Index
Page numbers in italics indicate figures and in bold indicate tables on the corresponding pages.
2D and 3D content in 3D world 70
action charts 42
active signal booster 155
actors 14–15; telepresent 124; tracking 130–131, 130–131
adapters, video cable 157–159, 158–159
ADC (analog-to-digital converter) 198
Adobe After Effects 68, 74, 116, 168
Adobe Premiere Pro 98, 110, 111, 168, 205
agency 124
.AIFF file type 110
algorithmic visuals 69
alignment/warping/blending 63, 64
amplitude 147
analog-to-digital converters (ADC) 159
analog video 103
Anderson, Laurie 2
archiving, project 68
artistic team 12–19; actors 14–15; directors 12–14; rehearsing with interactive digital media 15–19
aspect ratio 58, 104, 105; projector 172
assets 36; composited 54; organization of 74, 74
audience-responsive digital media 8
audio in video production 110–111
audio meters 111
audio playback in performance space 32–33
Audio Visual Laboratories (AVL) 53
auto-follow 48
balanced audio inputs 110
batch export 144
batch render 144
beat, script 42
Bell, Phaedra 6
bidirectional microphones 111
binary 148
bit rate 105
blackouts 41
Black Widow (paint mix) 21
blob tracking 206
blocking 40
boosting, sound 111
borders and legs 21
bounce 110
bouncing off mirrors 181
Bourke, Paul 182
bridling 25
Builders Association, The 18
built-in mapping 170
cables 67, 148–149; adapters and signal converters 157–159, 158–159; anatomy 149, 149; BNC 150, 150; Cat 5/6 155, 155–156, 205; coax 150, 150; DisplayPort 153, 153; DVI 152, 152; fiber optic 154, 154; FireWire 155, 155; HDMI 152, 153; network 205, 205; paths and runs 149; projector network 173; RCA 150–151, 151; SDI 153, 154; serial 206; S-video 151, 151; Thunderbolt 154, 154; USB 155, 155; VGA 151–152, 151–152, 158; Y/C 151, 151
cages and mounts, projector 193, 193
calculators, projection 182, 183
calling cues 53
camcorders 155
cameras: basics of 196–198, 197–198; depth 207, 207; DSLR 198–199; infrared 155, 206; live 125, 126, 199–200; rehearsing with 125, 126–128; tracking performers and objects 130–131, 130–131; video 199
Castel, Louis Bertrand 135
Cat 5/6 cables 155, 155–156, 159, 205; extenders 158–159
CCD (charge-coupled device) 198
cel drawn animation 114
central processing units (CPUs) 161–162
channels, video 29
character 8
Cheeta 3D 116
chroma 86; as real-time live-camera effect 125
chroma subsampling 94
Cinema 4D 116
Cirque Du Soleil 54
clappers 110
CMOS (complementary metal-oxide-semiconductor) 198
color organ 135
color(s) 81–82; chroma sampling 94–95; primary 90, 91; secondary 90, 91; tertiary 90, 91
command line in generative art/video 120
composited assets 54
computer/machine vision 129–130
condenser microphone 111
conductors 148
constraints, script 44
contact microphones 208
content: animated 114–116, 115, 117; custom 96; data as 120; found 96; generative art/video as 116–120, 118–120; hybrid 139, 139–143; interactive digital media as 123–124; real-time effects on 116; rendering, storage, and playback 143–144; rendering vs. real-time 144–145, 146; still images/photography 97–103; stock 96–97; video 130–135; video game theory and technology in 135, 139
content creation 69–70; 2D and 3D content in 3D world 70 basics of digital content and 85–90; how much and how long to take for 73–74, 74; in relation to theatrical set and for surfaces other than projection screens 70–73; and show integration workflow 58–59, 58–60
contrast 82, 83; dynamic range and 95, 96
contrast ratio 172
converters, signal 157–159, 158–159
corner pinning 175
CPU 106
Creative Commons 96
creativity 53
cross-fades 125
cue lists 42; calling 53; creation of 48–49, 49; elements of good 49–50; numbering 50, 51–52; review with the director 50; to-do lists and 50
cues 30; placeholder cue image 62, 62
curtains 41
custom content 96
cutting on action 114
D3 54
dark time in theatres 62–64, 64, 64
data: backing up of 74–75; big 120, 120–122; as content 120; parsed 131; pixels as 86–87; skeletal 131; transport of 2
degradations 89
deliverables, negotiation of 36
depth of field 197
descriptive geometry 70
design, unified 19–34; 3D models in 22–23; audio playback in performance space and 32–33; brightness in 29–30; color palette in 27–29; color temperature in 26, 27; costumes in 33–34; direction of light in 26; elevations and sections in 24, 24; floor treatment in 22; ground plan in 23, 23; lighting in 25–26; line set schedule in 25, 25; materials and textures in 21–22; projections in 26; projector placement in 27; props in 34; scenic design in 19–20; screens in 20–21; self-emitting media gear in 22; shared documents created by the scenic department in 23; sound in 30–31; staging in 22; tech in 30; who’s in charge of what in 31
design basics: balance 81, 81; color 81–82; composition 77, 78; contrast 82, 83; emphasis 82; line 75–76, 76; negative space 79, 79; repetition and pattern 83, 84; rule of thirds 77, 78, 79; scale and proportion 83, 84; shape 77, 77; style 75, 75; texture 82; typography 84, 84; unity 79, 80; variety 80, 80
design principles 75
design process and workflow: considering the schedule in 37, 38; design meetings in 38–39, 39, 40; equipment in 37, 56; first steps 35–40; knowing the venue in 38; locking down equipment, cables, and media server in 67; negotiating deliverables in 36; order of tech and dark time in the theatre and 62–64, 64, 64; paperwork in 61; phase 1: research 44–47; phase II: conceptual design 47–48; phase III: from script to cue list 48–53; phase IV: deciding on system and technology 53–58, 55, 56; phase V: content creation and show integration workflow 58–59, 58–60; phase VI: load-in and tech week 60–65, 61–62, 62, 64; phase VII: finalizing the design 65, 67; phase VIII: documenting your work 67–68; phase IX: archiving the project 68; production meetings in 40; rendering in 61, 62; rental equipment in 56; salary in 35–36; scripts in 40–44; setting limits in 36; show reports 67; stock equipment in 56; working with budgets in 36–37, 37
devising 43
diaphragm 197
diffusion gel 110
digital color space 92
digital image sensors 198
digital media: atmospheric 6–7; defined in terms of theatrical performance 2–3; design process and workflow (see design process and workflow); interactive 6, 7–8; meaning making and the language of 5–8; reasons for using 5; in the rehearsal hall 11; rise of 1–2; stage manager and 12; unified design (see design, unified)
digital media designer: basic skills 3–4; as a career 4–5; jobs beyond the theatre 5; practical taxonomy 6; role of 3; salaries 35–36
Digital Performance: A History of New Media in Theatre, Dance, Performance Art, and Installation 5
digital-to-analog converters (DAC) 159
digital video 103; see also video
direction of light 26
directories in generative art/video 120
directors 12–14; getting final sign-off from 67; reviewing the cue list with 50
distortions 89
distribution hardware, video signal 156–159
DLP (digital light processing) 171, 171
documents, shared 23
double-stack projectors 29
dramaturge 44
drop frame 104
DSLR (digital single-lens reflex) 198–199
DSP (digital signal processing) chip 198
DVI (Digital Visual Interface) 152, 152
dynamic microphone 111
dynamic range and contrast 95, 96
EDID managers 156
editing, video 111, 112, 113, 113; systems 202–203, 203
effects 7
electric in direction of light 26
elevations and sections 24, 24
emphasis 82
equipment 37; locking down of 67; order of turning on/off 169–170; projector (see projectors); projector-related (see projector-related equipment); purchasing 56; rental 56; stock 56
Ex Machina 18
exposure 197
extenders 156
fan/air flow/filters, projector 172–173
feedback loops 123
Final Cut Pro 88, 111, 113, 168
Fine, Daniel: on color palette 28–29; on hybrid content 139–143; on rehearsing with interactive digital media 15–18; on rehearsing with live cameras 126–128; sample notes from design meeting 40
first-surface mirrors 181
flocking 118
floor treatment 22
focal plane 176
Foley 111
forced perspective 71
Förtere, Holger 54
found content 96
frame rates and standards 104
framing/shots: photography 99, 99; video 107, 108–109
front projection screens 194, 194
f-stop lenses 173
gain 179
Galanter, Philip 116
gamut 92
gear, video production 201–203, 201–203
generative art/video 116–120, 118–120
geometry, descriptive 70
GLSL processing frameworks 139
golden hour 100
Google: drive 61; image searching 46
GPU 106
graphical user interface 163
Greco, Sherée 12
gyroscopic sensors 208–209, 209
hard disk drives (HDD) 161
hierarchy 84
high-level computer programming languages 120
hotspots 21
human-computer interaction 116
human-computer interface 54
hybrid content/systems 139, 139–143
hybrid drives 161
image magnification 5
infrared (IR) lights 33
inputs, max # of 170
inputs/outputs, projector 172
installation, projector 173
integrated graphics cards 159
interactive digital media 6, 7–8; artistic team rehearsing with 15–19; as content 123–124; meaning making from 124; thoughts on adding 7
interlaced/progressive scanning 103, 103
interpolation 89
iPads 202
IR (infrared) cameras 155, 206
Isadora 54
Jones, Robert Edmond 1
jump cuts 111
justification 84
KA (Cirque Du Soleil) 54
kerning 84
Keynote 54
keystone (projectors) 176–177, 177
Kinect sensors 131
lamp hours 188
laser projectors 172
latency 200
layer/cue stack-based media servers 163, 164–165, 167, 167
layers, max # of 170
LCD (liquid crystal display) 171–172
LCoS (liquid crystal on silicon) 172
leading 84
LEDs (light-emitting diodes): displays 195–196; embedded in costumes 33; infrared 33; self-emitting media gear 22
lenses, projector 173–175, 174–175; screen size and 180, 180
lens shift 177
LePage, Robert 18
libraries in node-based media servers 168
light, direction of 26
lighting 7, 8; for live cameras 200; moving 27; for photography 100–101, 101; in unified design 25–26; video 110
lighting boards 30
lighting plot 26
limit setting in design process 36
linear editing 113
line sets 21; schedules 25, 25
“Live Media: Interactive Technology and Theatre” 7
liveness 124
live video/cameras 125, 126, 199–200; latency with 200; lighting for 200
long throw (telephoto) lenses 174, 175
looping 114
loops, feedback 123
low-level computer behaviors 168
luma 86; as real-time live-camera effect 125
lumens 172
magic hour 100
magnification, image 5
mapping 64, 64, 170; pixel 196
margin of error 178
marker-based real-time tracking of performers and objects in 3D 206–207, 207
masking 64, 64, 170; projector 186, 186, 187; of video 27
matching eyeline 114
MAX 163
max # of inputs 170
max # of layers 170
max # of simultaneous HD videos 170
meaning making 5–8; from interactivity 124
media servers 67, 159–166; building your own 159–163; common features of 169–171, 170; max # of inputs 170; max # of layers 170; max # of simultaneous HD videos 170; types of 166–169, 166–169; updating/upgrading 170–171
meetings, design 38–39, 39, 40
megapixels 86
Mezzochhi, Jared 6
mica flakes 21
MIDI (Musical Instrument Digital Interface) 204, 204
mirrors, bouncing off 181
Moiré patterns 101, 101, 101–102
monitors/TVs 196
montage 114
mood 7
mounts and cages, projector 193, 193
moving images in photography 102–103
moving lights 27
multiple projectors 186–188, 187, 188
Musical Instrument Digital Interface (MIDI) 30
muslin 21
Muybridge, Eadweard 103
negotiation of deliverables 36
network cables 205, 205; projector 173
NI-Mate 207
node-based media servers 163, 164–165, 168, 168
non-drop frame 104
nonplanar surfaces 183
notes, tech 65
NTSC (National Television System Committee) 104, 149
Obscura Digital 2
off-axis viewing angles 70, 72
ohm ratings 150
Oliszewski, Alex 44–45, 132–134
omnidirectional microphones 111
OmniGraffle 56
onstage camera operators 128–129, 129
Open Sound Control (OSC) 30, 203, 208
Open Theatre, The 135
operating system in generative art/video 120
operators, camera: onstage 128–129, 129; training of 65, 66
optical prism block 199
Orbbec Astra camera 207
order of turning on/off equipment 169–170
orthographic view (projection) 70
outlines 43
over-modulated audio 111
over the shoulder shot 107, 108
Paik, Nam June 1
PAL (Phase Alternating Line) 104, 147
Pandoras Box 54
paper tech 61
paperwork 61
parsed data 131
particle systems 118
passive hardware 156
paths and runs, cable 149
PCI slot/expansion 163
peaking, sound 111
perceived brightness 72
perfect loop 114
persistence of vision 102
personnel/crew 11
photocall 68
photography: basics of 97–103; camera angles 99–100, 100; collage 102, 102; lighting for 100–101, 101; Moiré patterns 101, 101, 101–102; moving images 102–103; noise/grain 101, 101; sharpness 101; software applications for 98; types of shots/framing 99, 99; ubiquity of 97
Photoshop 56
pica 85
Piezo microphones 208
pixel mapping 196
pixel pitch 196
pixels 86, 88, 143; calculations 181, 181–182; as data 86–87; in displays 87–88
platter drives 161
point cues 50
polar patterns 111
poly cyc 21
PowerPoint 54
preamps 110
pressure, flex, and contact sensors 209, 209
prime lenses 174
procedural methods in generative art 118
process in generative art 118
producers and production management 9–11
production, time spent in 73–74
production meetings 40
programming/cueing 64
programming languages 168
progressive/interlaced scanning 103, 103
projection calculators 182, 183
projection plane 70
projections 26; blending 188–189, 190–191; warping and projection mapping 183–185, 184, 185
projection screens 193–195, 194–195
projection throw 25
projector black 26
ProjectorCalc 182
projector-related equipment: dowsers 192, 192–193; lamps 192, 192; mounts and cages 193, 193
projectors: lenses on 173–175, 174–175; placement of 27, 56–58, 57; technical specifications of 172–173; types of 171, 171–172; underpowered 179; using multiple 186–188, 187, 188; working with 175–189, 190–191
proportion 83
purchasing of equipment 56
Python 120
quad surface 184
Quartz Composer 163
QuickTime 23
Ragan, Matthew 118–120, 159–163
RAM (random-access memory) 162–163
rasters 21, 86; vs. vectors 89, 90
raster size 143
RealSense camera 207
real-time effects 116; on live cameras 125, 126
real-time tracking, marker-based 206–207, 207
real-time vs. render 144–145, 146
rear projection screens 194, 195
rehearsal halls 12
rehearsing with cameras 125, 126–128
rendering 61, 62, 143–144; batch 144; vs. real-time 144–145, 146
rental equipment 56
repeaters 156
replicators 156
reports, show 67
research phase in design 44–47
Resolume 208
resolution 58, 86, 86, 87, 104, 105; projector 172
retreats, design 39
reverse image search function in Google 46
RFID sensors 34
RF modulator 158
RGB 90, 91, 92–94, 93; alpha channels 92
ribbon microphone 111
Rimini Protokoll 139
ringing out 63
Robinson, Andrew 194
room tone 111
scene-by-scene breakdown 42; cue list and 48–49, 49
Schechner, Richard 135
scores 43
screen gain 21, 22, 193–194, 194
Screen Goo 21
screens 20–21; projection 193–195, 194–195
scripts: constraints 44; cue list from 48–53; devising 43; first reading of 41; list of lists regarding 42–43; second reading of 41; third reading of 41–42; working with 40
SDI (Serial Digital Interface): cables 153, 154, 158; standards 148
SECAM 147
sections and elevations 24, 24
self-emitting media gear 22
sensor-driven interactions 8
sensor systems 1; encoder 208; gyro 208–209, 209; pressure, flex, and contact 209, 209
serial cables 206
serial commands (projectors) 176
serif 84
set protocols 107
shared documents 23
sharpness 101
short throw (wide) lenses 174, 175
shotgun microphone 111
shots/framing: photography 99, 99; video 107, 108–109
show control 147
show reports 67
simultaneous videos, max # of 170
sine-waves 147
skeletal data 131
Sketchup 116
smartphones 2
soft box 110
software-based media servers 159
solid-state drives 161
sound in unified design 30–31; key components and workflow between digital media and 31–32
specialized interactions 8
spine, script 41
splitters 156
Spout 135
square wave 148
stage directions 40
stage management 11–12; paper tech and 61
still images 97, 98; see also photography
stock equipment 56
stop down 110
stop-motion animation 114
subtending 182
supertitles 75
syncing 110
Syphon 135
system and technology decisions in design process 53–58, 55, 56
system diagram creation 56
systems 147
TAB 53
tablet computers 202
Tanenbaum, Andrew 2
tech: handy tools for 60; order of 62–64, 64, 64; rehearsals 36; in unified design 30
tech notes 65
tech week 6; load-in and 60–65, 61–62, 62, 64
telepresent actors 124
temperature, color 26
text 7
texting 8
theatrical performance: defining digital media in terms of 2–3; meaning making and the language of digital media in 5–8
theatrical teams 9; artistic team 12–19; producers and production management 9–11; stage management 11–12; toward unified design with 19–34
three-point lighting 110
throw distance 173, 174; bouncing off mirrors and 181; calculating 180, 180
throw ratio 173
time 7
timeline-based media servers 163, 164–165, 166, 166–167
tint 92
to-do lists 50
TouchDesigner 54, 120, 163, 208
tracking 84, 130–131, 130–131; blob 206
transcoding 106
transport of data 2
turnkey media servers 159, 163
uncompressed digital media 105
underpowered projectors 179
unidirectional microphones 111
United Scenic Artists Local USA 829 35
upstage 75
vanishing point 70
Vectorworks 56
venues, familiarity with 38
Vershbow, Paul 53
VGA cable 151–152, 151–152, 158
video: analog vs. digital 103; bit rate 105; codecs 105–106; compression 105, 105; containers 105–106; file types 105–106; frame rates and standards 104; interlaced/progressive scanning 103, 103; live 125; network 205, 205; resolution/aspect ratio 58, 104, 105; transcoding 106
video amplifiers 156
video art 1
video black 26
video cables 67, 148–149; adapters and signal converters 157–159, 158–159; anatomy 149, 149; BNC 150, 150; Cat 5/6 155, 155–156, 205; coax 150, 150; DisplayPort 153, 153; DVI 152, 152; fiber optic 154, 154; FireWire 155, 155; HDMI 152, 153; RCA 150–151, 151; SDI 153, 154; S-video 151, 151; Thunderbolt 154, 154; USB 155, 155; VGA 151–152, 151–152, 158; Y/C 151, 151
video cameras 199
video capture 87–88; cards and devices for 200–201
video channels 29
video conferencing 39
video editing 111, 112, 113, 113
video game theory and technology 135, 139
video production 106–114; animation in 114–116, 115; audio in 110–111; cutting on action/matching eyeline 114; editing in 111, 112, 113, 113; gear for 201–203, 201–203; lighting 110; looping in 114; montage 114; supplies for 107; types of shots 107, 108–109
video shoots 10
video signals 147–148, 148; cables for 148–156; converters 157–159, 158–159; distribution hardware 156–159
viewfinders 110
viewing angles 20, 21, 193–194, 194; off-axis 70, 72
Viola, Bill 1
vision: computer/machine 129–130; persistence of 102
visual flow 70
Visual Understanding Environment (VUE) 56
VJ-based media servers 163, 164–165, 169, 169
warping and projection mapping 183–185, 184, 185
waveforms 110
.WAV file type 110
wide/long shots 99
wild sound 111
wipes 111
wired and wireless routers/switches 204–205, 205
wireframes 58
wireless lavalier 111
wireless video 158
Wyphon 135
Z space 116