![]() This « living light » is produced by video projectors and generated in real time by a set of algorithms. The set is inhabited by a 3 face structure: two vertical panels of white gauze and a white dance oor are asymmetrically combined to create an immersive projection system. We have also built a strong amount of references and stories about the air imaginary, to build a show with a language based on the combination of live video images, bodies in motion and live music.Ĭan you describe the technical setup behind the project in your own words? Then we started to search technical issues for mechanic suspensions for bodies, and fluids movement for graphic objects. We have been working on the project for 2 years, with around 4 months of rehearsal on stage, in the theaters co-producers.Īt the beginning, there is a dream: to make the float around space, and join the images in the air. The Creators Project: When was this video captured? What was the venue and story behind The Movement of Air performance in France?Īdrien M & Claire B: Most of the video was captured in the beautiful Théâtre de l’Archipel, in Perpignan for the Premiere on the 7th of October, but some view are also been shot last week from the Hexagone Theater, scène nationale Art-Science of Meylan (in the Grenoble area). ![]() The Creators Project spoke to Adrien M and Claire B via email about their new work: Rather than feeling like artists experimenting with new tech for the sake of experimentation, these projects feel like they belong to auteurs savvily using the tools that exist to express themselves. Back in 2012, Chris Milk used a similar concept to create The Treachery of Sanctuary, which turns onlookers into a shadowy winged beast-then lets them fly away by flapping their arms. Montreal’s Maotik used a balloon to map stunning shapes onto the Society of Art and Technology’s massive observation dome. Japanese artist Omote used facial tracking tech to map reactive light “make-up” onto his subjects. Their brand of performance is part of a larger trend toward reactive sensors bringing projection mapping out of its infant stages. Plus the dancers move to the rhythm of live music, adding one more layer of irreplicable humanity to the show. Unlike normal projection mapping, which relies heavily on pre-planning a show to fit every contour and crevice of a surface, Adrien M and Claire B let shapes and patterns emerge in response to the people on stage. Instead of the martial arts-like moves that that stunned us in Hakanai earlier this year, collaborators Rémi Boissy, Farid-Ayelem Rahmouni, and Maëlle Reymond manipulate tornadoes, columns of smoke, and lively geometric shapes in real time. Dancers hang from the ceiling, manipulating the reactive visuals behind them their gestures while a video artist guides the show through each animation. The creative duo with a habit of bending our perceptions of dance just released a video spot for The Movement of the Air, performed last month in France. I would also love to get any input users might have from experience on Isadora VS TD or Resolume as a package to run a cue based show.Modern dance goes 3D in a reactive projection-mapped performance by bleeding edge multimedia choreographers Adrien M and Claire B. I would love get any input you might have on my questions above. I purchased a licence to do a thorough evaluation in the coming weeks. ![]() I guess this is the same as the first question about FFGL. I have looked at Matthew Haber's tools which look great, but I am wondering if it is possible to use Mappio in Isadora. Is there any plan to support GPU accelerated video decoding with the open source HAP video codec? Does Isadora support FFGL plugins? It does not seem to currently in the Gold Release, but is there a pre-release that has it (a little birdy said something to me about this)? My only issues at this point are dealing with multiple unique screen configurations (there will be dozens), and dealing with multi-stream video. The show I am doing is a cue based show and I think that Isadora does this best while allowing a lot of freedom to create custom patches. I have to say that I adore(a) Isadora :-) and am leaning in this direction after having felt the limitations of Resolume and the sheer complexity of Touch Designer (a love/hate relationship - not sure I want to bring that into a show though). ![]() I am new to Isadora and am currently evaluating it along side Touch Designer and Resolume for a Worldstage performance this spring in Toronto.
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