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Digital Media, Projection Design, and Technology for Theatre

by Alex Oliszewski, Daniel Fine, Daniel Roth

March 2018

Beginner to intermediate

252 pages

10h 2m

English

Routledge

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FROM FIREPIT TO KINDLE FIRE, THE RISE OF DIGITAL MEDIADEFINING DIGITAL MEDIA IN TERMS OF THEATRICAL PERFORMANCEDEFINING THE ROLE OF THE DIGITAL MEDIA DESIGNERBASIC SKILLS OF THE DIGITAL MEDIA DESIGNERDIGITAL MEDIA DESIGN AS A CAREERJOBS FOR A DIGITAL MEDIA DESIGNER BEYOND THE THEATREWHY USE DIGITAL MEDIA?MEANING MAKING AND THE LANGUAGE OF DIGITAL MEDIA IN THEATREA Designer’s Practical TaxonomyExamples of Atmospheric and Interactive Digital MediaAtmospheric Digital MediaInteractive Digital MediaREFERENCES
PRODUCERS AND PRODUCTION MANAGEMENTBudgetSchedulingPersonnel/CrewSTAGE MANAGEMENTDigital Media in the Rehearsal HallARTISTIC TEAMDirectorsActorsRehearsing with Interactive Digital MediaTOWARD A UNIFIED DESIGNScenicScreensMaterials and TexturesSelf-Emitting Media GearStagingFloor Treatment3D ModelsShared Documents Created by the Scenic DepartmentGround PlanElevations and SectionsLine Set ScheduleLightingProjectionsDirection of LightProjector PlacementColor TemperatureColor PaletteBrightnessTechSoundWho’s in Charge of What?Audio Playback in the Performance SpaceCostumesProps
FIRST STEPSSalaryNegotiating DeliverablesSetting LimitsWorking with BudgetsEquipmentConsider the ScheduleKnow the VenueDesign MeetingsProduction MeetingsTHE SCRIPTWorking with ScriptsReading the Script for the First TimeOn the Second ReadingOn the Third ReadingA List of ListsDEVISINGHow to Be Productive in the Devising ProcessConstraintsDESIGN PHASE I: RESEARCHTo Research Previous Productions or Not?Finding Your ResearchOrganizing and Sharing ResearchMood BoardsDESIGN PHASE II: CONCEPTUAL DESIGNConceptual Design StatementDesign PresentationsDESIGN PHASE III: FROM SCRIPT TO CUE LISTCreating the Cue List: Scene-by-Scene Content BreakdownElements of a Good Cue ListThe To-Do ListReviewing the Cue List with the Director: Early and OftenCue NumberingLooking Ahead to Calling CuesDESIGN PHASE IV: DECIDING ON SYSTEM AND TECHNOLOGYSystemStock EquipmentRental EquipmentPurchasing EquipmentProjector PlacementDESIGN PHASE V: CONTENT CREATION AND SHOW INTEGRATION WORKFLOWInitial Phase: RoughsInitial Phase: FirstsIntermediate Phase: SecondsIntermediate Phase: FinalsOnsite Phase: Finals in the TheatreDESIGN PHASE VI: LOAD-IN AND TECH WEEKPaperworkRenderingThe Order of Tech and Dark Time in the TheatreLoad-In and System SetupAlignment/Warping/BlendingMapping/MaskingProgramming/CueingTech NotesTraining OperatorsDESIGN PHASE VII: FINALIZING THE DESIGNGetting Final Sign-Off from the DirectorLocking Down Equipment, Cables, and the Media ServerShow ReportsDESIGN PHASE VIII: DOCUMENTING YOUR WORKDESIGN PHASE IX: ARCHIVING THE PROJECT

2D AND 3D CONTENT IN A 3D WORLDCREATING CONTENT IN RELATION TO THE THEATRICAL SET AND FOR SURFACES OTHER THAN PROJECTION SCREENSHOW MUCH CONTENT DO YOU NEED AND HOW LONG DOES IT TAKE TO CREATE?ORGANIZATION OF ASSETSBACKING UP YOUR DATATHE BASICS OF DESIGNStyleLineShapeCompositionRule of ThirdsNegative SpaceUnityVarietyBalanceColorTextureEmphasisContrastScale and ProportionRepetition and PatternTypographyTHE BASICS OF DIGITAL CONTENTBits and BytesPixels, Rasters, and ResolutionPixels Are DataPixels in DisplaysPixelizationRaster vs. VectorCMYK and RGB Color, Bit Depth, and Alpha ChannelsCMYKRGBHue, Saturation, and ValueRGB(A): Alpha ChannelsDigital Color SpaceChroma (Color) Subsampling or 4:2:0 vs. 4:2:2 vs. 4:4:4Contrast and Dynamic RangeCompositingTYPES OF CONTENTCustom ContentFound ContentStock ContentStill ImagesPhotographyThe Ubiquity of the PhotographThe Basics of Photography and Still ImagesMoving ImagesVideo BasicsAnalog vs. DigitalInterlaced/ProgressiveFrame Rates and StandardsVideo Resolution/Aspect RatioBit RateCompression, File Types, Codecs, and ContainersTranscodingMaking Movies: Video Production 101Types of ShotsVideo LightingAudioVideo EditingLinear vs. NonlinearPace/SpeedLoopingCutting on Action/Matching EyelineMontageAnimation2D Animation3D AnimationReal-Time Effects on Prerecorded ContentGenerative Art/Video as ContentThe Basics of Generative Art/VideoData as ContentInteractive Systems as ContentMeaning Making from InteractivityLive Video/CamerasReal-Time Effects on Live CamerasRehearsing with CamerasTo See a Camera Operator or Not?Computer/Machine VisionTracking Performers and ObjectsVJ StyleVideo Game Theory and TechnologyHybrid Content/SystemsRENDERING, STORAGE, AND PLAYBACKRENDER VS. REAL-TIME
SYSTEMSVIDEO SIGNALSVideo CablesThe Anatomy of a Video Cable with a Single Strand of WireCoaxBNCRCAS-Video or Y/CVGADVIHDMIDisplayPortSDIFiber OpticThunderboltUSBFireWireCat 5 and Cat 6 Ethernet cableVideo Signal Distribution HardwareEDID Managers, Video Amplifiers, Replicators, Extenders, Repeaters, Splitters, and DistributionDatapathMatrox Triple HeadVideo ScalersVideo MixersVideo Cable Adapters and Signal ConvertersWireless VideoRF ModulatorCat 5/6 ExtendersAnalog-to-Digital Converters (ADC) and Digital-to-Analog Converters (DAC)MEDIA SERVERSTypes of Media ServersTimeline-Based Media ServersLayer/Cue Stack-Based Media ServersNode-Based Media ServersVJ-Based Media ServersCommon Media Server FeaturesBuilt-In Mapping and Masking FeaturesMax # of InputsMax # of OutputsMax # of LayersMax # of Simultaneous HD VideosNotable Supported ProtocolsPROJECTORSProjector TypesDLPLCDLCoSLaserTechnical Specifications of ProjectorsLumensResolution and Aspect RatioContrast RatioInputs/OutputsFan/Air Flow/FiltersNetwork CapableInstallationProjector LensesTypes of LensesWorking with ProjectorsFocusKeystoneLens ShiftConvergenceCalculating Surface Brightness/LuminanceCalculating Screen Size, Throw Distance, and/or Lens NeededCalculating Pixel Size, Pixels per Square Inch (PPI), and Approximate Perceived Pixel SizeProjection CalculatorsWarping and Projection MappingMasksUsing Multiple ProjectorsBlendingStep 1: Calculate the OverlapStep 2: Align the Projected Rasters to the Calculated OverlapStep 3: Adjust the Media Server’s Blend Function to the Same Percentage of OverlapStep 4: Adjust the Gain, Gradient, or Blend Amount in the Media ServerProjector-Related EquipmentLampsDowsersMounts and CagesPROJECTION SCREENS AND SURFACESScreen Gain and Viewing AngleFront and Rear Projection Screens and FabricsSharkstooth ScrimEMISSIVE DISPLAYSLED DisplaysMonitors/TVsCAMERASCamera BasicsApertureShutter SpeedISOWhite BalanceDigital Image SensorsDSLRVideo CamerasCameras for Live VideoLatencyLighting for Live CamerasVIDEO CAPTURE CARDS AND DEVICESVIDEO PRODUCTION GEARCamera KitAudio KitLight KitMiscellaneous Video GearEditing SystemNETWORKINGOpen Sound Control (OSC)DMX512-AMIDIArt-NetWired and Wireless Routers/SwitchesNetwork CableCat 5/6 Ethernet CablesSerial CablesSENSORSInfrared (IR) CamerasMarker-Based Real-Time Tracking of Performers and Objects in 3DDepth CamerasMicrophonesEncodersGyroscopicPressure, Flex, and ContactREFERENCE

Overview

Digital Media, Projection Design, and Technology for Theatre covers the foundational skills, best practices, and real-world considerations of integrating digital media and projections into theatre.

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Publisher Resources

ISBN: 9781317356714