This book
introduces concepts around automated show control for live events. It is a fairly comprehensive look at
the state of the art of technology in 1994. Even though its 9 years old, it discusses many issues of
importance in the construction of live performance and the use of technology in
that process. Much of the
discussion is very close to my thesis work and still relevant.
The book's
emphasis is on a technical perspective of how a show is coordinated and
run. No reference is made to the
need to make the technologies more compatible. The book isn't a theoretical work, however it does contain
some useful viewpoints.
Definition of
live show control: linking of multiple production elements of a show for
coordinated action. (summary of pg xii).
Recognizes
Theater as the most demanding and difficult of the live genres (preface xiii).
Show elements:
Lighting,
Sound,
Machinery,
Video/Multimedia,
Film
Projection,
Process
Control,
Pyrotechnics,
Show
Control.
My Note:
There
are many ways to organize show elements, I am still uncertain about how to
categorize things. A way to think
about it is to take a point of view and recognize differences and organize the
elements based on those differences.
Personally, I like looking at the elements in terms of what kind of
cable is required to deliver the media from production/control device of the
media to the rendering device.
cable
view: defined in terms of the cabling in the system.
lighting,
audio,
video,
film,
slides,
graphics,
pyrotechnics,
machinery,
and
process
control.
Where things get
messy is when the production method for the media meshes with the control system
for that media type. Lighting has
a very specific control paradigm in place brought about by many hundreds of
years of integration. Video on the
other hand is still evolving in live performance and has a possibly inadequate
way of being integrated into live productions.
At
some point, an in-depth look at all the different kinds of media is
needed. By doing this, a
generalized control strategy can be formed. My preliminary hunch is that my notion of something referred
to in the entertainment industry as "transport" can be applied across
the board to all media types (more on transport below). But, this can only
happen if the integration of media types into a production is organized in a
consistent manner. This way of
thinking addresses the final preparation and construction of a control paradigm
for a live show.
For
instance, a live compositional machine may have complicated control parameters
to make it function, but ultimately it produces an audio signal. This compositional engine has elements
of transport that can be applied to it: init, start, stop, pause, resume,
speed, and parameters. As an audio
signal it possesses certain properties of audio that allow it to be integrated
with other audio elements: layered
mixing, cross-fade, localization, muting, etc. In this way it can be integrated as an "audio"
element even though it may be more complicated than just pressing play on the
CD player.
For
video, there are certain properties that allow all video signals to be
integrated together. Similarly, a
graphics signal (normally run down a VGA cable) possess certain physical
properties that define how different graphics signals can be combined. These two media types produce images
and moving images yet do so in incompatible ways up to a point. At the point
where the images are translated to identical media representations they become
inherently compatible because they are images. For instance at the point where a VGA signal is converted to
video or after both signals are rendered into light by a projector. At this point the image produced is
compatible with certain features of the lighting elements.
With
digital video there are limitations related to construction of multiple layers
of imagery. Currently, in low end
systems, more than 2 or 3 layers slows the rendering down to unacceptable
levels. Often because of the look
or beauty of the visuals this is accepted as a necessary compromise. But it
also as prevented the formation of a standardized way of thinking about video
control in performance creation.
Likewise,
audio is not compatible with video because it is not a viewed image, but a
heard one. Its production,
manipulation, and rendering mechanisms are incompatible. however it can be used to produce an
image that then can be compatible with one or more visual elements.
More notes and
musings:
The
word transport is often taken to mean the method by which data is delivered
over a network. In this context it
refers to a particular mode of control used with media devices. since there is no formal theory about
transport that I can find at the moment, I am using my experiences to define
and theorize about it. Because of
this the theory is open to change and critical review. Transport consists of control signals
for media used during its presentation.
The signals consist of "play/resume", "stop",
"pause/still", "speed #", "seek to #",
"select". For
convenience, signals of "reverse", "fast forward", and
"fast reverse", may be included but are not necessary since they
duplicate capabilities already contained within the previously defined
set. In addition to transport can
be used as a "transition" and "mixing" protocol with the
same signals, but with slightly different semantic meanings, that defines how
separate channels of media are combined in space and time. This protocol consists of
"go", "stop", "back", "timing #",
"mix %", "select".
Note that "stop" and "pause" collapse down to one
meaning due to the semantics of transition and mixing. Also "timing" replaces
"speed" and "mix" replaces "seek".
I
am defining the term "media" to be the plural of
"medium".
Specifically, the meaning of "medium" I am using is the art
context meaning of a type of physical material with which a work of art is
created. However, I am taking this
word to have a broader more modern meaning and include digital forms
Media:
Types of digitally manifested or controlled forms used by artists to create a
work of art.
A
list:
text
audio
graphics
animation
video
robotics
aromatics
light
slides
pyrotechnics
film
These
categories can be divided into five classes: (of course each media type has elements of multiple classes,
yet the primary class is its category).
Image: Visually projected or rendered.
Light: Illumination.
Sound: Generated for the ears.
Machinery: Physically manifested movement.
Aromatics: Rendered smell (rarely used).
Pyrotechnics: Explosions and fire.
I
am not sure yet where or if to place "process" in the scheme of
things somewhere.