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1. Thumbnail Name Descriptiof Value Generic 292 331 A Main Timeline 0 00 000 6 4 Figure 367 54 Alright let s get the WATCHOUT computer listening to the Spikemark computer From the File menu select Preferences Then from the Control tab check the UDP box next to Production Computer Control Figure 368 Preferences General Edge Blend Control Conditions Video In 3D F Go Online Automatically After Opening Show Production Computer Control TCP IP Y uDP __ Timecode Control of Main Timeline LTC EBU SMPTE Timecode Format Auto Detect v Time Offset 0 0 or MIDI Show Control Device ID 0 MSC Cue Lists Ignore Command do nothing y DMX 512 Universe In 0 Out 1 Default Dynamic Image Server Address Figure 368 As soon as you click OK WATCHOUT will start picking up the position data stream from Spikemark assuming you depressed the Send Output button in Spikemark and the image will snap back to match its X position with the motor position Also the Generic Input Value should track with the motor position Let s load up cue 2 in Spikemark Notice that the current motor position is 0 18 in Spikemark and that the Generic Input Value in WATCHOUT is 0 175 showing that the two systems are communicating Figure 369 Figure 370 Elle Stagehand Cues Stage Show Contre TJ Enable Al Links Cue 2 loaded Fi
2. Typically the decision to use certain technology in a show is made alongside the rest of the scenic design However I was in the process of discovering how to setup and operate the tracking projection rig independently of the Alice design process So the decision to include it was well after the scenery was designed This had both benefits and drawbacks First it allowed me the director and the scenic designer to understand the other side of the art and technology relationship While most of the time in theatre the artistic decisions necessitate the design of new technology in this instance the technology drove the creation of new artistic ideas Furthermore we were able to find parts of the show that were challenging to stage and use the tracking projections to enhance the moment The difficult side to incorporating this setup after the scenery was designed is that decisions for the location of the rig and for the size and shape of the screen were restricted to fitting into the existing physical and aesthetic world of the design While overall it was a good compromise that allowed the tracking projections to be successful it presented design limitations for me that could have been resolved had we been able to collaborate earlier in the design process 29 For example my field of movement was limited by the placement of other scenic elements and by the audience sightlines created with the masking curtains I could not move the screen horizo
3. CUCUTA eee eendaadse 38 CHAPTER 1 INTRODUCTION Before beginning any worthwhile project it is important to ask the question where does this all fit For me that question begins on a high level I started the development of this thesis project with asking myself in what artistic conversation am I trying to participate It then evolved into how does theatre the industry to which I belong have this conversation and then into what practical contribution can I make to this topic As the culture of virtualization rapidly increases we must ask ourselves as 21 century artists how do we bridge the gap between our design and the technological realm Theatre as an art form has the inherent ability to represent some of the most heightened reflections of life It is arguably the best medium to comment on technological developments because theatre is a very human way to connect with people THE BACKSTORY The physicality of theatrical performance relies on the fluidity of its movement to contribute to telling a story The problem that occurs is the juxtaposition of the fluid art of acting with the static art of scenery For centuries theatrical designers have reconciled this by creating dynamic sets in which scenic elements move around to change the visual composition of the stage throughout the show whether it be for a location change or to generate a different audience reaction Given the current technological culture the question is how to move
4. in the software according to those limits There are several options for position units in the software counts inches feet millimeters and degrees In my setup I used inches Spikemark also will allow the encoder information to be either positive or negative Therefore if the 0 position of the automated unit is somewhere in the middle of the axis the position information will be positive going one direction from 0 and negative in the other direction With this understanding I will describe the spatial considerations for the integration as it relates to the production of Alice Since Spikemark allows user definition of an axis origin whereas Watchout has a fixed origin and fixed positive quadrant my overall approach was to first place the display window in Watchout and then manipulate the position numbers in Spikemark to recognize where the display field was in real space I found it helpful to think of Watchout s origin as the upper left corner of the theatre space beyond what the 15 proscenium or portal opening was I wanted to relate the Watchout Stage window to the actual plane of the moving screen which would not only move within the display field but it would also move up and out of sightlines I also wanted to see the image tracking in the Stage window with the moving screen both while it is outside of the display and as it crosses into view This meant I needed to be precise about where in the Stage w
5. is necessary for image tracking 12 The next attempt I made was to replace the 1 8 cable lines with 1 square steel tubing to make the connection rigid While this eliminated the lateral sway the screen had with the cable it created a rigid jerkiness to the movement which could be minimized with proper tuning but not eliminated Under these conditions the screen s movement would be considered good for normal scenery automation applications Furthermore for simple movements this setup allowed for image tracking that was relatively smooth with vibration that was not detectable from the audience However when more complex movements were introduced the tracking quality diminished enough for the vibration to be noticeable The final touch that yielded a suitable result was to make the hanging frame more rigid by adding diagonal bracing between the two hanging tubes using 1 16 aircraft cable This added enough rigidity for the screen to make a smooth complex movement The downside of this hanger design is that it is significantly bulkier than the first iteration and required negotiation with the lighting designer to minimize its visibility Achieving the aesthetic effect of a floating screen under the conditions of the integration is inherently problematic because reducing the structure stresses the automation system s tuning capabilities Designs in which the structural necessities of the hangar could be incorporated into the screen s
6. Input Name logo Limit 360 ae Figure 362 Press the OK button and then the new Generic Input will be listed in the Input list with its current value set to 0 00 Figure 363 51 Name Descriptio Value Sm logo Generic 0 000 Figure 363 Now the next step is to connect the value of the Generic Input to the x axis of the Image so that the Image will move as the Generic Input value changes To link the image position to the Generic Input value we will create a formula in the Main Timeline Select the image layer in the Main Timeline and then from the Tween menu select Position Figure 364 HOUT Simple t Stage Preview Media Timeline Window a Y Position Alt P age Scale Alt S Crop Alt C Corners Alt N Opacity Alt O Rotation Z Alt R Rotation X Rotation Y Key Green Key Blue Figure 364 This adds a Position tween track below Layer 1 in the Main Timeline This is the good part Now that we have a tween for Position on the left side of the track there is a little round 52 button with an f inside That allows us to write a formula that will link the position of the image to the value of the Generic Input the value of the Generic Input will be connected to the data stream from Spikemark and the data stream from Spikemark is driven by the position of the scenery The knee bone is connected to the leg bone still with me Great click the li
7. It seems the potion Alice drank in this scene made her grow instead of shrink This moment was conceived of by the director as a way to create an interesting illustration of thoughts floating through the air I began by collecting different images of the food items listed and tested what they looked like projected on the screen I paid attention to how the image was framed by the oval as well as the quality of lighting in the image I wanted bright images of the food items that would stand out in a fantastical way I included a background for the images so they looked like portraits in the oval frame Considering the design of the frame itself and the world Alice came from I chose a Victorian wallpaper pattern which I manipulated in Photoshop for a fitting color for the scene Figure 8 p 24 shows a photograph of part of the media for this sequence with an illustration of its motion path The motion path for this sequence was the most complex to program of all of the cues in the show Because of where the screen started for this movement I had limited space to move the screen in an interesting way before it was out of sight Adding too many movement points close together forced the motors to ramp up and down quickly and made it difficult to get a delicate path to make the illustration of thought feel light and airy Through several iterations of programming techniques as discussed earlier under Cueing Chapter 3 I was able to achieve an appropriate
8. Since both of the winches used in the Alice setup had positive encoder direction that was opposite of the positive Watchout direction both of the position tween formulas required offset values The offset value is a distance in pixels relating Watchout s origin to an image s anchor point that equals the full length of screen travel in a particular axis plus the distance the display window is set from the Watchout origin and plus the distance to the image s anchor point That value then has the rest of the formula subtracted from it What this does is mathematically switch the direction the image will travel in Watchout so that it matches the Spikemark direction provided that all incoming numbers from Spikemark are positive For the X axis motor this was straightforward because the full distance the screen can travel horizontally in view is almost equal to the width of the projection display Given the sightlines for the screen it never traveled out of sight in the horizontal direction so I did not need to account for that distance in the offset Therefore it was possible to use the offset to move the Watchout 0 to the Spikemark 0 in the X Axis The Y axis was more complicated because it required manipulation on the Watchout side as well as the Spikemark side The reason for this is that the screen s full travel height is the height of the display screen plus the distance it needed to travel out of sightline
9. all of the switches were in place I ran Ethernet cables from the SR and SL Switches to the Beam Switch and from the Beam Switch to the Booth Switch thus creating an accessible wired network for connecting all of the projection and automation components Once all of the components were physically connected to the system I assigned each piece a compatible IP address Components will be on the same LAN if the first three numbers of the IP address are the same and the fourth number is unique Dataton 27 For example the Watchout 10 production computer s IP address was 192 168 10 0 and the Spikemark control computer s IP address was 192 168 10 10 and both computers functioned on the same LAN AUTOMATION COMPONENT DESIGN Before I explain the physical design considerations that are unique to the automated projection integration I will first account in more detail what elements were used in the automation system The automated object was a Broadway style theatrical flat with a painted muslin projection surface This screen was capable of moving in two axes It moved in the X axis stage left to stage right via a custom designed skate wheel carrier track that is part of the SDSU s equipment stock The screen hung from two carriers on this track Driving the left and right movement was a 2HP motorized winch unit capable of pulling a maximum load of 200 Ibs at a maximum speed of 4 ft sec In addition the track and winch hung on a co
10. crisissen areae ae dr 39 BIBLIOGRAPHY oro E sede denn deken A a 41 vil APPENDIX EXCERPT FROM THE SPIKEMARK 3 2 MANUAL 42 viii LIST OF FIGURES PAGE Figure 1 Don Powell Theatre network switch locations unser vens eenvenvenneenven 8 Figure 2 Inside of the SL Network Enclosute iciseacecssscsinsvaivensscales ondenots inicia ita iio 9 Figure 3 Watchout screen shot showing the projector s display box within the RADE MVNO reren tes 15 Figure 4 Detail of Watchout Display information annen eenn eeenve venne enneenneernveen 16 Figure 5 Spikemark position programming parameters for Alice nennen eenen 17 Figure 6 Tween Formula dialogue DOX iicociiininiia la iii idad 18 Figure 7 Motion path representation for the Tart Dance Scene in Alice Curiouser and CUMIOUSEF sereen neede aad 24 Figure 8 Motion path representation for the Drink Me Potion Scene in Alice Curiouser and Curious sarren entente denten 24 Figure 9 Photographs of the Alice tracking screen with projected show content and without projected content enrenar ae e aanmanen aande S 25 Figure 10 Alice Sees into the Garden media storyboard nennen ccoo noo 31 Figure 11 Original Alice in Wonderland illustration of the Head of the Cheshire Cat 35 Figure 12 Stage photo of the Head of the Cheshire Cat for Alice Curiouser and CAOS e A denna 36 Figure 13 Production Photo of the Stolen Tarts Dance in Alice Curiouser and
11. cues come together it felt natural to include the automated projection screen This sequence runs from an automation cue that takes the screen in an undulating path to the other side of the stage Unlike in the Drink Me potion scene I had more space to make larger movements so I was able to make a smooth motion path without much tweaking Figure 7 p 24 depicts the motion path for this scene When the screen reaches its destination at the end of the dance a Watchout cue runs the fade of the cherry tart tray into the Coat of Arms image Perhaps the most challenging media creation was for this sequence The tray of cherry tarts could not be an arbitrary tray because we see the Knave carrying a tray of tarts so I needed to project an image that more or less matched the prop he carried Unfortunately while the prop looked good from a distance it was not photo quality I also could not find an appropriate image to use so I composed one in Photoshop Additionally the Coat of Arms media proved challenging because my reference image was a small part of an original Alice in Wonderland illustration of the Court I enlisted the help of the scenic designer to redraw this image for me so I could then manipulate it in Photoshop to make it look three dimensional like the rest of the media The Act 2 use of the automated projection screen was a successful example of using the full range of the screen s motion The visual necessity of having the screen s
12. design would create a stronger path to the success of the tracking projection The test and adjust phase of the automation installation proved it was necessary to consider how the structural design of an automated piece of scenery will affect the ability of Spikemark s to generate a smooth motion path Knowing the capabilities for each component of the system and being careful during the machinery installation is valuable during the programming phase because it will reduce the time needed for troubleshooting and fine tuning Matching an automated motion path to a computer generated idealized path is nearly impossible However with the above methods of hanger design and with careful cue programming which will be discussed under Cueing Chapter 3 I was able to generate a path smooth enough that the imperfections of the image tracking were minimal from the audience s point of view 13 CHAPTER 3 PROGRAMMING Once the components were in place and the physical parameters were set it was time to actually make the software integration happen With Internet Protocol as the underlying protocol Spikemark uses User Datagram Protocol UDP to transmit packets of position information to Watchout In this instance UDP is the preferred method of message delivery because of its simplicity and speed User Datagram Protocol UDP I consulted the Spikemark manual for instructions on how to configure the software so that Spikemark woul
13. following the painted line of the screen as it traveled on its motion path However once I began to look at the screen under show lighting conditions I realized the painted frame detail was falling really flat next to the bright projected content of the oval The lighting designer was not able to assist in brightening the frame as he would not be able to isolate the frame across its path of movement without washing out part of the projection I then went back to the paint elevation of the screen s picture frame and added that as another layer in Watchout to project the image of the paint elevation onto the actual painted treatment This was incredibly successful visually It gave the painted frame a lot of depth Though it required the projection of the frame to follow the hard lines of the screen The deviation of the projected frame and the painted frame when the screen was in motion was understandably the most noticeable discrepancy of the motion paths because it is a level of precision that the system is not currently designed to handle Any images projected in the middle of the oval such as the cherry tart shown in Figure 9 appeared smooth from the audience s perspective because there was nothing to reference it as being slightly out of sync I found a way to reconcile the problem that I believe generated the best success for the design I first reduced the opacity of the projected picture frame This reduction of light made the deviation b
14. path Furthermore the timing of this scene needed to be precise in order to amplify the effect The image flashes needed to be timed to appear as the characters were saying the words and the screen needed to be out of sight by the time the moment concluded By listening to the music ahead of time I was able to time the Watchout image sequences so they were close to what they needed to be however in actual performance of the scene the timing was not quite right Again this is where a video of the scene in rehearsal became helpful for me since I could dial in the precise timing of the sequence to the actual performance and place where the projection and automation cues needed to happen The sequence is one projection cue and one automation cue The projection cue begins on the static screen flashing the first round of food images Then as Alice joins the 34 Enchanted Table an automation cue begins the screen s movement while the same projection cue continues to run Watchout knows where the screen is initially because Spikemark retains position at all times so the projection is able to begin on the static screen in its starting location Then when the screen begins moving the open stream of communication between Watchout and Spikemark allows the projection cue to continue as is while it follows the automated path of the screen Working on this sequence was important to the development of the Watchout and Spikemark integ
15. screen stopped moving showing a stylized image of her eyes with animated flowers until they slowly fade out at the end of the dialogue DRINK ME POTION This sequence showcases the full capabilities of the tracking projection system It includes both a complex motion path and changing projection images This cue happens right after the Alice Sees into the Garden sequence fades away After Alice sees into the garden she longs to be small enough to fit through the tiny door and experience that world At this point the Enchanted Table lures her to drink a potion to change her size He addresses the audience asking the question What does she taste Then to the beat of the scene s music he lists the potion s tastes as Cherry Tart Custard Pineapple Roast Turkey Alice joins in for a second round of this list agreeing to what she tasted The projection screen begins in the same position in which it ended during the Alice Sees into the Garden scene at center stage As the Enchanted Table begins his list of tastes images of the items flash on the screen behind him When Alice joins in the screen begins an undulating diagonal movement going stage left and up out of sight while the taste images continue to flash on the screen At the 33 same time the screen begins moving stage left a nearly 12 0 tall Giant Alice character enters from stage right balancing the screen s movement visually and also conceptually
16. that is assigned an independent IP address on the network The automation programmer will then connect the main control computer to each Stagehand card in order to identify what type of motor controls each axis and to set movement and tuning parameters for each motor From here the programmer can compose scenery movements and write them into a cue stack for a production When I began my project it was independent of a production but it was still necessary for me to define what I wanted the end result to be I knew that I wanted to be able to move a projection screen in a complex motion path capable of moving in the full range of the proscenium opening and to have an image successfully track with the screen during all movement For the automation side of the project I needed two motors from the SDSU stock of automation equipment one to control the X axis of movement and one to control the Y axis Being familiar with the Spikemark programming software I knew that by manipulating these two motors simultaneously I could create complex screen movements In evaluating the range of movement I was working with I knew I needed a projector capable of outputting a large display that would cover the screen s full range of motion and powerful enough to produce a high lumen output at the plane of the screen For this I turned to the Don Powell Theatre s main projector situated in the control booth Though I began with setting up equipment for an indep
17. that was different than the kinetic pixel ratio I then ran tests in the X Axis I began with a tween formula that also used 3 75 as the scale factor assuming this factor was purely related to the projector s distance to the screen My first test revealed that the image was lagging behind the screen Similarly to my Y axis tests I gradually increased the pixel scale factor in the tween formula until the image and screen were synced in the X Axis The resulting number was 4 4 nearly the same as the static pixel ratio I had calculated I then concluded there were several factors contributing to the scale factor including but not limited to the type and resolution of the encoder attached to the motor and the image size varying as it moves through the field of projection Further experimentation to understand the pixel scale factor is underway however I have not yet drawn a conclusion on how to predict the number more accurately Offset Once the pixel scale is determined and the base formula is written it is time to analyze the numbers Spikemark is sending to Watchout to determine if an offset is needed in the Watchout tween formula Under the heading Spatial Relationship I began 20 the explanation of how the two systems determine location in the physical space An offset is introduced into the equation when the direction of positive position information from Spikemark is opposite from the direction that Watchout deems positive
18. the Media list into the Stage window You can see the image displayed in the center of the Stage view and it also shows up in the Main Timeline Figure 357 48 i warcHour Simple Spikemark File Edt Stage Preview Meda Timeline Tween Window Help Gib stage lt lt lt OF F LINE gt gt gt Figure 357 With the image on our virtual stage we need start configuring WATCHOUT to listen for data from Spikemark We have to enable an external source Spikemark in this case to control the image position Double click on the image in the Media List and select More Effects and Capabilities Figure 358 Image File cci_logo_google plus jpg Transparency auto Detect Optimize For C Better Performance More Effects and Capabilities Applies to images up to 2048 by 2048 pixels Figure 358 Then in the Main Timeline double click on the image layer to bring up the Media Cue properties window Select the Advanced tab and check External Control of Position Scale amp Rotation Figure 359 A Main Timeline 0 00 000 0 00 0 05 gt Layer 10 gt Layer 9 gt Layer 8 gt Layer 7 gt Layer 6 gt Layer 5 0 10 gt Layer 4 gt Layer 3 gt Layer 2 Y Layer 1 th Figure 359 Basic Advanced Image Stacking Order Default Image Blend Mode Normal Masked by Layer Above Off Suppress Rendering for use as Mask only Auto orient alon
19. the scenery The development of automation systems for theatre has revolutionized scenery movement providing the ability to move elements beyond typical utilitarian ways Stage automation contributes to the idea that man s technological achievements can play an active role in the arts Though theatre artists tend to hide the mechanisms of movement in order for the scenery transformation to seem magical an audience is still passively receiving the technological message The way a group of stagehands moves an element of scenery is aesthetically different from how a motor moves the same element Furthermore automation equipment can hide in places a person cannot subconsciously communicating to the audience that this piece was not moved by a person This is key to stage magic which relies on an audience s inability to figure out how an effect is achieved By decreasing the size of moving mechanisms and developing advanced programming software the possibilities for automated scenery today are vast The dynamism and precision with which contemporary technology allows scenery to be controlled truly allows it to participate in the choreography of a performance These effects enhance the audience s experience and immerse them in the world of the performance The developments in scenery automation are not the only important technological advances affecting stage design today Lighting sound and projection design are examples of three disciplines of t
20. with the screen This means that the actual motion path of the projection surface as dictated by the automation software must be tuned to the simulated motion path As I discovered through testing movement that is not precise to the simulated motion path will result in a noticeable vibration of the image as it tracks with the screen When using this automation system conventionally the jitteriness of the screen would be undetectable However image tracking highlighted all of the imperfections of the physical motion path Therefore it is necessary to this integrative process to spend more time than usual dialing in the tuning parameters Being attentive to the mechanical design of a winch unit is a standard concept in automation design but it is beyond the scope of this discussion Part of physical design that I feel is pertinent to discuss is the mechanism from which the screen hangs from its track carriers During the testing phases of this project the screen hanger design went through a few iterations My first attempt was to hang the screen from two 1 8 aircraft cables I chose a thin cable to minimize the visibility of the hanging points and make the screen look more like it was floating in space However I discovered through the motor tuning phase that there was too much lateral movement from the non rigid cable connection Spikemark s tuning capabilities are not sophisticated enough to smooth the lateral movement out to the level that
21. Networking Sharing General Connect using You can get IP settings assigned automatically if your network supports this capability Otherwise you need to ask your network administrator SP Irtel R PRO 1000 GT Desktop Adapter for the appropriate IP settings Configure O Obtain an IP address automatically Pis commotion ges Ross fala Same Use the following IP address M Fie and Porter Shanng for Microsoft Networks a TMK C 4 Microsoft Network Adapter Mutiplexor Protocol A Y Microsoft LLDP Protocol Driver J 255 255 255 0 M 4 Unk Layer Topology Discovery Mapper 1 0 Driver 4 Link Layer Topology Discovery Responder a Intemet Protocol Version 6 TCPAPv6 A a intemet Protocol Version 4 TCP 1Pv4 v Obtain ONS server address automatically I lt gt Use the following DNS server addresses Instal Uninstal Properties Preferred DNS server Description Alternate DNS server Transmission Control Protocol Intemet Protocol The defaut wide area network protocol that provides communication across diverse interconnected networks Validate settings upon exit Figure 351 And the WATCHOUT computer is 192 168 10 9 Figure 352 jen Shang Connect using pido rlr dempen Aberdeen supports this capability Otherwise need to ask network SP ime 82567LM Gigabit Network Connection A K N ENEA E IN Obtain an IP address automaticaly Use the following IP address 2 ME Client for Microsoft N
22. San Diego State Theatre Department I identified the need for an Ethernet network for the Don Powell Theatre This would provide network ports at key locations throughout the theatre in order to maximize the efficiency of setting up future automation and projection systems Both Watchout and Spikemark connect via standard TCP IP compatible Ethernet hardware The Don Powell network system I created consists of four Ethernet switches Figure 1 is a plan view that illustrates the network switch locations Figure 1 Don Powell Theatre network switch locations The Booth Switch was an existing switch placed in the control booth of the theatre for easy access to both the Watchout production computer as well as the theatre s main projector and display computer The Beam Switch was another existing switch that I repositioned to be centralized in the lighting beams above the audience a frequent position for front projection The SR and SL switches are new additions to the network system located on the proscenium wall on either side of the stage ideal locations for connecting stage machinery In order to increase the robustness of the onstage switches I assembled them into metal enclosures each with 7 Neutrik Ethercon panel connectors The SR and SL enclosures also act as Emergency Stop hubs for the automation system Figure 2 shows the inside of one of these enclosures Figure 2 Inside of the SL Network Enclosure Once
23. TRACKING PROJECTIONS EXPERIMENTING IN DYNAMIC THEATRICAL DESIGN A Project Presented to the Faculty of San Diego State University In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Theatre Arts with a Concentration in Design and Technical Theatre by Gabrielle Maria Heerschap Spring 2015 SAN DIEGO STATE UNIVERSITY The Undersigned Faculty Committee Approves the Project of Gabrielle Maria Heerschap Tracking Projections Experimenting in Dynamic Theatrical Design Loren Schreiber Chair School of Theatre Television amp Film Margaret aret Larlham School of Theatre Television amp Film TE School of Art Design amp Art History 4 20 ZolS Approval Date Copyright 2015 by Gabrielle Maria Heerschap All Rights Reserved 111 iv DEDICATION 6 years ago I walked into a scene shop ready to start a career in theatre an industry I knew absolutely nothing about I met a man there who believed in me and my abilities when I had very little to show for myself He mentored me for several years helping me to build a strong foundation for my career and instilling in me to always honor the commitments I made He never told me to go to graduate school and was never the biggest fan of scenery automation touting that stagehands could do it better Nevertheless I would not have made it this far if he had not pushed me early on to work hard and to be bet
24. ample upon reading the script it seemed natural to want to include the screen s ability to be in multiple locations for the scene when Alice meets the Cheshire Cat During the scene the Cheshire Cat disappears and reappears at random I felt that projections could be a good way to move the character around the stage and have his image appear and disappear in addition to the actor s movements in order to accentuate the magic of his character s elusive nature However once I saw the scene performed in rehearsal it became clear that trying to use the projections in this way would be cumbersome for a quick paced scene The staging of the actor in this scene was the stronger choice Ultimately as we worked through the design and rehearsal process we settled on four cues for the tracking projection screen where its use would be helpful and appropriate Two 30 of the cues were in Act 1 first helping us transition Alice into the garden of Wonderland and then as an illustration of imagination for how the Drink Me potion tastes In Act 2 the screen is used first in the Croquet scene when Alice sees a large looming image of the Cheshire Cat s face It then supports the whimsy of the Stolen Tarts Dance as it carries an image of a tray of cherry tarts across the stage Each cue of the tracking projection screen illustrates different capabilities of the system The cues include static images animated images and video as well as follow var
25. cale Factor Conducting experiments to determine a formula for accurately calculating the pixel scale factor needed for the tween formula would be incredibly helpful to the efficiency of this system s installation Since we value quick setup in theatre it is important to get this number as close as possible to minimize the amount of trial and error during programming Integration Specific Machine Design My machinery resources to conduct this research were limited to the equipment available in the stock of the SDSU Theatre Department While this is quality equipment that was indeed capable of producing a successful result I would improve upon this by incorporating a mechanical design which takes into account factors specific to moving a projection screen Refining the machine design would allow me to get closer to achieving the automated motion path that Watchout simulates Experimenting with controlling other tween tracks A position tween is the natural choice for external control by the automation software However I would experiment with how these numbers might manipulate media in other ways beyond simply moving it with the screen in order 40 to push the designs forward I believe these experiments could lead to some very dynamic effects With the information provided thus far in this thesis I hope to encourage future generations of SDSU theatrical designers to continue to create in a fluid way I hope that the new designs we con
26. ceive will further the development of the Watchout and Spikemark integration 41 BIBLIOGRAPHY WORKS CITED Dataton Watchout 5 User s Guide Dataton Dataton AB 1 Jan 2015 Web 22 Jan 2015 Creative Conners Spikemark v3 2 User Manual Creative Conners Creative Conners Inc 1 Jan 2013 Web 22 Jan 2015 Huntington John Show Networks and Control Systems Formerly Control Systems for Live Entertainment Brooklyn Zircon Designs 2012 Print Tenniel John Executioner Argues with King about Cutting off Cheshire Cat s Head 1865 The Project Gutenberg Web 29 Mar 2015 User Datagram Protocol UDP IPv6 com 1 Jan 2008 Web 6 Feb 2015 WORKS CONSULTED Alice Curiouser and Curiouser Adapt Margaret Larlham Dir Margaret Larlham San Diego State University Department of Theatre Don Powell Theatre San Diego 6 Mar 2015 Performance Carroll Lewis Alice s Adventures in Wonderland London Macmillan and Co 1865 Print Yoshimi Battles the Pink Robots By Wayne Coyne and Des McAnuff Dir Des McAnuff La Jolla Playhouse Mandell Weiss Theatre La Jolla 21 Nov 2012 Performance 42 APPENDIX EXCERPT FROM THE SPIKEMARK 3 2 MANUAL Projection design is commonplace in an increasing number of theatrical performances With media servers and automation gear existing on the same network it seems obvious that these systems should share data to create stunning effects by coordinating video and
27. cues with both axes that would bring 23 each motor to a given position with each motor taking about the same amount of time One cue would follow the other using a completion link which began the next cue when the parent cue completed What I noticed right away about this movement is that it was choppy and caused the tracking image to appear to jump abruptly when one cue would end and the next would begin The action of both motors ramping down completely and then ramping up immediately after was causing pauses in the motion path that added jerkiness to the screen I then adjusted the sequence so that cues would trigger with position links instead of completion links My thought was that not waiting until the cue completed would limit pauses at direction changes This improved the movement significantly I was able to dial in speed and acceleration to make a relatively smooth path However once I tested the image tracking under this condition it accentuated the bit of pause that remained at a direction change My final revision of cue sequence writing provided excellent results To begin the sequence a cue started the screen moving in the X direction for the full amount of its travel for that cue The start of this cue triggered a series of cues for the Y axis motor that would move it up and down while the initial cue continued to move the screen laterally I wanted to eliminate one of the motors ramping which I could do with the X axis motor becau
28. d an integration that allows a projected image from Watchout to track on a screen that Spikemark is moving Though the capability to achieve automated projections using Spikemark and Watchout is a few years old it is still a developing process When I embarked upon this project inspired by what I had seen at the La Jolla Playhouse my goal was to contribute to this integration s development by setting up and testing the two systems together and experimenting with its capabilities At the start of the project the instructions in the Spikemark 3 2 manual were the only information I could find on how to set this up Though it was helpful to getting my process started because I did not have to read through several manuals to figure out what boxes needed to be checked in each program overall the information was very limited It told me how to open the communication between the two programs but it did not communicate anything about design considerations or troubleshooting The last line of the instructions section is As you start using this feature in production let us know how it works for you and send us some video We love to see this stuff in action Creative Conners 209 When I read that I thought this was an excellent opportunity for experimentation and a way to contribute to a developing technology that I believe is an important step towards encouraging the advancement of technology to enhance stage design With this inspirati
29. d send its position information via UDP to the correct server port on the Watchout production computer On the other side I needed to tell Watchout to listen to the UDP information The instructions can be found in Appendix A Creative Conners 196 209 In the following sections I will analyze the different aspects of configuring and programming the software to make this integration successful as I experienced it through testing the system and using it in San Diego State s production of Alice Curiouser and Curiouser SPATIAL RELATIONSHIP Syncing Watchout s outputted image position with the automated screen s position relies on both Spikemark and Watchout recognizing the same physical parameters of the stage In order to understand how the two systems spatially sync with each other I will describe how each program recognizes the physical space In Watchout there is a Stage window in which display fields are placed virtually Each display is delineated as a box the dimensions of which are given in pixels and correspond in most cases to the native resolution of the projector with which the display is linked The origin of the stage according to Watchout is the top left corner of the Stage window The placement of the display box within the Stage window theoretically is arbitrary 14 Typically the displays are placed in a logical location relative to where the corresponding projected surfaces are to aid in th
30. e visualization of cue building Each display when added is assigned the IP address of the display computer that is controlling it Watchout will not output any projected images without an added linked display window Consequently only images placed within the field of display will be output from the projector The placement of the display within the Stage window is inconsequential to the projector because the projector is manually focused at the unit Once the physical space is set in terms of screen placement and its surroundings the projector can be shuttered and focused to the given location Though displays in Watchout can be nonspecifically placed they do contain coordinates for their location relative to the Stage window s origin This information becomes very important when preparing to connect with Spikemark Spikemark necessarily ties itself closer to the physical world given the safety requirements of stage machinery The Spikemark system receives its position information from encoders attached to the motor units There is no global origin for all machinery being controlled but rather each axis can have a Home position set and the software will retain its position from Home along its full axis of movement The limits of the axis are defined by the physical space in which the axis exists Therefore it is a necessary part of the automation setup process to know and understand the physical limits and to set the position information
31. ecause I could draw from each side to improve the other In addition I could go beyond understanding how to setup the integration to discover what it would mean to actually incorporate this into a production Providing this production example gives me a Stronger case to encourage future implementation of the integration There are a number of factors to consider when designing projection and automation systems independently of each other Those factors are still important to this work however for the purpose of this thesis they will be discussed only as necessary and not in detail as this in an account of factors specific to the integration of Watchout and Spikemark The fundamental steps to open the lines of communication between the two systems are the same each time this integration is used What varies each time are spatial relationships and machinery requirements to achieve an aesthetic goal which is where I put my focus In the following sections I will illustrate the process for employing the Watchout Spikemark integration by providing an account of my experience testing for and implementing its use in the San Diego State University production of Alice Curiouser and Curiouser 1 will first describe its physical implementation and its software integration and then I will detail a practical application of the technology CHAPTER 2 SYSTEM INSTALLATION Prior to the actual integration of the Watchout and Spikemark soft
32. endent project shortly into my testing phase it was decided that I would incorporate this technology into the SDSU production of Alice Curiouser and Curiouser The tracking projection rig I decided upon remained the same for the production with the exception of replacing the screen with a show specific projection surface This rig was situated among a larger set of equipment used for Alice that included three projection displays used with five projection surfaces and four axes of automation In the following sections I will describe my process for the physical installation of this system and how certain aspects are helpful to consider for future implementations of the Watchout Spikemark integration p p g NETWORK COMMUNICATION In order to integrate Watchout and Spikemark an open line of communication must exist between the two systems The first step of this process is physically connecting each projection and automation component to the same Local Area Network LAN Considering each show has different needs equipment locations are variable I can predict general locations for the equipment however I cannot always position equipment in the same spot This means new cables need to be run each time for power network etc Negotiating these cable runs can be difficult especially in large scale productions Given one of the main goals of this project is to encourage continued use of the Watchout Spikemark integration in the
33. enery The director suggested balancing the stage by moving the screen to its stage left most position which because of the integration was an easy fix that we could make on the spot since once the screen was relocated Watchout would still know where to deliver the media In addition making this move gave me a new idea for the screen s use to enhance the whimsy of the Stolen Tart Dance Figure 12 Stage photo of the Head of the Cheshire Cat for Alice Curiouser and Curiouser STOLEN TARTS DANCE With the Cheshire Cat s warning the crowd realizes that the Knave of Hearts is about to steal the Queen s tray of cherry tarts At this point a dramatic lighting shift and dance sequence occurs as the Knave runs around the stage with the tart tray During the dance the tracking screen makes a whimsical movement to the other side of the stage carrying the 37 image of the tart tray with it The movement lasts for the duration of the dance and upon reaching the other side of the stage the cherry tart tray image fades into the Queen of Heart s Coat of Arms to establish the next scene as the Court of the Queen of Hearts The conception of this sequence happened organically during the technical rehearsal process Prior to the rehearsal we knew we wanted to use the screen to portray the Cheshire Cat head and we knew we wanted it to aid in establishing location for the Queen s Court After seeing the choreography music and lighting
34. etween the two paths not as harsh I also oversized the oval mask so that it was large enough to accommodate the range of deviation and not show its line next to the painted oval line In this application the aesthetic need to have a lit picture frame outweighed the 27 imperfection of its path relative to the screen s path However for future applications I would recommend avoiding tight tolerances for a tracking projection Truly revealed through this process is that the design of the media can play a crucial role in compensating for the discrepancies of the motion paths 28 CHAPTER 4 SHOW IMPLEMENATION Advancements in theatrical technology continue to increase the repertoire of stage effects with which one can design Scenic technology in particular can significantly aid in the ease and precision of complex scenery transitions Though it is important to note that incorporating scenic technology into a production is more than simply a functional consideration Employing this technology has the power to create dynamic visual compositions that contribute to the choreography and storytelling of a piece The tracking projection system is an example of employing technology in this way This makes it an excellent tool for experimenting with how to design aesthetically with scenic automation Using this setup for the San Diego State University production of Alice Curiouser and Curiouser was an exciting way for me to begin this exploration
35. etworks 2 Ej QoS Packet Scheduler 192 168 10 9 2 brea and Printer Sharing for Microsoft Networks z 255 255 255 0 Y ade Internet Protocol Version 6 TCPAPv6 A amp Internet Protocol Version 4 TCP Pv4 ke Link Layer Topology Discovery Mapper VO Driver 2 a Link Layer Topology Discovery Responder Obtain ONS server address automatically Use the following DNS server addresses punn instal Uninstall Preferred DNS server Descrpson Alternate DNS server Transmission Control Protocol Irternet Protocol The defaut wide area network protocol hal provides commurscaton across ae drverse interconnected networks Validate settings upon ext Figure 352 With both computers addressed properly we need to tell Spikemark where to send the position data In Spikemark select Watchout from the Show Control menu Figure 353 44 45 File Stagehand Cues Stage Window Help Figure 353 A dialog pops up with some configuration details that determine what data is sent to WATCHOUT Figure 354 Watchout Output E Watchout UDP Output Server Address 192 168 10 9 Server Port 3040 Active Motor Name Watchout Name Logo Winch logo Sending Position Data True Update Interval ms 30 Messages second 31 Include transition rate in messages Figure 354 From the top the options are 1 Server Address The IP Address of the WATCHOUT production compute
36. f the screen as well as using the painted oval geometry on the screen allows for no error between the actual and idealized motion paths Any deviation in the projected picture frame and the actual picture frame would be noticeable This is an example of trying to use an imperfect system perfectly Figure 9 Photographs of the Alice tracking screen with projected show content and without projected content 26 There were a few reasons I designed the media in this way despite its difficulty First the screen was designed to be an oval shaped portrait frame with a tromp l oeil frame and a white oval in the center to be the projection surface Therefore I was immediately restricted to using the oval line This required me to create an oval shape in Photoshop that proportionally matched the oval of the screen I did that by importing the scenic designer s paint elevation of the screen into Photoshop and drawing an oval that matched the shape of the picture frame s oval I then brought the oval into Watchout to employ as a mask for the content that would go inside the oval This means that Watchout would use the oval mask to crop the image to that shape thus creating a hard projected line that needed to follow a hard painted line on the screen Had this been the only restriction for the media content I could have feathered the oval mask to reduce the hard line of the projected content to make it less noticeable if it was not perfectly
37. g Motion Path Forward Motion Direction is X Y External Control of Position Scale amp Rotation Only available when More Effects and Capabilities selected in the media item 49 Our next step is to create a Generic Input in WATCHOUT that has a name that matches the Watchout Name we entered into Spikemark We will use the data received from that Generic Input to move the image around To add a Generic Input select Input from the Window menu Figure 360 RA warcuour Simple File Edit Stage Preview Media Timeline Tween Help Stage Media Ml stage lt lt lt OFF LINE gt gt gt Figure 360 Y Main Input Timeline Output Task Status Message From the Input window click on the little triangle in the upper right corner From the menu that appears select Add Generic Input Figure 361 50 Name Descriptio Value Add Generic Input Add MIDI Controller Add MIDI Note Add DMX 512 Input Figure 361 A dialog is presented where you can enter the Name of the input and the Limit of the input value This step is important to get correct The Name needs to match the name entered in the Spikemark Watchout Output window exactly same case same spelling etc The Limit should match the highest value expected to come from Spikemark In this case our traveler has a maximum forward position of 360 so we can enter 360 Figure 362 Generic
38. ge is certainly not a new concept the tools to do so are frequently cost prohibitive especially for university and regional theatre Designers in training at universities are often limited by small budgets and resources Developing an accessible technology such as this is an excellent way to encourage the consideration of these dynamic design concepts in the next generation of theatrical designers Part of my approach was to make this integration readily available to future students in the San Diego State Theatre Department Furthermore regional theatres are often stops on a production s way to Broadway This kind of development allows these technological considerations to happen earlier in the design process as opposed to waiting for the bigger Broadway budget 3 To explore how an actual implementation of this technology could aid in the storytelling of a production I am a strong believer that the conversation about theatrical technology should not be divorced from the aesthetic conversation If the goal is to enhance design then I must consider how this technology could impact a production s story and an audience s experience To discover how technology can affect a production I was able to employ the integration of Watchout and Spikemark for the San Diego State Theatre Department s production of Alice Curiouser and Curiouser Being on both the design and the technical sides of the project rounded out this experience for me b
39. gure 369 FN WAICHUU gt IMple spikemamg File Edit Stage Preview Media Timeline Tween Window Ml stage lt lt lt OFF LINE gt gt gt Descriptio Value Generic 0 175 Layer Figure 370 55 56 Now let s run cue 2 in Spikemark Figure 371 When it completes we can see that the image tracked across the stage in WATCHOUT matching the motor position Figure 372 Figure 371 57 E warcHour Simple Spikemark File Edit Stage Preview Media Timeline Tween Window Help Ml stage lt lt lt OFF LINE gt gt gt Name Descriptio Value ae ogo Generic 359 784 Figure 372 I hope this gives you a little inspiration to create some stunning stage effects This tutorial is just a taste of what can be achieved when Spikemark and WATCHOUT are used together in live theatre As you start using this feature in production please let us know how it works for you and send us some video We love to see this stuff in action
40. he display was placed in Watchout I could set the position parameters for each axis of the screen s movement in Spikemark Standard practice for axes of motorized scenery dictates the use of limit switches at the extremes of an axis to prevent the moving scenic element from traveling farther than it physically can regardless of what the control computer is telling it to do In Spikemark I needed to figure out the soft limits of each axis of the screen which correspond to the screen s position before it would hit its hard limits In this setup the screen could safely move 320 in the X axis and 237 in the Y Axis Normally I would pick a logical Home position for the screen and at that spot set the position for each axis to 0 I then would set each motor s maximum position as the furthest amount it could safely travel in that direction this number could be negative or positive depending on the encoder direction However given the need for Watchout to receive and correctly interpret the position numbers the process for setting position programming parameters was tricky 17 Ideally Watchout and Spikemark would recognize the same origin and positive quadrant however this was not the case for the Alice rig If the origin for the Spikemark setup was when facing the stage in the upper left corner and the screen traveled on stage and downward both motors would be generating negative position numbers Watcho
41. heatrical design that are pioneering ways to contribute to dynamic stage pictures These advancements are increasingly used in show control applications Show control simply means connecting together more than one entertainment system and this simple idea can bring amazing sophistication and precision to a wide variety of types of performance Huntington 357 Though there are many reasons to link systems together I find practice of show control is important because of its ability to achieve a level of cue synchronization beyond human capabilities which has the power to create impressively immersive effects Furthermore I believe it encourages deeper collaboration among design and technical disciplines THE PROJECT The above ideas are the foundation of and sentiment behind this thesis project After seeing the technologically advanced production of Yoshimi Battles the Pink Robots at the La Jolla Playhouse in 2012 I was inspired to contribute to the process of fluid design that I found in that show The seamless coalescence of different technology in that show set a high bar for the future of stage design Present in Yoshimi were the early stages of a partnership between two disciplines stage automation and projection design The companies were Creative Conners and Dataton whose products are used widely by university and regional theatre By joining their software Creative Conners s Spikemark with Dataton s Watchout they enable
42. indow I placed the display associated with the integrated projector I created a display in Watchout that was 1920x1080 which is the native resolution of the projector I was using I then placed it at the pixel coordinates 1517 1500 from the Watchout origin and associated it with the display computer of the projector with its IP address of 192 168 10 11 In this instance the display field was representative of the stage opening as determined by the scenic design and masking portals This was sized to allow for a projected image within the full field of travel of the automated projection screen The display s distance from the Stage window origin corresponded to the physical space around the screen s visible field of movement 1500 px 1517 px ol OO J wn en uero nm Figure 3 Watchout screen shot showing the projector s display box within the Stage window 16 x General Geometry Advanced Name Computer Fullstage Output 1 Enabled V Use this display Connection offing Test Connection Color a Change r Display Resolution Width 1920 Height 1080 Stage Position and Size of Display 77 Left 1517 Top 1500 Width 1920 Height 1080 V width and Height same as Display Resolution Rotation 0 degrees clockwise M Stage Position of Display Center ie 2477 we 2040 pixels Figure 4 Detail of Watchout Display information Once t
43. is more tedious and repetitive than it is complex developing the screen motion paths in Spikemark requires significantly more attention Beyond motor tuning discussed in Chapter 2 another factor in delivering a smooth motion path is in the actual writing of a cue In general when writing a cue in the Spikemark program I first determine each axis that needs to move in the cue and then I individually add those motors to the cue I then specify the position each motor will move to the speed at which it will move and the rate at which it will accelerate Understanding each motor s overall capabilities and nuances of movement is important especially when I want the screen to move in two axes at once in a complex cue Considering the differences in mechanical design between the two winches that controlled the screen s movement I needed to be attentive when setting each motor s speed and acceleration rates It was important that I pay attention to the needs of each motor so I would not write cues that would jerk the motor into movement or stop it too quickly Doing that would add more inertial movement to the screen which would cause the motor s tuning parameters to react in a way that would lead to uneven movement For Alice I had two complicated motion sequences to write which are illustrated in Figures 7 and 8 Both required movement simultaneously in the X and Y directions in an undulating pattern I first began by writing a series of
44. large role in determining the accuracy of the image tracking because it is the scale factor 19 Watchout uses in its tween formula to translate the incoming unit inches from Spikemark to Watchout s unit pixels When I began the testing phase of this project I used a projector calculator to determine what the pixel ratio would be for my setup The projector employed for the tracking is a Panasonic DLP Projector with a native resolution of 1920 x 1080 The projector is located in the control booth at the back of the theatre with its lens positioned at the center of the stage opening The distance between the projector and the plane of the tracking screen for Alice is approximately 100 0 When I initially projected an image onto the screen I determined the pixel ratio for this relationship to be 4 48 1 This is the scale factor that I began with when I wrote my initial position tween formula for the tracking image testing in the Y Axis I ran the projection screen up and down with a static image tracking with it What I discovered using 4 48 as the scale factor was that the image tracked ahead of the screen I concluded I was telling the image to travel too many pixels per inch of screen travel so I gradually reduced the scale factor and continued to run the screen up and down until I reached the correct factor of 3 75 which had the image and screen synced in motion At this point it seemed that this setup required a static pixel ratio
45. lose up video of the actor playing the Cheshire Cat in his costume and makeup against a black background grimacing into the camera and then delivering his line However I wanted to highlight Cheshire Cat s iconic smile so I again used a feathered border on this video though slightly less opaque and this time positioning it so that the character s smile was prominent and the rest of his face was in shadow The screen flies in 35 with a paused video of the Cheshire Cat s grimacing face in the same motion path as it did for the Alice Sees into the Garden scene the exception being that it came in at a different point on the X axis At the moment when the Cheshire Cat speaks his line a Watchout cue plays the video in sync with the recorded sound of the character delivering his line The same projection cue continues to a crossfade of the video into the tray of cherry tarts image Figure 11 Original Alice in Wonderland illustration of the Head of the Cheshire Cat from Tenniel John Executioner Argues with King about Cutting off Cheshire Cat s Head 1865 The Project Gutenberg Web 29 Mar 2015 For this scene the flexibility of the automated screen s placement was invaluable I originally planned for the Cheshire Cat s head to be featured center stage However I 36 discovered in a technical rehearsal that this caused a problem because it blocked the sightlines to action happening on the higher levels of the sc
46. lt center stage was the appropriate choice for this path because it balanced the action happening 32 in the downstage right part of the stage Triggering this sequence required two operators projection and automation to press go at the same time The timing of this cue was tricky Since the screen was at its maximum out position I needed to allow the Y axis motor time to ramp up to speed and bring the screen in view however I only had 8 seconds of video to use Selecting the right moment for the Go took several iterations The most helpful thing I did was take a video of the scene in performance and watch it while I ran the cues in order to figure out when the stage manager should call this cue Ultimately I knew the automation cue needed to run before the projection cue so that the screen could get into position at the time the video started playing In order to aid in the stage manager s calling of the cue I delayed the start of the Watchout sequence so both cues could be called at the same time and the video would be timed correctly to the movement The movement of the screen enhanced this moment more than a static projection screen could have A curious feeling was added to the scene when we watched Alice s eyes darting around as they descended into the stage window It looked as if Alice was seeing different aspects of Wonderland as the screen traveled through it Her awe of Wonderland was amplified when the video paused as the
47. n to smooth the animation of the image as it tracks with the motor This generally results in a smoother visual result but can be slightly inaccurate Feel free to experiment with either setting to get the most appropriate result for your show 8 Send Output This is a toggle button to turn on off the data stream from Spikemark The data is sent via UDP which is a connectionless protocol so there is no harm sending out the packets even if WATCHOUT is disconnected from the network UDP packets will blissfully fall into oblivion if the server is not around to receive them so you can start the output stream before WATCHOUT is running With Spikemark configured and the Send Output button depressed we are ready to fire up the WATCHOUT production machine Start WATCHOUT and give your show file a name As I mentioned when we started I need an image to be projected on the traveler panel so our first step in WATCHOUT is to import an image Figure 355 47 Fi warcHour Simple spiera Fle Edt Stage Prenen Media Window Help Add Mecha File Add Dynamic Image Add Text Add DMXS12 Recording New Folder Large Thumbnails Refresh vir Select Unused Figure 355 I selected a Creative Conners Logo image which shows up in the Media list Figure 356 Timeline T ee Window Help Thumbnail Type Dimens is Image 350 x 404 Figure 356 Now drag the image from
48. ng The Stagehand is constantly analyzing where the motor is versus where it should be and then adjusting motor power to minimize the difference between where the 11 motor should be and where it really is It does this analysis a few million times per second When it wants to apply power to correct for error in position it looks to us for guidance By entering in some tuning parameters we are giving the Stagehand that guidance In a confounding abstract way we are specifying how much power to give the motor when it needs to make a correction If the values that we enter give the motor too much power during correction the motor will be jerky as it over corrects and then has to pull back remember this happens millions of times per second If the values we enter do not provide enough power to the motor to correct position it will never reach the cue position since it will run out of power and be unable to muscle the load onto the target Creative Conners 83 84 Understanding Spikemark s tuning capabilities is essential to the Watchout Spikemark integration When Watchout receives the position information and processes it through the live tween track a Watchout specific term that is explained further under Tween Formula Chapter 3 it simulates a motion path that it is assuming the projection surface is following There is no sensor or information going in the other direction to assure the image is accurately tracking
49. ntally out of sight It always had to exit upward This both added an element of predictability to its movement and also made programming complex motion paths more complicated because I had less space in which to make dramatic movements In addition perhaps the biggest challenge that faced my design process is the one discussed under the Media Design heading of Chapter 3 Now that I have a better understanding of the design of this technology when I next employ it I would negotiate for a screen design and paint treatment that would mask the imperfections of the technology INITIAL CONCEPTION The first time I met with the director for Alice we discussed what the full technological capabilities of the tracking projection screen could be She was drawn to its lateral movement and its ability to break up the existing patterns of scenery and movement present within the set She wondered how its movement could accentuate the idea of floating thoughts and how it could enhance the unexpected feelings of Wonderland From this discussion we thought through the show and identified moments where the tracking screen s inclusion would be appropriate As she visualized ideas during her rehearsal process I read through the script to get a feel for when the tracking projections could amplify the storytelling The projection list went through an iterative process as we approached the time for technical rehearsals New ideas were added and old ideas were cut For ex
50. on I set the following goals for this thesis project 1 To experience the Spikemark Watchout integration from a user point of view to analyze the steps needed to deliver the product and to reflect on ways to maximize the integration s efficiency and quality Much of the production work done with this integration involved experts in these fields and assistance from the developers Now that it is a few years old a bit more refined and released to the public community of Spikemark and Watchout users I took the approach of an end user seeking to use the available information and see if I could actually get it to work At each part of the process I would analyze the situation to determine what factors of each system had unique considerations for this integration and then draw conclusions for making choices within the system s design that would produce the best result Furthermore considering the theatrical industry is inherently fast paced if this integration is to be widely used it needs to be efficient to setup By analyzing the elements required to operate the integration I attempted to gain a better understanding of how they interact in order to make recommendations for a quick installation 2 To encourage the development of this integration as another tool for dynamic design given the prevalence of Watchout and Spikemark in university and regional theatre While the idea of moving digital images around a sta
51. r 2 Server Port The port where WATCHOUT listens for incoming data By default WATCHOUT listens on 3040 3 Motor List Each motor in your show is listed If the Active box is checked that motor s position information will be sent to WATCHOUT In the Watchout Name text box you can enter a name that will be used inside WATCHOUT to 46 identify the motor s position The Spikemark motor name and the WATCHOUT name can map however you like For example we could have called it Logo Winch in Spikemark and fuzzy pink rabbit in Watchout 4 Sending Position Data Indicates whether Spikemark is currently sending UDP packets to the address indicated in Server Address 5 Update Interval ms The frequency with which Spikemark will send position updates to WATCHOUT The number entered here will determine how many milliseconds should elapse between updates so higher numbers will result in a slower update cycle In practice 30ms is about the fastest rate consistently possible without adversely affecting Spikemark s performance 6 Messages second The number of position updates that are actually being sent to WATCHOUT each second This number will often bounce around by 1 or 2 messages 7 Include transition rate in messages If checked Spikemark will send WATCHOUT the number of milliseconds that have elapsed since the last position update WATCHOUT can use this informatio
52. ration because its complexity provided a real challenge to negotiating how all of the components could function smoothly It demanded more refined motor tuning and cue programming in order to reduce the media s vibration while in motion In addition it generated techniques for achieving greater perceived accuracy of the image tracking Furthermore it pushed the visual composition of this scene into being a more vibrant experience THE HEAD OF THE CHESHIRE CAT In Act 2 Scene 14 Alice is invited to play croquet with the Queen of Hearts At one point during the games visible only to Alice a giant head of the Cheshire Cat appears Motivation for the Cat s presence in this scene is found in the original illustrations for Alice in Wonderland seen in Figure 11 Similar to the Alice Sees into the Garden movement the screen flies in with a giant still image of the Cheshire Cat s face except this time it flies in at its stage left most position His character s magical all knowing presence looms over the scene until it comes to life with him saying Look to the tarts in a booming voice He is calling attention to the Knave of Hearts character who is about to steal the Queen s tray of cherry tarts On the screen we see the video of the Cheshire Cat saying his line as it fades into an image of a tray of cherry tarts For this scene I faced a similar media problem as I did with trying to isolate Alice s eyes I began by taking a c
53. rest created by the overall projection design The overall goal for this project was to deliver an analysis of my user experience with this software partnership in order to make contributions to the research for improving the system s tuning process that would achieve greater tracking image quality Separately these two technology systems are readily available in both regional and university theatre Thus improving the process of this system partnership will have a far reaching effect on improving fluid projection design in theatrical environments vi TABLE OF CONTENTS PAGE ABSTRACT nnee aan eneen v MIST OR FIGURES aranin aen aa a e a a a aaa vii CHAPTER F INTRODUCTION e 1 A bean dea o mae 1 The PROC cae esata lesa ins actos Socios aa sans auceteny o E A Qa E E Goes E ES 2 2 SYSTEM INSA AT ON 55k cc 8 Soc aen 6 Network COMUNICA ue Si ede 7 Automation Component DESION vin A iii 10 3 PROGRAMMING ovina as 13 Spatial RelamOnship nnee 13 Tween Formula Sennan sb sehen ne en adi 17 Pixel Scale Factor ra 18 COTES OD secs ac aetles ctr asnsghs ree a er I E EAE E aE 19 CUIDE iii RR E a E a diles 21 M dia DES TBone benen iet N eneen 25 4 SHOW IMPEEMENA TION en neten RN EEEN 28 Initial CONCOPION ainia a a E E a a aa 29 Alice Seesint the Garden eert es ieee nal cl ede are e a oaa 30 Dink ME APON Oma a e A edad 32 The Head ofthe Cheshire Catan stre ini erat btriele 34 Stolen Tarts Daanbeste et 36 5 REFLECTIONS
54. ritten by adding layers of media to the Timeline composing their placement in the Stage window and adding tween tracks for a desired effect Playing the Timeline will run through any media sequences present at that time in the show A simple use of the Timeline and the one used for Alice is to add a pause button after each desired cue Therefore the operator plays the Timeline and a sequence plays until the pause button which pauses the Timeline until the operator hits play again Though it may appear that Spikemark is controlling Watchout when a cue runs this is actually not the case Running a Spikemark cue will not trigger the Watchout Timeline to play a cue Spikemark s running cue simply sends the information out as it is running to the media that is linked to the information All that is required in Watchout for a static image to track with the screen is for a synced item of media to be active in Watchout s Timeline If the Watchout cue requires the Timeline to play such as in the case of a video a separate projection operator is required to play the Timeline at the same time the automation operator runs the Spikemark cue Because Watchout is constantly receiving position data from Spikemark there is a good amount of room for operator error If both the Spikemark and Watchout operators do not hit the go button at precisely the same time the Watchout image will automatically jump to the screen s po
55. s What I discovered while testing the screen is that if I set the screen s lowest position number in Spikemark to 0 and then used the offset to change Watchout to recognize this as its 0 the position was off This proved to me that if Watchout was going to subtract the distance from the top of the projection field to the top of the screen s travel Spikemark needed to account for that distance in its position numbers The easiest way for me to do that was to set the low position number in Spikemark to 248 which is equal to the distance the screen moves up beyond visible stage window This range of numbers 248 485 processed into the Watchout tween formula so that Watchout s projected motion path matched the actual location of the screen 21 CUEING Once the two programs had the same spatial understanding for the needs of the production and I had accomplished successful accuracy tests I composed tracking sequences A sequence requires programming in both Watchout and Spikemark These programs have fundamentally different styles of creating cues In Spikemark cues are written in a stacking order Each targeted movement is written as an independent cue with the option of being linked to another cue An operator presses a go button to trigger the cue the cue will run to completion and the operator can load the next cue in the stack Watchout on the other hand functions in a Timeline Cues are w
56. scenic motion To that end Spikemark now has the ability to output position data from any motor in a show toa WATCHOUT media server It takes a little extra configuration in Spikemark and WATCHOUT to get both systems talking to each other but the effort is reward with truly stunning effects Alright let s get started Assume that we have a little show with an automated wall panel attached to a traveler track On cue the wall panel will track from Stage Right to Stage Left As the panel tracks across the stage we need to project a graphic onto the panel and have the image move along as if it were glued to the panel Here s a screen shot of the Spikemark cue Figure 350 43 SpikeMark DEM Ele Gtagehand Cues Stage Show Control Window Help Figure 350 In order for WATCHOUT s projectors to track an image synchronously with the motorized panel we need to send the position of the panel to WATCHOUT Spikemark will communicate with WATCHOUT over the Ethernet network so both the Spikemark automation computer and the WATCHOUT production computer need to be plugged into the same physical network In addition the two computers need to have compatible IP Addresses that share the first three segments of the address with unique fourth segments I have the addresses assigned as such Spikemark computer is 192 168 10 119 Figure 351 4 Local Area Connection 2 Properties ES
57. se its direction was consistent during the move The Y axis motor required multiple cues because it needed to change direction I incorporated position link triggers for the sequence of up and down cues and refined all of the settings until I had two paths of movement that allowed for smooth image tracking 485 320 248 Figure 7 Motion path representation for the Tart Dance Scene in Alice Curiouser and Curiouser 485 320 o STAGE RIGHT STAGE LEFT 248 Figure 8 Motion path representation for the Drink Me Potion Scene in Alice Curiouser and Curiouser 24 25 MEDIA DESIGN Being aware of the functional imperfections between the actual motion path of the projection surface and the idealized Watchout motion path it is worth considering ways to design the media content to reduce the audience s perception of a difference between the paths This was a main lesson I learned during the creation of the Alice tracking projection design Figure 9 shows a side by side comparison of the projection screen designed for this effect by the scenic designer and a static image of one of the moments this effect was employed What I designed for the tracking projections for Alice was perhaps the most difficult application for the integration of these systems As shown the projected content of the screen matches the exact size of the screen This is the root of the difficulty Projecting to the exact size o
58. sition For obvious reasons with the screen starting out of sightlines there is more room for this error than if the screen moves in view the whole time During Alice I employed a few different cueing styles for this integration which were all successful In Chapter 4 I describe in detail how I generated each tracking projection sequence 22 When writing a cue in Watchout M for this integration after the necessary steps are taken as detailed in the Spikemark manual to allow external control of the media much of the methods are the same as without having it linked to Spikemark The exception is that the linked media cannot freely move around the Stage window Therefore this created a tedious situation when I needed to adjust the media s placement on the projection screen because I could not just drag it into place My first method of adjustment was to keep all of the offset values the same for each image s tween formula and then adjust the anchor point of an image to place it where I wanted it to be on the screen because this was faster than modifying the tween formula each time However when I wanted to add rotational tween tracks to some of the media I found I needed the anchor points to be at the center of the image At this point I reset all of the images anchor points to the center of each image and made adjustments to image position via the offset in the tween formula While writing cues for the integration in Watchout
59. tart on stage left and end on stage right for the next scene was made possible with the use of this integration Without this range of capability the design for these moments would have suffered Discovering the Tart Dance movement was a bonus Through this design we were able to add playful excitement to the chase by having the image of the tarts moving across stage as the real tarts were moving too 38 Figure 13 Production Photo of the Stolen Tarts Dance in Alice Curiouser and Curiouser 39 CHAPTER 5 REFLECTIONS Carrying this project through the testing and production phases was an important beginning to researching this integration It allowed me to discover all of the nuances involved and identify areas that need further development and understanding Being both the technical designer as well as the artistic designer was invaluable to my process I was able to push both sides of the equation and really discover the capabilities of this integration My technical knowledge encouraged me to design more complex sequences and my artistic experience forced me to develop techniques to refine the technology to achieve the desired effect I am proud of this work as a first iteration for the San Diego State Theatre Department though I recognize areas needing improvement Through continued use of this integration we can truly contribute to its improvement The areas which I hope to continue researching are Pixel S
60. ter I still catch myself quoting his mantras Even though I know you would not have picked this project for me this one s for you Todd King ABSTRACT OF THE PROJECT Tracking Projections Experimenting in Dynamic Theatrical Design by Gabrielle Maria Heerschap Master of Fine Arts in Theatre Arts with a Concentration in Design and Technical Theatre San Diego State University 2015 Advances in stage automation and projection design in recent years have provided new design tools to bridge the visual conversation of contemporary theatre into the technology driven 21 century A variety of solutions exist to achieve fluid design This project explored the concept of moving projection images around a stage by using an existing automation and projection software partnership with Creative Conners Spikemark automation software and Dataton s Watchout projection software Using the automation system I moved a projection screen along a motion path The automation software sent its position information to the projection software so the projected content followed the moving screen Proof of this technology s ability to enhance the visual movement of stage design was showcased in the projection design for the SDSU School of Theatre s production of Alice Curiouser and Curiouser an adaptation of Lewis Carrol s Alice in Wonderland Amidst a multiscreen projection environment I used tracking projections to further enhance the visual inte
61. to Wonderland Considering the quick timing of the scene I knew I needed less than 10 seconds of video from when we first see the screen to its final lowered position I selected an 8 second clip from the video that ended in a moment of Alice looking out to the audience wide eyed The challenge with this media and the screen shape was that we wanted to see just her eyes close up a landscape oriented view but the screen had a portrait orientation This showed her entire face in the portrait and restricted how far I could zoom in on her eyes 31 I put a feathered border around the video so it looked like Alice s eyes were lit up in a dark cave like setting mimicking where they were In Watchout I blended the end of the video into a still of her eyes To get the spinning flower effect I manipulated a flower shape image in Photoshop and gave it a glossy sheen This coupled with an opacity tween in Watchout allowed me to slowly ghost in the flowers to her eyes I initially just had the flower fading up however when I heard the scene s twinkling magical sound effect playing as I watched the projection I felt this moment needed a matching animation which is when I added a rotation tween to the flowers Video Still Masked Video Watchout Composition Alice Looks Into the Garden Media Creation Figure 10 Alice Sees into the Garden media storyboard The motion path for this scene was a simple down movement in the Y axis I fe
62. ttle function button Figure 365 Vv Position Specifies a formula for controlling this parameter o 2 Name Descr Gener Figure 365 In the dialog box that appears we enter in a formula in the X axis text box Since this is a traveler track we want to manipulate the lateral position of the image but if it was a flying piece of scenery we could instead control the Y axis of the image To use the value of the Generic Input we simply type the name of the input In this case I m multiplying the value of the input by 10 to get the image to track the correct number of pixels across the stage The multiplier you use can be adjusted to fit the specific show Figure 366 53 3D Parameters Formulas governing the parameters being tweened O Y TweenValue Z TweenValue The results of the formulas are applied to the parameters being controlled It may include the name of inputs operators etc and the name TweenValue which refers to the current value of the tweening curve ame Figure 366 We are almost there Before flipping the last switch to connect Spikemark to WATCHOUT try clicking around in the Value column of the Input list This will manually adjust the value of the Generic Input and if everything is correct so far as you alter the Generic Input Value the image should jump to a new X position in the Stage window Figure 367 Ml stage lt lt lt OF F LINE gt gt gt X E vecia
63. unterweighted batten that moves up and down in the Y axis controlled by a 5HP winch attached to its arbor This winch is capable of pulling a maximum load of 900 Ibs at a maximum speed of 3 ft sec For Alice I wanted to maximize the plane in which the screen could move to provide the most flexibility in creating motion paths while at the same time keeping the machinery hidden Taking into consideration the desired range of motion the audience sightlines and the height of the theatre s fly system I calculated the screen needed to hang 12 0 below its carriers in order to be most efficient Once the physical components were installed and the load in this case the projection screen was attached to the system I was able to tune the motors The purpose of motor turning is to achieve the smoothest possible motion path given a system s physical and mechanical constraints and imperfections Tuning is done one axis at a time To describe the process simply the motor is written into a cue to bring it to specified location at a given speed After running the cue I must evaluate both the quality of its motion as well as the motor s ability to accurately achieve its position I then need to adjust the tuning parameters for that motor in Spikemark and then re run the cue to evaluate if the changes achieved the desired result The following excerpt from the Spikemark manual provides a simplified explanation for what the tuning parameters are doi
64. ut A live tween situation occurs when the stream of incoming Spikemark information is associated with a position track The tween formula in this case functioned both to associate the motor information for the X and Y axes with the tween values for the X and Y axes of an image s position and to translate the incoming data for Watchout so it knows in its system where the image should be Writing the formula involves knowing the name of the motor input as defined by Spikemark and two numbers Pixel Scale Factor and Offset 3D Parameters x M Formulas governing the parameters being tweened baie 5275 Frankenwinch 4 4 Pixel Scale Factor Offset maa Feel i Motor Input Name Z TweenValue The results ofthe formulas are applied to the parameters being controlled lt may include the name of inputs operators etc and the name TweenValue which refers to the current value of the tweening curve cme Figure 6 Tween Formula dialogue box Pixel Scale Factor A pixel to inch ratio refers to the actual dimension of a single pixel when it comes into contact with a projection surface It is determined by the native resolution of the projector and the projector s proximity to the projection surface This is a natural consideration for projection design to ensure the proper resolution of media is used for a given application With the Watchout Spikemark integration the pixel ratio plays a
65. ut reads negative input information as 0 So if a Spikemark cue were to run in a direction in which the position numbers were negative despite the fact that is it sending out its position messages the image would not move in Watchout because it would think it was at 0 the whole time To remedy this requires negotiation of position numbers in both Watchout and Spikemark a topic that will be further discussed under the subheading Offset under the heading Tween Formula Figure 5 depicts the final position programming parameters for the Alice configuration o 0 0 WATCIIOUT 485 7 320 X Axis 0 Y Axis STAGE RIGHT STAGE LEFT 248 Figure 5 Spikemark position programming parameters for Alice TWEEN FORMULA In Watchout a tween track is a specification placed on a piece of media that is designed to dynamically manipulate the media it is applied to during a cue Many tween tracks can be externally controlled by a variety of inputs Dataton 69 For the production of 18 Alice I used motor input values from the automation system to control position tween tracks One of the trickier and more complex parts of working with this integration is developing an accurate tween formula to associate with a given position track This formula is unique to every instance of this integration In this application each motor filtered through Spikemark functions as a generic input in Watcho
66. ware it is essential to set up all of the physical components of the system For this discussion I will provide an overview of both the Watchout projection system and the Spikemark automation system to define what elements are required for each and to describe how I selected the necessary components for my project Watchout is a multi display projection playback software It operates with one main computer known as the production computer and any number of display computers each connected to a projector as their display Each display is associated both with a physical field of projection that will land on a projection surface and with an IP address to connect it to the Watchout Local Area Network The projection programmer uses the Watchout software on the production computer to define each display in the digital world in order to control what content is projected by a given display In addition the programmer uses the production computer software to add and manipulate media in a layered Timeline which when activated will output projection content as designed Spikemark is a multi axis theatrical motion control software Similar to Watchout Spikemark functions with a main control computer that connects via a Local Area Network to any number of units used to motorize scenery in a production Each motor controls an object with a physically defined axis of movement and is outfitted with a Stagehand motor controller card
67. ying motion paths around the stage The following sections provide detailed descriptions for how this system was applied in each instance ALICE SEES INTO THE GARDEN Arguably the strongest use of the tracking projection screen is this movement that occurs early in Act 1 of the show After falling down the rabbit hole Alice has found herself among many doors She finds one small door especially curious though it is locked With the help of the Enchanted Table character she finds the door s key The door is positioned from the audience s point of view in the lower left corner of the stage At the point where Alice kneels down to open the little door the tracking projection screen flies in center stage playing a video of a close up of Alice s eyes catching the first glimpse of the Wonderland garden When the screen reaches its downward position the video of Alice s eyes freezes with her looking directly towards the audience On her line It s the loveliest garden I ever saw a spinning flower appears in each of her eyes and lasts through the moment of her peering into the garden The idea grew out of the director s desire to have the moment of Alice looking through the door be prominent and understandable that she was looking into the physical Wonderland garden onstage I began creating this sequence with a video clip of Alice s face close up in front of a green screen looking around as if she were peering for the first time in

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