“梦想”是一个巧妙的和多层次的mix of movement, music, visuals, cool technology and narrative magic, an immersive digital performance fusing the drama of Shakespeare with the dynamic worlds of gaming and theatre in a ground-breaking production by the UK’s Royal Shakespeare Company in collaboration with Manchester International Festival, Marshmallow Laser Feast, and the Philharmonia Orchestra.
Staged physically in the Studio at Portsmouth Guildhall and inspired by the classic A Midsummer Night’s Dream, the characters were played by six real actors utilising Vicon motion capture cameras, their avatars and effects appearing onscreen – centring around the antics of cocky and capricious mischief-maker Puck. They run amok in the virtual Midsummer forest, hellraising and spoofing four other sprites during a disruptive and chaotic journey!
Matt Peel负责照明设计和展示控制。他使用新的Grandma3软件，利用了电力 - 以及IOSC（开放式声音控制）和DMX远程触发功能 - 他的Grandma3系统。
The highly acclaimed show was broadcast live for 10 evenings and enjoyed by thousands worldwide, who logged in, either paying for an interactive ticket – with the chance to shoot fireflies into the story to help illuminate Puck’s pathway through the forest – or simply watch the performance for free.
By building custom grandMA3 fixture-types, certain aspects in the game world could be controlled via DMX, e.g., the height and brightness of an object like the sun, or the colour of an avatar, etc. Using grandMA3, all these elements could be rapidly tweaked in real-time on the console.
“Using the grandMA3 in this way meant we could work really fast in this context to make adjustments to these game effects, rather than using game engine keyframing which is a lot more time consuming jumping Unreal in and out of ‘editor’ mode,” says Matt.
A project like Dream was a perfect opportunity to experiment with this bi-directional control and state awareness, merging game-based event logic to create a new style of live performance. It allowed the grandMA3 to be the master show controller sending and receiving unicast OSC between 16 different role machines.
Unreal Engine instances were used to create the rich and complex visual environments in which the action took place, and OBS instances allowed vision mixing the final output between Unreal and four broadcast cameras.
Matt explained that a small rig of traditional theatre lighting – in the form of eight moving lights - in the real studio motion capture volume (capture space), assisted in directing the actors to respond to interactions from the remote audience.
In addition to orchestral music by composer Jesper Nordin and Philharmonia Orchestra principal conductor and artistic advisor Esa Pekka-Salonen, at strategic points the actors’ movement was fed into Gestrument software (a Jesper Nordin project) allowing them to ‘play’ digital instruments and interact together via their motion. Another clever twist which created a stream of beautifully ethereal sonic moments.
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