060 VENUE
The production of La Boheme, which incorporated 3D mapping using the d3 Designer system and the Barco HDX-W14’s. Photo by Erik Berg
Green Hippo Hippotizer media server. But in August last year Eric was given the opportunity to add to his stock. He opted for two Barco HDX-W14 WUXGA three-chip DLP projectors, the newest projectors in the Barco at the time. Eric said of his choice: “We did a shootout between the FLM R20 and the HDX and the latter was a bit brighter. They are pretty quiet for the amount of light output they produce, they have great contrast, and produce really good blacks. Usually I use the shutter when we have blackouts but I don’t really need it for the HDXs. The size was also important, you can actually move these by yourself.” The HDX-W14’s have a 14,000 lumens light output and feature three-chip DLP colour components capable of generating crisp, vivid images onto any surface. Their sturdy and compact design allows Eric to move the HDXs around from stage to stage depending on the productions taking place at the Opera House at any given time. The HDX-W14’s are equipped with both wired and wireless control options, which combined with active 3D provides this unit with a smart and useful function. The projectors can be controlled via smart phones or tablets offering Eric the very latest options for control. In order to lead visual technology within the theatre market in Europe, Eric knew he needed to do more than just project images onto a flat, static surface. He embarked upon a challenge - 3D mapping onto moving objects - for the production of La Boheme, which premiered at the Opera House in January this year. To accompany the new projectors Eric selected a d3 Technologies (formerly UVA) d3 Designer system for simulation, mapping, editing and playback.
Inside the d3 system both HDXs are positioned in correlation to their location in the theatre, there is also a third virtual projector. Eric sets the resolution, position and lens throw ratio on the virtual projector and this allows him to visualise the throw areas. The video files - created using Maya 3D animation software - that are outputted by the virtual projector are then ‘filmed’. Eric then has to match the virtual projector with the real projectors, and using the powerful auto-calibration feature of the d3 system, the correct signal will be calculated and sent to each projector in real time, without the need to carry out any content re-rendering. This is a huge time saving tool for Eric, and the auto-calibration feature not only works for static screens but also moving object, a key reason behind the software choice. Eric said: “When you combine video with an object that’s like a bulls-eye for me. In Opera it is all about the music, but with video you can really create an optical illusion, it doesn’t have to be all the way through but it can really lift the show.” Business Development Manager for Barco, Lotta Schiefer said of the La Boheme production: “Something that struck me at the time was the stage felt about 50 times bigger than it actually was. The moving projections were creating the actual scenery and you had people moving in a revolving stage while the projection was creating the landscape going by.” Eric believes the popularity of visual technology in theatres is definitely growing and would go as far to say it’s now 50-50 between lighting and video at the opera houses that have invested in visual equipment. He said: “For what we are trying to achieve, 3D mapping is the perfect tool and since its evolution we can do so much more in the theatre. Now it’s more like scenography than light.” The next step for Eric is the integration of moving wagons, which will allow even more precise 3D mapping for moving objects. The Opera House is already working with Swedish company Visual ACT and d3 Technologies to make this a reality. “Right now the projection locates itself in the room with reflectors, which you shoot at, the moving wagons will introduce a hard surface to run on. The wagons will automatically feel if they are not moving in the way they are suppose to and correct themselves,” said Eric. It is no surprise that the video department is already looking at the next phase. The Government spent 4.4 million NOR (£430 million) on building the Opera House, and is keen to look after its investment. It plans to do this by staying ahead of the market, and is willing to update and replenish the equipment whenever required to ensure that Norwegians and tourists alike will be proud of this venue for many years to come.
www.operaen.no
www.mondodr.com
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