1 of 7
Image 1
2 of 7
Image 4
3 of 7
Image 6
4 of 7
Image 7
5 of 7
Image 3
6 of 7
Image 5
7 of 7
Image 2
Last year I authored an article for “Church Production” called “At the Juncture of Video and Lighting” where I discussed innovative ways to incorporate video into your worship services. Since then, many designers have asked how video became such an integral element of stage design, and more importantly, how a lighting designer can incorporate video into their designs.
Video projection is an inexpensive way of creating time and place. Some call it digital scenery. From projecting a specific photo of a realistic image onto a screen to projecting text that explains where and when the scene takes place, you can use projections in this very literal style. For a recent production of Showboat, we used projection precisely in this way (see image one).
Many students and colleagues ask how I like to incorporate projection into my lighting designs. I see projections as just another tool in expressing lighting art. I prefer to use projection as an artistic expression of what the theatrical moment is trying to convey. This is no different from creating this expression with a leko or par can, though it usually results in more abstract, less literal images. Sometimes a combination of literal and abstract is most appropraite. For a recent production of “Rusalka”, I used a realistic projection of a mermaid and altered it to fit the magical moment of the music (see image two). For the same show I created a video that supported Rusalka's metamorphosis into a human. Again, I was inspired by the music, which I supported by creating this very fast spinning motion effect.
Sometimes, only a subtle texture is required. Here I used a mixture of clouds and smoke to create a magical moving texture that I projected on the floor and walls of the set. This was a very subtle effect. I used this video several times throughout the show. Here is a clip of Rusalka's aria. Notice the moving texture on the floor. This was created but layering this smoke video with a water video. I projected this from two 10K projectors located on a system pipe 25 feet above the floor.
For the content, I use a combination of royalty free videos and content that I shoot myself. I always carry my iPhone with me because I never know when I will encounter an interesting video that I can use later. I have a one-terabyte hard drive just for my video clip collection. I also have another one for a backup. Here is an example of the kind of moving textural images that I find and shoot. This is from the water around Venice during sunset. (see image three) I used this as a base video on several shows, “Rusalka” included.
How do you compose the video content into a lighting composition? I use Adobe Premier and After Effects for my editing. But you can even do simple video editing with free programs such as iMovie. Inexpensive video editing tools have empowered people to explore this amazing art form.
The choice of where the projected images and video are reflected or emulate from is a critical decision when designing the video, lighting and stage designs. Whenever I design a show that uses projection, I consider all surface possibilities. Last fall I designed the scenery and lighting for “As One” for the Brooklyn Academy of Music in New York. As projection was a major part of this show, I designed a series of projection screens made out of theatrical scrim and gauzes. (see image four) Working closely with projection designer Kimberly Reed, we designed a series of projection surfaces that created a montage of a 16x9 aspect ratio composition. This allowed Kimberly to create a visual montage on separate screens (see image five), as well as a complete 16x9 composition utilizing all the screens. (see image six). We also planned on using the floor as a projection surface. Although I painted the floor a deep blue, our projectors were able to create a very expressionistic artistic effect, and helped unify the floor with the background screens. (see image seven)
Sometimes projection surfaces can be combined to create amazing effects. Bruce Rodgers of Tribe, Inc. designed this year's Superbowl Halftime Show. Bruce is an amazing artist who thrives on huge stages with a lot at stake. This year he used a combination of LED panels on the center stage, and 90 Barco projectors that were placed around the roof of the stadium to project onto white projection surfaces that were unfolded from the stage. The mixture of front projection and LED tiles made the video a dynamic, integrated artistic statement. Throughout the show you can see this. Notice that the followspots on the artists do not wash out the projections when they are on the stage. This is where LED’s come in very handy, as they are bright enough to overpower the spotlights. The dancers and supporting actors do not need as much illumination, so they perform mostly on the white surfaces.
Done correctly, projection is just another extension of the overall artistic statement of the production. I see video projection no different than projecting light from conventional theatrical lighting fixtures. You are creating art with light. In the case of video projection, the light is much more dynamic. My best advice to novice projection designers is to experiment, learn how to use Adobe Premier, always carry your iPhone with you, and have fun exploring what works and what doesn't.
