project will require some way to manage the content. The larger and more complex the action, the more capability you’ll need. This type of show will most likely utilize a hardware-based system like the Coolux Pandora’s Box or Green Hippo’s Hippotizer. What about other solutions? Don’t have $10k+ for a controller/playback device? Enter the software-based solutions. Not that any of these aren’t capable of large and complex control of displays and content, it’s just that these don’t neccessarily come in a rackmount piece of hardware. You get to supply the hardware and each will have it’s own set of minimum requirements. From a laptop to a tower they’re all capable of running your show….read on…. (more…)
Projectionfreak is back!
After a few frustrating days with a new webhost under a new account- all is well! Projectionfreak is housed on a new, shiny, fast server and ready to go! Look for a hands-on report with the Barco DP2k-32 today as well as a feature on the Indianapolis Opera’s production of La Tragedie de Carmen featuring Joachim Schamberger. We’ll go inside and find out the lurid details of projection in a modern opera as well as his take on Virtual Theater Design.
Coming Soon! Projection Goes to the Opera
The Indianapolis Opera presents La Tragedie de Carmen at the Basile Opera Center. Â Stage director Joachim Schamberger, whom I collaborated with on some killer projection work a while back, will utilize some large projection to complement the action. This isn’t the first time they’ve played the HD projection card. Â Here’s some shots from previous shows.
Joachim believes projection is an integral part of stage presentation and this production should prove no different. Â
Here’s some prelim background. I’ll go inside the action and bring the info, specs, and some photos as well as some insight from the director.
Follow Projectionfreak!