Showing posts with label Extracurricular. Show all posts
Showing posts with label Extracurricular. Show all posts

Saturday, March 20, 2010

Show player code for revMedia

Pretty straightforward. I was in a rush so it's inefficient and unoptimized. Plus I hardcoded the file names.

--MAKE SCREEN BLACK, INITIALIZE VARIABLES

on openstack

global videopos

put "1200,400" into videopos

hide menubar

set the width of this stack to 2000

set the height of this stack to 900

set the location of this stack to 300,400

set the lockerrordialogs to true

end openstack


--PRESS ESC TO EDIT

on escapekey

show menubar

end escapekey


--PRESS TAB TO INITIALIZE

on tabkey

openstack

end tabkey


--PAUSE VIDEO

on returnkey

global thevideo

if there is a videoclip thevideo then

if the paused of videoclip thevideo is true then

set the paused of videoclip thevideo to false

else

set the paused of videoclip thevideo to true

end if

end if

end returnkey



--MAIN SHOW CONTROL

on keydown thekey

global thevideo, videopos

--JASMINE CUES LEFT

if thekey is "1" then

checkvideo

put "/Users/faculty/Desktop/show/1-flowerL.mov" into thevideo

play videoclip thevideo at videopos

else if thekey is "2" then

checkvideo

put "/Users/faculty/Desktop/show/2-juniperL.mov" into thevideo

play videoclip thevideo at videopos

else if thekey is "3" then

checkvideo

put "/Users/faculty/Desktop/show/3-UNL.mov" into thevideo

play videoclip thevideo at videopos

else if thekey is "4" then

checkvideo

put "/Users/faculty/Desktop/show/4-fallingL.mov" into thevideo

play videoclip thevideo at videopos

else if thekey is "a" then

checkvideo

put "/Users/faculty/Desktop/show/a-airportLEFT.mov" into thevideo

play videoclip thevideo at videopos

else if thekey is "b" then

checkvideo

put "/Users/faculty/Desktop/show/b-channelchangeL.mov" into thevideo

play videoclip thevideo at videopos

else if thekey is "c" then

checkvideo

put "/Users/faculty/Desktop/show/c-rewindL.mov" into thevideo

play videoclip thevideo at videopos

else if thekey is "d" then

checkvideo

put "/Users/faculty/Desktop/show/d-fastforwardL.mov" into thevideo

play videoclip thevideo at videopos

else if thekey is "e" then

checkvideo

put "/Users/faculty/Desktop/show/e-skyL.mov" into thevideo

play videoclip thevideo at videopos

--FADE

else if thekey is "0" then

lock screen

if there is a videoclip thevideo then stop playing videoclip thevideo

unlock screen with visual dissolve

end if

end keydown



--CLEAR ANY EXISTING VIDEO IF PLAYING

on checkvideo

global thevideo

if movie() ≠ "done" then

lock screen

stop playing videoclip thevideo

unlock screen with visual dissolve

end if

end checkvideo

Building the system pt. 2

The difficult part of working in small theater video projection is that you have to be a software and hardware person. You're analogous to the lighting designer who, besides designing lighting, is up there on tall ladders hanging lights. On most of the previous shows I've worked on, I've had to use my feminine wiles to get someone to do that stuff for me. That's one of the reasons I stopped working on shows for awhile. I have no idea how to hang projectors from the ceiling. Remember, I'm the person who tried to mount a 500 watt light for my movie using string (which promptly burned off). I also set a sheet on fire by putting my bed sheet scrim too close to a light. Cabling, fine. Mounting hardware, no.

So it's not surprising that the way I addressed the system problem was to turn back to software. Most show running software requires fast computers. But I was hoping to use two of the spare old G4s we had in the art department. So I turned to revMedia. revMedia is the free version of a suite of products including revStudio, and revEnterprise. revMedia is a clone of HyperCard, a high level programming language written by Bill Atkinson for the Mac over twenty years ago. I feel very comfortable with the syntax, like it's a second language. Not only is revMedia free, it's cross platform so it runs on Windows, Mac and Linux systems. Plus, it's not a resource hog. I've used it on a couple of small projects in the past few years.

It took about four hours to get a working system going. Everything is cued by the keyboard. You press 1 on the keyboard, video cue 1 pops up. You want to fade something out you press 0. Press return to pause/unpause. It works great I think. Still waiting for the show report. But in rehearsal it went fine. There's still no dowser/curtain on the monitors so we're working without a net. But at least we're working on a Mac system in which it's easier to control error messages. Plus on revMedia, you can lock out application-specific error dialogs. Break a leg.

Building the system pt. 1









There are three vital components to doing theatrical projections: creating the videos, rendering the videos and building the show system. Creating the videos is usually the easy and fun part. Rendering is a time-consuming inevitability. Building the system is almost always painful.

Two shows ago I ran Gaul's video using QLab. The unreliability and overall kludginess of that software left me looking for another solution so for Pugilist we went with Quicktime movies. It worked great. We just had one quicktime movie on screen which we paused and played using the computer keyboard. We accomplished fades using a projector dowser constructed by a stage hand. Operated remotely by a string, the dowser was a piece of wood that slid up and down to cover the projector lens. Simple, yet effective. (The pic above shows a fancy automatic dowser sitting on the projector).

Hardware dowsing is actually very important for theater. First, it allows for true "blackout." In theater the stage goes black for transitions, like a fade in film. If your projector or monitors are on, they will visibly light the stage since video black is projected black, not true black. Second, a dowser provides a safety net. If the computer crashes or otherwise screws up, a dowser lets you turn off the screen quickly and reliably. Without a dowser or curtain, you're working without a net. Third, a dowser makes it easy to fade out cues. Let's say you're playing a video and it goes longer than the scene. You just dowse the video and it appears to fade out gracefully. This means you don't have to program any fades into the video and yet, you can time the fades perfectly. When you're projecting, always fight for a hardware dowser.

Since this system worked so well I thought I'd try it again for Jasmine and Prodigal. But then the problems started. First, KCC has a terrific high output projector that they use for showing films. But it's really noisy and made it difficult to hear the actors. So that was out. After roaming around KCC we found two large screen monitors. We talked to the the stage designer about working those into the set as a focal point.

So here's the problem. How do you dowse two on screen monitors? We talked for a while about putting up a black curtain that would reveal and hide the TVs. But unlike the makeshift dowser built for Pugilist, this one would have to look good as part of the set. So I decided to bake the fades into the video and go without the dowser. Working without a net.

Version one of our system was supposed to work like this. Each of the monitors was hardwired to an old XP computer mounted directly below on a stand. We planned on extending the keyboards using USB cables so we could operate the computers off stage. Problem: the computers were so old that they had old keyboard-type ports, not USB ports. Our tech said it's hard to find extensions for those.

Version two. We borrowed two old XP laptops from KCC and ran long VGA cables to the monitors. The laptops had player software called GOMplayer that worked well enough to show the mp4 videos full screen and at full frame rate. Problems: First, we found that GOMplayer doesn't play audio from mp4s which was important for one video that had sync sound. Second, even the tech couldn't get XP in a show-ready state. One of the problems of using computers is that messages are always popping up on screen. When getting a computer ready for a show it's important to turn off screen savers, software updaters and disable power-saving settings that allow the disk drive to sleep [also turn off Expose settings & the annoying Adobe Updater]. But during one rehearsal, we had a message pop up on screen. That's XP.... Finally, and perhaps the last straw, the movie player technique wasn't working. Without hardware dowsing, it was impossible to get the videos timed correctly. The videos would go too short or they would go way way too long and there was no way to fade them out. Rehearsals were a pain because it was so difficult to reset the videos to the correct cue. Clearly, the system wasn't working.

Extravagant memory

There are lots of live performance ideas I'd like to work on but I'm always stopped by the inefficiency of theater. Both of the current shows required months of rehearsal with five actors and the director. Plus there were the efforts of live musicians, a featured singer, video designer, a lighting designer, stage designer, sound designer, stage manager, two crew people, a producer, a site liason, site tech, and site sound man. All this for just four shows. And yet, theater—and live performance—lingers. In the end, unlike video, we're left with an inefficient, extravagant memory.

No news is good news













Last night was the premiere of the two shows. I didn't get any last minute calls yesterday afternoon which is good. Last minute calls would have meant the video system wasn't working. Now I'm waiting for the show report for last night. If it went fine, there will be no notes for me. No notes is good notes. There are still three more shows to go.

Thursday, March 04, 2010

Flight board








The director wanted a flight board but this still might change. I was going to shoot it but realized that it's hard to get a nice shot and I needed the flexibility to change the arrival places and times. Here's my half-done After Effects version. The font is an animated flipping font from Motion. It's really ugly but after turning it black and white (it's actually red) it looks a lot better.

Tuesday, February 16, 2010

The problems of video projection

When you're doing projection design you have to get used to being somewhat of an afterthought. Every theater project must have a scenic designer, lighting designer, costume designer and sound designer. But in LA small theater, a video projection designer is always optional. The thing I dislike the most about the job is dealing with the hardware. It's always different, it's never set up, and I'm usually expected to install it. You have to deal with projectors, going video or computer, running lines, installing projectors, rigging dowsers (or trying to convince someone to do these things). And then you have to make sure that the system actually works. This job would work best split into two parts with one person handling the software and one person handling the hardware.

The interesting part of being an oddity is figuring out how to interface with other people. It's sort of fun figuring how to get a screen into a set design or figuring out what the lighting designer is going to do. On this show I've had the most interaction ever with the other designers. It's also the first time I'm doing video (two large screens) as opposed to projection. I'll lose scale, but I'll gain resolution and presence. Interesting to see how that will turn out.





Wednesday, February 03, 2010

Tuesday, February 02, 2010

My 6 cues

These are the cues I'm underscoring with video/animation.

CUE 10 --watery images

My father told us with a smile. To me and your mother—we were just married then. (Putting tea inside the kettle.) The tea requires-first and foremost-good water. Water in California where we live is not good. So we use purified water, but it isn’t good either. There was a village in Korea where they planted a juniper tree beside a well to make the water taste fragrant. It was the pride of the village. People believed your well, or the taste of the water from it, could help you see the future of a family or the village that owned it. The story goes that when a mother gave birth to a baby, the mother’s family fetched water from a well where a large juniper tree stood. They probably cooked sea weed soup with the water from the well to feed the mother. The water in Korea was excellent. (Pours tea and gives it to his son and the daughter-in-law, and pours some in his cup.) Isn’t this tea fragrant? To tell you the truth, I didn’t know how to enjoy tea at that time. But, when my father asked me how the tea tasted, I used to say, “Yes, it is wonderful.” How do you like the tea?
YOUNG MAN. I don’t know.
WOMAN. . . . . . .

CUE 20 -falling leaves

OLD MAN. I see you can’t say, “Yes” when you don’t know the taste. I earned my father’s trust because of the “Yes,” I gave him. (Pours the tea into the cup for his son.) My father talked about tea while drinking it. The tea is made of the leaves. But not all tea leaves are suitable. Only the tiny leaves on the branches that sprout in the early Spring are made into tea. Those light green young leaves that sprouted newly into the world after a long winter hiatus are what I’m talking about. They were soft and pretty like the swallow’s tongue; thus, given the name, “Chaksol.” People classified the tea quality by the size of the leaves and called them, “Fine Tongue,” “Semi-fine Tongue,” “Middle Tongue,” and “Large Tongue.” In Korean weather, they could harvest the best tea leaves near “Kok-wu” season, which is the end of April. They regarded the best of the best tea leaves harvested before Kok-wu. Do you understand what I’m saying?

CUE 30 -orbiting planets, SUN.

OLD MAN. (After a laugh.) From now on, it is up to you whether you do this as a ceremony or a ritual. I’ve done this ritual of feeding the clock every morning for forty years. Without missing a single day, I’ve performed this ritual early in the morning when the sun breaks. The clock is a symbol of time, isn’t it? Life is about every second you have. No one knows only one second later I may not be able to see this world. “Use your eyes as if tomorrow you would be stricken blind. Hear the music of voices, the song of a bird, the mighty strains of an orchestra, as if you would be stricken deaf tomorrow. Smell the perfume of flowers, taste with relish each morsel, as if tomorrow you could never smell and taste again. Thus, glory in all the facets of pleasure and beauty which you couldn’t see before”—this is what Helen Keller said. While listening to the sound of this clock, I received my doctorate degree and became a professor as a Korean at a world class University, and won all kinds of awards the society has to offer. Because of my keen awareness of the time limit, I have lived a successful life; even if I leave this world, my scholarly achievement imbued with my spirit will live on to the next generation.
YOUNG MAN. Certainly, father, you have lived a successful life. Many people respect you. I too respect and love you.

CUE 40 --Clock build

OLD MAN. Thank you. I love you too and that’s why I wanted to make sure to do this. When I turn the spring to feed the clock, I can hear the clockwork move inside it. At first it was impossible. If I did it as a ceremony, it would have been entirely impossible. Through a ceremony, one cannot channel through the object. But if you do it as a ritual, it is possible even to talk to the object that you are channeling with. That’s why ritual is the mysterious birthplace . These days, people like ceremony over ritual. That means, there’s no inner exchange of feelings. It means dreariness. While I perform the ritual, the living soul of the clock spoke to me. Neither challenge Time, nor fight it, but be friends with Time. Then it will present you with a gift of miracle that turns every human dream possible. Your grandfather realized that early on and asked me again and again to perform the ritual, not the ceremony. Your grandfather said, on the day of my wedding, “I’d like to see you turn the spring for the wall clock with your own hands.” I didn’t understand the meaning of his words. Still, I answered, “Yes, I shall do it, father.” I gave him an easy answer but I was not really interested in the wall clock.” I should have given it to you earlier. I didn’t know you wouldn’t marry someone till you turned nearly 40 years age. (The OLD MAN briefly controls his breathing and continues with his talk.) Now you are married and have received this wall clock—it’s done. That wall clock is now a priceless antique piece. You may not hear it right now. Someday you will hear the sound of the clockwork, charrruk, charrruk. (In a very frail voice.) Don’t forget to bow each time you turn the spring three times. (The OLD MAN’s last sentence is so weak that it is barely audible.)

CUE 50--BODY< Dense stuff

WOMAN. What about ruining my health from insomnia? The tick tock sound carries nervousness in it. I can see the despair that [you may not come] and the fear of separation looks as though it will crash the bud of hope. How about the fear of death those tick tock sounds bring to us? It stretches your nerve too tight to sleep. (The YOUNG MAN, unable to speak, looks down at the golden spring [in his hand].) I found out on the internet: that the clock is just a device that measures time. I agree with that statement. Long time ago, people used to tell time with the Sundial, stars, water or even sand, using the positioning of the Sun and the stars. You know—the first clock is a stick set straight above the ground. People called it “gnomon.” But this Sundial wouldn’t work on cloudy or rainy days. (The YOUNG MAN looks at his father in the wheelchair.) In Korea, record shows they used the Sundial and water clock during the Three Kingdom’s period. The Great King Sejong used the water clock, “chagyokru,” that had an automatic alarm system. (The YOUNG MAN kneels down over the wheelchair, crying. The WOMAN looks at him with sympathy.) People say that it was during the 14th Century when machine clocks were invented. It became fashionable for all the major European cities to build clock towers that told time for the people. The spring clocks were made from the 16th Century on. By the 18th Century the electronic watches were invented and wristwatches with an automatic spring that moves by simply shaking it came out. Next came the electronic watches and today digital watches tell time accurately without any noise. It was in the 18th Century that the system of 24 hours a day began. Now what type of clock will come? Who knows if a clock divides a day into 25 hours instead of 24? On the internet yesterday, I read about 200 manufacturers produce over 80 million watches annually in Korea. And over 950 million watches are being transacted worldwide every year. (The WOMAN helps the YOUNG MAN rise slowly. Grabbing his hand,) Do you know why jasmine turns counterclockwise? Most plants grow turning counterclockwise. They defy the Coriolis effect. It’s in our DNA to disobey the natural order. What if we perform the ritual of love every morning at dawn like we honor the machine clock?
YOUNG MAN. Ritual of love?

CUE 60--rotate Jasmine

WOMAN. Very solemnly, with utmost sincerity. . . We should light the candles, prepare fragrant tea and flowers. . . (The WOMAN takes the golden spring out of the YOUNG MAN’s hand and puts it inside the red pouch that looks like heart hanging in the middle of the stage. The two embrace each other holding the shoulders and exit, pushing the OLD MAN’s wheelchair. Intense light focuses on the red pouch and fades.)

KCC test videos

There is a scene in which the lead character is reminiscing about tea. Here are some of my tests for that video in which tea or tea leaves are drifting through water or space. To use our class language, this is elemental motion using particle systems made surrealist by slowing everything down. The video is supposed to be a bit dreamy. I found that it's useful to have some basic 3D skills for doing theater work. Directors seem to like elemental effects and visual effects type imagery. This is done in Cinema 4D which is pretty easy to use. One problem is that this version doesn't handle particle collisions well. Notice that in some videos the leaves slice into each other. Maybe I'll just do this old school--put some leaves in water.







KCC project

I'm working on a project for the Korean Cultural Center right now, working on some animations/videos for a theater project. The play is called Why the Jasmine Turns Counter Clockwise. It will debut in March. You can all come see it.

Wednesday, September 17, 2008

Theater video projection technique

For the past month or so I've been working on the projections for another theater project. I did a preshow loop, and two cues for the show that ended up being about 10 cues. The producers hired a person to mount the projector. The guy also made a really neat dowser for the projector. It's like a little door that slides up when you pull up the string. This makes life so much easier. Now the stage manager (who's running the show) simply connects her laptop to the projector and pulls up a Quicktime movie. By using the space bar, she is able to stop and go. Then when she needs to change movies, she just dowses the projector and pulls up a new video. SO much easier than the way we did it in the last show. Problems with that show---

1. I should have kept video separate from the audio. We were trying to make it easier for the show runner, but the software we used isn't there yet.

2. It is really easy to make a dowser. Part of the reason the other show was tough was because we were trying to run in true two-screen mode. A dowser is a low-tech, but pretty fool-proff system.

3. Running Quicktime movies out of Quicktime player was easier and cheaper than running out of cueing software. Plus, we were able to use any old computer (in this case a Dell laptop).

4. It was really easy to send updates down. I just sent QT movies via the internet when I had to make changes. No fooling around with cue lists and no having to show up.

Waiting outside the Elephant

[written 2 weeks ago, posted later]

I'm sitting here outside the Elephant Theater waiting for the director to show up. We're supposed to run some video tests today for this new theater project I'm working on. I'm doing a short pre-show video + one other surveillance-style video.

We're still in wait mode on the score. I'm almost scared to talk to Dan and find out how far he's gotten—or not gotten. We'll see. Ben showed Alpha 77 to his brother and new sister-in-law. She said it was "SO Pi." I'm a little afraid that people will pigeon hole it too quickly. But you know, I should have built in some anti-pigeon holing into the video. You know, do an unexpected zig zag. Then the audience is like putty in my hands.

Here's the difference between Ben and me. Ben played me some songs he's been writing. One is about his daughter. I've been circuit-bending some toys. For some reason I just really wanted to do it. I've really been wanting to circuit bend some video. So I bent a Pixel Chix toy I bought a few years ago. It was pretty expensive, $30. But the bend turned out great. I realized that there are two kinds of LCD screens. The really cheap ones have images burned in, like the $1 Space Invaders game I bought at Walmart. There are no pixels in those games, just shapes that blink on and off. Pixel Chix, on the other hand, is pixel based which makes it possible to create some really nice bends. One short leaves the character with a floating head. Another bend creates weird rectangles. I have about five or six bent items waiting boxes.

I was able to get an old circuit working. I forgot what it was originally. Now it has a grid of circles that blink on and off in repetition along with a buzzy noise. I call it the meditator.

Thursday, August 07, 2008

What's up


Do director's crazy rooms count? Above is a picture of Independence Day director Roland Emmerich's home office.

Here's what's happening... Dan is at work on the score. Slow progress he said. Ben forgot to show up for his narration recording. I'm back from the East coast. I'm prepping for school. Also working on two short video segments for another theater project. It's pretty easy except for the rotoscoping.

Tuesday, March 25, 2008

The notices are in....

And they're good. Variety gave the play a great review. It also rated a Theater Pick in the LA Weekly. I'm happy for the producers/leads. I didn't get mentioned except in one of the obscure online mags (lastagescene). What are they going to write—that I did a capable job of using a computer to simulate a computer?

Friday, March 21, 2008

Perfect storms


What unforseen problem isn't a perfect storm of events?

After the technical problems last night I today experienced emotions I had never felt before. On the one hand I was disappointed because I felt like I let a lot of people down. It was like being on a football team and making a big fumble. There was also a sense of dread and feeling like I wanted everything to just go away. On the other hand, the rational part of me saw this event in terms of intersecting interests and goals. It was like one of those "making the decision to go to war in Vietnam/Iraq" stories: a collision of interests, experience levels and personalities causes decisions to be made that have unforseen consequences.

For example, I signed on naively thinking I was doing some straightforward projections. But then I find out I have 50 cues. So following the advice of one of the designers, we decide to use Qlab. Then because we want to make it easier on the show runner, we also put the sound cues in Qlab. So now things are getting complicated. I'm unable to change the software I use when Qlab proves flaky for projections because then we'd have to use a CD player for the sound. And that would require having another person in the booth. And in the end, I'm not just designing projections, I'm also responsible for technically managing both audio and video in a system that I've never used before. I also ended up making judgments that were reasonable, but proved to be wrong. After further compression, I got the problematic video section down to 7 MB. That's almost absurdly small. The computer we're using has almost 250 MB of video RAM + 1 GB of system RAM. Theoretically it should all work easily. Of course, things never work theoretically so we did test the system. But despite having worked four times the day before, the system failed.

I think that's why the entire experience was extremely disappointing and discouraging but not crushing. Artistically, everything I did turned out well. I got my cues right, done on time and down to a reasonable size. The problem was a technical one tempered by inexperience. It occurred because I allowed myself to get sucked into functioning as a technical director/manager in spite of myself—a position I would never knowingly put myself in. Bringing in the computer upset the normal ecology of the group. I knew that I was supposed to manage my part of the show. But because of my inexperience, I didn't know how to manage my interaction with others. Knowing what I do now, I would have run only video on the computer until we were sure the system was stable. That would have given us more options for changing software if required. I now understand why segments in the industry function as they do. You are being judged by one thing so it has to work. It makes sense that if you're a DP you'd be very worried if you had to depend on someone in post to define your project's "look." It also makes sense why certain attitudes can be necessary. As Tina Fey says, "bitches get things done." I think in this case, we were given a show that was technically more difficult than we thought. We needed someone to manage the entire backstage system, someone who could say "if this doesn't work, we need to bring in one other person to run audio"—someone experienced enough to understand that we were dealing with economic and management concerns as well as technical and artistic ones.

I'll never work in this town again

Well, opening night didn't go well. The video stopped working toward the end of the show. Today I tried to fix it by preloading all the animations. Still, it's frustrating since everything ran fine during the second tech run-through and Preview. That's the way it goes. Sometimes you get another chance but most of the time you don't.

Tuesday, March 18, 2008

Acting!

It's been fun and fascinating watching the actors at work. If you saw the female lead on the street, she probably wouldn't jump out at you but when she starts acting she immediately becomes very attractive. How does that work? How do you act your way into looking different? It reminded me of that Star Trek episode Mudd's Women. You know, the one with the Venus drug that makes ugly women beautiful... and when they're ugly, the way they show it is by having messy hair and being lethargic.

I was noticing the actress was doing some interesting things during a scene.... some simple scolding of her husband. It occurred to me that she was bringing a different objective to the scene and then watching her objective being changed and thwarted. Coincidentally, my Acting Without Agony book came today and it opened to the page about objectives and how they can be changed and thwarted. It makes sense. One of the things that makes a scene dead is everyone performing the scene by reading lines or pushing the scene along. It's interesting to think of people coming into a scene with different objectives and then having them disappointed or met. I think I first read about this general idea in Michael Caine's book. He said that even a simple line like "would you like some tea?" can be animated by having something in mind ahead of time—like you really wanted coffee so the tea was a disappointment. It's more of that thwarting idea, I guess. I like the sense that performers are being carried along by a force larger than themselves.

The bad and the ugly

Went to the run through today. Took a break in the morning to get out of the varnish smell. I was standing on Vine street looking at the Hollywood sign and thinking, "I can't believe I'm here..." not in the Naomi Watts-in-Mulholland Drive way, but in the "What exactly am I doing here?" kind of way. I then got some tacos from a Thai-run Mexican restaurant.

The run-through was very discouraging because Qlab kept being unpredictable with some video cues not working. I recompressed everything to half the size so the videos are extremely tiny now, about 400k. To test the show the stage manager and I did the dialogue as we went through the cues. You can imagine our monotone voices saying, "No don't go!.... I won't!"