Visual Production
A couple of years ago I helped on a rather large scale project. It was for a non-profit organization which I particularly like their mission. So, when I was asked to help out with the visual aspects (projection), I accepted. However, I didn't realize what I had signed on for.
I work on one of the biggest permanent productions in history. While I am used to working with and conversing with professionals of a similar background, I often forget just how foreign video can be. After all, most every household has some sort of television that has any number of peripherals connected. However, even the most experienced home user does not have the necessary vocabulary to discuss a large scale production.
Here's the thing. I am a geek for technology. I love it. I'm not just talking about the latest and greatest either. I love all technology. See, I went to school to become an archaeologist and my main focus was on ancient technologies. Why do people make the things they do and what do they intend to do with them. Well, this carries over to modern technology as well. One of the things I love about theater is that we borrow technology from everywhere to make magic. A recent addition (in some sense) is the use of video projections. Of course, video is becoming more commonplace as the technology is more available and less expensive, but the roots of "projection" have quite a long history.
Now, back on track from my digression. I was working on this production that wanted to transform the space with projection as a way to stand out in that space. They came to me with the idea of several moving projection surfaces along with mapping onto some of the architecture of the theater. No problem I say. What kind of budget and time frame is there? Well, that's where it all fell apart. See, as with other theaters I have worked in, there is another production that is happening in the same space during the time of rehearsals and the night before the technical rehearsal. That adds a new level of complexity.
The budget? Well, let's say that it is flexible, but not entirely a large amount. The schedule? Short periods of time for rehearsals, virtually eliminating set-up/strike periods for the equipment. So, everything needs to be able to be installed in such a way as to not interfere with the other production's show elements, but accomplish everything for this production. Time for negotiations.
I work on one of the biggest permanent productions in history. While I am used to working with and conversing with professionals of a similar background, I often forget just how foreign video can be. After all, most every household has some sort of television that has any number of peripherals connected. However, even the most experienced home user does not have the necessary vocabulary to discuss a large scale production.
Here's the thing. I am a geek for technology. I love it. I'm not just talking about the latest and greatest either. I love all technology. See, I went to school to become an archaeologist and my main focus was on ancient technologies. Why do people make the things they do and what do they intend to do with them. Well, this carries over to modern technology as well. One of the things I love about theater is that we borrow technology from everywhere to make magic. A recent addition (in some sense) is the use of video projections. Of course, video is becoming more commonplace as the technology is more available and less expensive, but the roots of "projection" have quite a long history.
Now, back on track from my digression. I was working on this production that wanted to transform the space with projection as a way to stand out in that space. They came to me with the idea of several moving projection surfaces along with mapping onto some of the architecture of the theater. No problem I say. What kind of budget and time frame is there? Well, that's where it all fell apart. See, as with other theaters I have worked in, there is another production that is happening in the same space during the time of rehearsals and the night before the technical rehearsal. That adds a new level of complexity.
The budget? Well, let's say that it is flexible, but not entirely a large amount. The schedule? Short periods of time for rehearsals, virtually eliminating set-up/strike periods for the equipment. So, everything needs to be able to be installed in such a way as to not interfere with the other production's show elements, but accomplish everything for this production. Time for negotiations.
Comments