Following the conclusion of the rehearsal process, the work moved into the theatre. The research continued in situ over the course of several months of public performances, during which time we were able to refine the way the technology was deployed. Early performances at Sadler’s Wells allowed us to identify problems that we had not been able to foresee earlier in the development process. This was largely due to the fact that we were using technology and collaborative disciplines in new, untested ways.
Finding solutions to these problems allowed us to move towards a more refined integration of live and 3D digital elements.
1)
Problem - The 3D pixel screens suffered glitches and malfunctions as a result of their movement causing issues with the cabling.
Solution – We completely rethought and redesigned the environment in which the screens were used. Working with LCI Productions, we created a new custom-made media server that delivered a more reliable consistent signal to the screens. A change of cabling material to deliver improved signal consistency over distance and to withstand constant screen movement provided a more reliable solution.
2)
Problem – The distance between the audience and the stage meant that 3D screens did not create enough three-dimensional depth from the audience’s perspective.
Solution – We reconfigured film screen content in higher resolutions and with more depth parameters.
3)
Problem - Some of the original screen positions needed to be reorganised in order to be more effectively immersed with the physical dancers.
Solution - As Atomos began to tour, additional rehearsal time was allocated to allow for repositioning of the screens in situ. The lighting and physical choreography was adapted in response to changes in screen, light and set alteration.