Projection as a Collaborative Design Tool for Live Music Performance
A University Essay (Semester 2, 2021)
1,882 Words
This is a copy of an essay I submitted for assessment, all referencing has been kept in place.
Projection, in it’s simplest terms, can be defined as representing shapes or imagery on a surface through the use of light (Keller, 2010). This can be in the form of objects blocking the light source to create shadows, or with digital imagery such as photography and video, animation, or graphic design sent through a projection device. The flexibility around the types of content that can be used makes projection a fantastic tool for multi-media visual design, and collaboration between practitioners from different disciplines. In productions such as live music performances, projection can be used to transform the ambiance of a space, and create a greater sense of immersion and energy for the audience than regular lighting techniques or music alone would be able to achieve (Shakra, 2017)
This essay will outline the basic history and evolution of projection as a visual tool, along with some of the more recent developments taking place around the technology. It will then look at examples of projection being used as a collaborative multi-media tool for stage design relating to live music, and the effects that this technology has had on creative practice and the live performance industry as a whole.
Eclectic history, sci-fi future
Projection as a storytelling and design tool has been around in a variety of forms for a long time, but it is only in the past couple of decades that the types of digital projection we know and recognise today came into being (Gaddy, 2018). Before the technology available today existed, projection was achieved by using three simple things; a light source, a surface for that light to fall on, and something to intercept the two. With this combination, shadow puppets were born. These came in various forms including the intricately handmade leather puppets of China, said to have originated as early as 206 B.C. (Rollins, 2013), and the simpler hand-shadow shapes popular throughout England and Europe during the 19th century (Violette, 2013).
In Europe during the 15th and 16th century, painted glass was shone through with light to create another type of projection being used for stage and pageant plays (Moran, 2013). Later in the 19th century, these painted glass projections were being used in early slide projectors known as ‘magic lanterns’ to create entire animated stories (Keller, 2010). Over time, these slide projectors evolved from using painted glass to film slides, and eventually flexible film was invented that allowed for more fluidity and speed for moving images. The high costs and flammable nature of the new film projectors however meant that they were not widely used, despite the enthusiasm for them (Gaddy, 2018). These were replaced by more affordable video projectors near the end of the 20th century that used analogue electrical signals to transfer information rather than a physical medium. There were many advances made to these in the lead up to modern digital projectors (Gaddy, 2018).
In recent times, technology has been accelerating at an incredible rate. Powerful high definition projectors are now easily accessible, and with the rise to normality of social media and camera phones, these projectors are being used more and more in events and productions to make a statement online through experience-based marketing and user generated content (Cole, 2017). Newer high-end laser projectors such as the UDX-4K32 can achieve crisp 4k resolution with more image stability, less maintenance, and the ability to run at full brightness around-the-clock for more permanent installations (Barco, n.d.). These advanced modern projectors have allowed for the medium to spread into large-scale experimental installations, and the realisation of futuristic technologies such as projection mapping, holograms, and augmented reality (Moran, 2013).
Modern projection in action
Projection plays an integral role in keeping audiences engaged and creating emotional impact by providing an environment that is rich with colour and imagery. Its success in drawing in attendance and motivating customers and audiences to participate has put the technology in high demand for event organizers and venue owners alike (Shakra, 2017; Cole, 2017).
Muse, the ‘Drones’ tour
One instance of this futuristic technology pushing design boundaries and exploring possibilities can be seen in the 2015-2016 Drones tour of the band Muse. The band in collaboration with entertainment and media studio Moment Factory designed and created a massive drone tracking system, consisting of 38 infrared cameras, to achieve the interactive visual effects designed for the show. The system was one of the biggest ever developed at the time (AV Magazine, 2016). The projected content itself consisted of a variety of film, animation, and motion capture elements that are likely themselves to have taken several months to design and create. “The tour is one of the most ambitious and innovative concert projects Moment Factory has ever undertaken.” (para. 4)
Figure 1 [Large holographic projections during Drones tour react to movement of band members ]
Note. From “Muse, Drones Tour” by Moment Factory, 2015, (https://momentfactory.com/work/all/all/drones-tour-muse)
Giant projection screens transport the audience to the dystopian future that is the theme of the tour, while customised projectors create holographic effects and use live tracking to follow the members movements for believable and spontaneous interaction between the physical world and the world of light and illusion (AV Magazine, 2016). “There’s a lot of new interactive and 3D technology in this show that’s never been put on tour before. Muse has always been forward-thinking with their concepts. They are fearless with concert experiences that make the most of cutting-edge stage design and interactive media.” (para. 5) The design and testing phase of the production was arduous, taking a year to complete and requiring each venue of the tour to be laser scanned (Couldwell, 2016), but the final production shows how this technology can create more memorable experiences for a larger audience with its large-scale imagery being easily visible from a distance and sure to make it into numerous social media posts.
The Chemical Brothers
Another great example of projection working to intertwine multiple art forms and disciplines to create a more captivating display is in the work created for The Chemical Brothers by their long-standing set designers Smith and Lyall. Marcus Lyall, who has a background in graphic design and AV, and film director Adam Smith have been working with the electronic music duo for over 25 years to create their unique and otherworldly show experiences (Fairs, 2018).
Figure 2 [Projected footage and lights interact together]
Note. From “Marcus Lyall and Adam Smith, show designers for The Chemical Brothers” by Marcus Fairs, 2018, Dezeen, (https://www.dezeen.com/2018/11/23/chemical-brothers-marcus-lyall-adam-smith-show-designers/)
Using live action film for the majority of their visuals, with CGI occasionally created over the top, a different short film is created for every track (Fairs, 2018). “What goes on the screen is the most visually important factor in the show” (para. 12). Music-led laser and lighting design then integrate with the projections behind the band to extend the visuals out into the concert space (Fairs, 2018). Dancers and actors dressed in fantastical costumes are captured through cinematography and tower over the band members and the audience. Smith says that they “try and create new abstracted worlds that people haven’t seen before.” (para. 21). The shows take months to design and produce, and the technical level of the performance is incredible with upwards of 7,000 lighting cues per show, and changes to the mix being made every other night as the band makes improvised changes to their music (EventElevator, 2020; Fairs, 2018).
To make sure the concert runs smoothly, a team of 20-24 people is required (Fairs, 2018). For operators and technicians that have been working on and growing with the cutting-edge performances for some time, the enormous consoles and operation booths may have become a comfortable standard, but for many companies the technology is advancing faster than their staff are being trained, leaving big gaps with the recent demand increase for interactive and immersive design (Cole, 2017) “AV/IT convergence demands new skills on both sides.” (para. 22). As projection design becomes a bigger part of the overall design for concerts, AV professionals are being brought on much earlier in the process than they previously would have been in order to allow for smooth integration with the architecture and stage design being created alongside it. This, along with the climbing number of events using such technology, has meant a big increase in the work hours available for the audio visual technicians and operators that have the training required to operate new complex equipment (Cole, 2017).
The increase in the amount of machines being used requires more power to run and leaves more room for potential technical difficulties to occur, as well as potential cyber security and copyright issues (Cole, 2017). However, the portability and adaptability of projection over traditional physical stage design elements can make it a cost-effective option with the ability to make smaller low-budget productions seem bigger than they are (Shakra, 2017), and opens up the space for cross-discipline experimentation when it comes to the content being projected. As a multi-disciplinary artist myself, the idea of being able to contribute in a multitude of ways to productions similar to the concerts of Muse and The Chemical Brothers is incredibly exciting. Whether that is by operating the projectors, building surfaces for content to be projected onto, or assisting with the creation of the content itself through animation, visual art, or film. The flexibility of the medium leaves huge potential for design experimentation and allows for collaboration between artists from varying disciplines in new and interesting ways that break traditional boundaries and instil a sense of wonder, pushing the audience to think outside of their current situation and look to the future.
“Good designers must always be avant-gardists, always one step ahead of the times. They should - and must - question everything generally thought to be obvious… They must also be able to assess realistically the opportunities and bounds of technology”
- Dieter Rams (as cited in TEDx Talks, 2014, 00:44)
These elaborate and ambitious stage and set designs aren’t always just for the sake of art and entertainment though; with events now being filmed and photographed on smart phones from every angle by attendees, these displays have become an invaluable marketing tool for many businesses (Oakes, 2017). Social media has become an incredibly popular way to share where we are and what we’re doing, and as such is now one of the main ways in which people who are not able to attend in person can experience these events that they otherwise would not be able to. This means that event organizers and venue owners are pushing for more of this kind of design, and with higher expectations, in order to become more visible online (Cole, 2017). With more sustainable and energy efficient projector options becoming available during a time when sustainability and eco-friendly business practice is becoming more expected (Zuger, 2018), it doesn’t look like these design and marketing techniques will be going away anytime soon.
There are still a few kinks to work out before projection heavy design is likely to become the new normal for live performance, but with proper implementation of regular specialist training for AV professionals to help close the skill gap, and the continued advancements in sustainability, affordability, and portability, it is only going to become more and more viable as time goes on. The shift from simpler traditional lighting systems to the implementation of projection techniques has meant that live music performance is no longer just about the musicians. It has become a multi-dimensional, immersive viewing experience that has now been opened up to artists and practitioners from all manner of disciplines to participate in and contribute to.
References:
AV Magazine. (2016, January 22). Muse deploys 38 cameras to ensure visual effects follow the band around the stage. https://www.avinteractive.com/markets/live-events/muse-deploys-38-cameras-to-ensure-visual-effects-follow-the-band-around-the-stage-22-01-2016/
Barco. (n.d.). UDX-4K32. https://www.barco.com/en/product/udx-4k32
Cole, G. (2017, November 30). A starring role for the new technologies. AV Magazine. https://www.avinteractive.com/features/research/starring-role-new-technologies-30-11-2017/
Couldwell, C. (2016, April 20). High flying Muse. AV Magazine. https://www.avinteractive.com/news/high-flying-muse-20-04-2016/
EventElevator. (2020, February 29). The Chemical Brothers • Show Design, Lighting & FoH Audio [Video]. Youtube. https://www.youtube.com/watch?v=_vU9fK493Z4
Fairs, M. (2018, November 23). Marcus Lyall and Adam Smith, show designers for The Chemical Brothers. Dezeen. https://www.dezeen.com/2018/11/23/chemical-brothers-marcus-lyall-adam-smith-show-designers/
Gaddy, D. E. (2018). Media Design and Technology for Live Entertainment. Routledge.
Keller, M. (2010). Light Fantastic (3rd ed.). Prestel Publishing.
Moment Factory. (2015). Muse, Drones Tour: Muse elevates the concert experience to new heights with Drones tour. https://momentfactory.com/work/all/all/drones-tour-muse
Moran, N. (2013). Electric Shadows: An introduction to video and projection on stage. Entertainment Technology Press.
Oakes, B. (Director). (2017, February 10). Es Devlin: Stage Design (Season 1, Episode 3) [Documentary series episode]. In B. Cotner, S. Dadich, J. Kamen, M. Neville, L. Nishimura, D. O’Connor, J. Spingarn-Koff, & J. Wilkes (Executive Producers), Abstract: The Art of Design. Netflix.
Rollins, A. K. (2013). Historic Origins. Chinese Shadow Puppetry. https://www.chineseshadowpuppetry.com/copy-of-history
Shakra, R. (2017, December 06). What is Projection Mapping?. Projector Central. https://www.projectorcentral.com/what-is-projection-mapping-2.htm
TEDx Talks. (2014, July 10). Projection use for the stage: Dave Torpey at TEDxBroadway [Video]. Youtube. https://www.youtube.com/watch?v=A3OKGV67w5E
Violette, M. (2013). Hand Shadows. World Encyclopedia of Puppetry Arts. https://wepa.unima.org/en/sombras-manuales/
Zuger, S. (2018, October 13). It gets easier to be green. How certain projectors become a smart environmental choice. Tech & Learning. https://www.techlearning.com/21centuryedtech/it-gets-easier-to-be-green-how-certain-projectors-become-a-smart-environmental-choice