Getting started with projection for a live production
One of the things I am often asked about is "What do I need to have projection/video for my next production?". Obviously this will never be a simple answer and I will always answer with a battery of questions. Instead of going into all of the questions, being this is a single sided dialogue, I will over the next several weeks go over what I see as a direction for design.
I plan on giving you a parts manual of sorts. Each part of a projection system will work together to bring about the end result. Without understanding how the parts work, it would be impossible to describe the process. Consider the end result of the video system like a clock face. The end user doesn't really care what goes into the inner workings, only that they can tell the time accurately. The clock designer will choose between an analog system with gears, springs, and other mechanical parts or a digital system with its related parts. In both instances, there is the decision of how the end result should appear, the preliminary design, the assembly of components, and the final use of the product. This is the same with projection design, which I plan on guiding you through.
First and foremost, does your production actually need it? When moving lights left the realm of concerts and made their way into theatrical productions, it was "the" thing that many people wanted. This is true still today to some degree. However, theatrical designers did not always know how to use them properly and often times they were not really needed. After many years of use, and misuse, many designers have come to realize when the production needs a moving light, how many, and how to effectively use them.
Enter video projection. There is a long history with the use of projected imagery for live performance. Although, with the availability of cheap video projectors and playback systems, it is now within the reach of the masses, to some extent. Now nearly every community theater has the opportunity to wow its audience in ways that required massive budgets. This has caused big productions to go over the top to make themselves continue to stand out and smaller productions to sometimes choose to use video when either the production really doesn't need it or there might be cheaper and easier methods to accomplish the same look.
Before I talk about how projection is accomplished, I will talk about the functions of the design. The methods used to accomplish the functions can vary greatly depending on the needs of a particular show. Without discussing this directly with producers, there would be no way to cover every nuance of a design. With a clock, the function is primarily to tell time. However, the designer may choose other functions including day, date, stopwatch, or many others all within the single unit. The same can be said of a projection design, there can be a single or multiple functions within the same design.
The first function is Information. The purpose of this function is to help the audience gain critical information separate from the production on its own. For instance, the designer can provide time or place to set the mood without the characters stating this information. It might end up rather comical for an epic like Les Miserables to have one of the characters singing when and where each scene takes place. In another example, the audience may appreciate subtitles when viewing a foreign language opera.
The next function is Scenic. Scenic drops have been used as a method of enhancing a set for generations. Many smaller production houses are often at a disadvantage as they cannot always afford the space to paint a full stage drop, even more if they have multiple drops. However, many see the opportunities presented to them as they can create on the small screen and then project onto a large surface. In addition, the same surface can now have a variety of images saving precious space or removing the need for a fly system. This, one of the most challenging of the functions, is possibly the primary reason companies choose to add video to their production.
The third function is for the purpose of eliciting Emotion. While beautiful scenery may elicit emotion, generally that is not its purpose. Instead, a designer may be able to more easily bring on an emotional response by showing images of easily recognizable symbols and icons. If there is need for national pride, showing bold images of a flag waving in the breeze may accomplish this in a way that characters simply talking about may not. Presenting moments from history, such as propaganda reels from World War II could set the mood for a scene before it even plays out. By giving the audience something that they already recognize, with associated emotions, can improve the quality of a production in many ways.
While used more for live concerts than theater, projection can add Texture. Often this will be more geometric and abstract patterns which work well as visuals along with music. Although, depending on the mood of a production, these type of visuals could add value that could not be accomplished with lighting alone.
Video is often larger than life. However, sometimes a Special Effect is needed that cannot be produced any other way. There may be a need to add fire to a fireplace where real flames are impractical. A production could require a ghost to appear with an effect regaining popularity with a technique known as Pepper's Ghost. Many special techniques will challenge the designer to find innovative ways to provide a new level of stage magic. Some of these will require techniques found in the final function.
This final function I simply call Live projection. The previous functions can all generally be prerecorded and played back through a variety of methods. However, there may be a desire for something more organic or lifelike. Going back to the realm of concert productions, one part of this function is known as image magnification, or Imag. This is a process of using a video camera to capture the subject and project it live on larger surfaces which allows those further away to see what is happening "up close". However, this function also relies on other live aspects of a production. There are many different interactive techniques where the performers can help to shape the images. This helps to augment the reality of a production by allowing something virtual become a bit more real. In this function, the creativity of the designer could immeasurably make or break the show.
While a design may incorporate some or all of these functions, it may also blend some of them together. The designs can be as ethereal as the imagery produced. What I hope to present is not step by step instructions, but instruction and understanding. I will introduce the equipment and the connections between it in order for the designer to let creativity run wild.
I plan on giving you a parts manual of sorts. Each part of a projection system will work together to bring about the end result. Without understanding how the parts work, it would be impossible to describe the process. Consider the end result of the video system like a clock face. The end user doesn't really care what goes into the inner workings, only that they can tell the time accurately. The clock designer will choose between an analog system with gears, springs, and other mechanical parts or a digital system with its related parts. In both instances, there is the decision of how the end result should appear, the preliminary design, the assembly of components, and the final use of the product. This is the same with projection design, which I plan on guiding you through.
First and foremost, does your production actually need it? When moving lights left the realm of concerts and made their way into theatrical productions, it was "the" thing that many people wanted. This is true still today to some degree. However, theatrical designers did not always know how to use them properly and often times they were not really needed. After many years of use, and misuse, many designers have come to realize when the production needs a moving light, how many, and how to effectively use them.
Enter video projection. There is a long history with the use of projected imagery for live performance. Although, with the availability of cheap video projectors and playback systems, it is now within the reach of the masses, to some extent. Now nearly every community theater has the opportunity to wow its audience in ways that required massive budgets. This has caused big productions to go over the top to make themselves continue to stand out and smaller productions to sometimes choose to use video when either the production really doesn't need it or there might be cheaper and easier methods to accomplish the same look.
Before I talk about how projection is accomplished, I will talk about the functions of the design. The methods used to accomplish the functions can vary greatly depending on the needs of a particular show. Without discussing this directly with producers, there would be no way to cover every nuance of a design. With a clock, the function is primarily to tell time. However, the designer may choose other functions including day, date, stopwatch, or many others all within the single unit. The same can be said of a projection design, there can be a single or multiple functions within the same design.
The first function is Information. The purpose of this function is to help the audience gain critical information separate from the production on its own. For instance, the designer can provide time or place to set the mood without the characters stating this information. It might end up rather comical for an epic like Les Miserables to have one of the characters singing when and where each scene takes place. In another example, the audience may appreciate subtitles when viewing a foreign language opera.
The next function is Scenic. Scenic drops have been used as a method of enhancing a set for generations. Many smaller production houses are often at a disadvantage as they cannot always afford the space to paint a full stage drop, even more if they have multiple drops. However, many see the opportunities presented to them as they can create on the small screen and then project onto a large surface. In addition, the same surface can now have a variety of images saving precious space or removing the need for a fly system. This, one of the most challenging of the functions, is possibly the primary reason companies choose to add video to their production.
The third function is for the purpose of eliciting Emotion. While beautiful scenery may elicit emotion, generally that is not its purpose. Instead, a designer may be able to more easily bring on an emotional response by showing images of easily recognizable symbols and icons. If there is need for national pride, showing bold images of a flag waving in the breeze may accomplish this in a way that characters simply talking about may not. Presenting moments from history, such as propaganda reels from World War II could set the mood for a scene before it even plays out. By giving the audience something that they already recognize, with associated emotions, can improve the quality of a production in many ways.
While used more for live concerts than theater, projection can add Texture. Often this will be more geometric and abstract patterns which work well as visuals along with music. Although, depending on the mood of a production, these type of visuals could add value that could not be accomplished with lighting alone.
Video is often larger than life. However, sometimes a Special Effect is needed that cannot be produced any other way. There may be a need to add fire to a fireplace where real flames are impractical. A production could require a ghost to appear with an effect regaining popularity with a technique known as Pepper's Ghost. Many special techniques will challenge the designer to find innovative ways to provide a new level of stage magic. Some of these will require techniques found in the final function.
This final function I simply call Live projection. The previous functions can all generally be prerecorded and played back through a variety of methods. However, there may be a desire for something more organic or lifelike. Going back to the realm of concert productions, one part of this function is known as image magnification, or Imag. This is a process of using a video camera to capture the subject and project it live on larger surfaces which allows those further away to see what is happening "up close". However, this function also relies on other live aspects of a production. There are many different interactive techniques where the performers can help to shape the images. This helps to augment the reality of a production by allowing something virtual become a bit more real. In this function, the creativity of the designer could immeasurably make or break the show.
While a design may incorporate some or all of these functions, it may also blend some of them together. The designs can be as ethereal as the imagery produced. What I hope to present is not step by step instructions, but instruction and understanding. I will introduce the equipment and the connections between it in order for the designer to let creativity run wild.
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