FROM FIREPIT TO KINDLE FIRE, THE RISE OF DIGITAL MEDIA
DEFINING DIGITAL MEDIA IN TERMS OF THEATRICAL PERFORMANCE
DEFINING THE ROLE OF THE DIGITAL MEDIA DESIGNER
BASIC SKILLS OF THE DIGITAL MEDIA DESIGNER
DIGITAL MEDIA DESIGN AS A CAREER
JOBS FOR A DIGITAL MEDIA DESIGNER BEYOND THE THEATRE
MEANING MAKING AND THE LANGUAGE OF DIGITAL MEDIA IN THEATRE
A Designer’s Practical Taxonomy
Examples of Atmospheric and Interactive Digital Media
CHAPTER 2 INTEGRATING DIGITAL MEDIA DESIGN INTO THE THEATRICAL TEAM
PRODUCERS AND PRODUCTION MANAGEMENT
Digital Media in the Rehearsal Hall
Rehearsing with Interactive Digital Media
Shared Documents Created by the Scenic Department
Audio Playback in the Performance Space
CHAPTER 3 DIGITAL MEDIA DESIGN PROCESS AND WORKFLOW
Reading the Script for the First Time
How to Be Productive in the Devising Process
To Research Previous Productions or Not?
Organizing and Sharing Research
DESIGN PHASE II: CONCEPTUAL DESIGN
DESIGN PHASE III: FROM SCRIPT TO CUE LIST
Creating the Cue List: Scene-by-Scene Content Breakdown
Reviewing the Cue List with the Director: Early and Often
DESIGN PHASE IV: DECIDING ON SYSTEM AND TECHNOLOGY
DESIGN PHASE V: CONTENT CREATION AND SHOW INTEGRATION WORKFLOW
Onsite Phase: Finals in the Theatre
DESIGN PHASE VI: LOAD-IN AND TECH WEEK
The Order of Tech and Dark Time in the Theatre
DESIGN PHASE VII: FINALIZING THE DESIGN
Getting Final Sign-Off from the Director
Locking Down Equipment, Cables, and the Media Server
DESIGN PHASE VIII: DOCUMENTING YOUR WORK
DESIGN PHASE IX: ARCHIVING THE PROJECT
CHAPTER 4 CONTENT CREATION 101
2D AND 3D CONTENT IN A 3D WORLD
CREATING CONTENT IN RELATION TO THE THEATRICAL SET AND FOR SURFACES OTHER THAN PROJECTION SCREENS
HOW MUCH CONTENT DO YOU NEED AND HOW LONG DOES IT TAKE TO CREATE?
Pixels, Rasters, and Resolution
CMYK and RGB Color, Bit Depth, and Alpha Channels
Chroma (Color) Subsampling or 4:2:0 vs. 4:2:2 vs. 4:4:4
The Ubiquity of the Photograph
The Basics of Photography and Still Images
Compression, File Types, Codecs, and Containers
Making Movies: Video Production 101
Cutting on Action/Matching Eyeline
Real-Time Effects on Prerecorded Content
Generative Art/Video as Content
The Basics of Generative Art/Video
Interactive Systems as Content
Meaning Making from Interactivity
Real-Time Effects on Live Cameras
To See a Camera Operator or Not?
Tracking Performers and Objects
Video Game Theory and Technology
RENDERING, STORAGE, AND PLAYBACK
CHAPTER 5 GEAR AND TECHNICAL TASKS
The Anatomy of a Video Cable with a Single Strand of Wire
Cat 5 and Cat 6 Ethernet cable
Video Signal Distribution Hardware
EDID Managers, Video Amplifiers, Replicators, Extenders, Repeaters, Splitters, and Distribution
Video Cable Adapters and Signal Converters
Analog-to-Digital Converters (ADC) and Digital-to-Analog Converters (DAC)
Layer/Cue Stack-Based Media Servers
Built-In Mapping and Masking Features
Max # of Simultaneous HD Videos
Technical Specifications of Projectors
Calculating Surface Brightness/Luminance
Calculating Screen Size, Throw Distance, and/or Lens Needed
Calculating Pixel Size, Pixels per Square Inch (PPI), and Approximate Perceived Pixel Size
Warping and Projection Mapping
Step 2: Align the Projected Rasters to the Calculated Overlap
Step 3: Adjust the Media Server’s Blend Function to the Same Percentage of Overlap
Step 4: Adjust the Gain, Gradient, or Blend Amount in the Media Server
PROJECTION SCREENS AND SURFACES
Front and Rear Projection Screens and Fabrics
VIDEO CAPTURE CARDS AND DEVICES
Wired and Wireless Routers/Switches
Marker-Based Real-Time Tracking of Performers and Objects in 3D
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