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Projection Designers Toolkit [Minkštas viršelis]

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(Eastern Michigan University, USA)
  • Formatas: Paperback / softback, 324 pages, aukštis x plotis: 254x178 mm, weight: 780 g, 3 Tables, black and white; 140 Halftones, color; 140 Illustrations, color
  • Serija: The Focal Press Toolkit Series
  • Išleidimo metai: 23-Dec-2021
  • Leidėjas: Routledge
  • ISBN-10: 0367424363
  • ISBN-13: 9780367424367
Kitos knygos pagal šią temą:
Projection Designers ToolkitDidesnis paveikslėlis
  • Formatas: Paperback / softback, 324 pages, aukštis x plotis: 254x178 mm, weight: 780 g, 3 Tables, black and white; 140 Halftones, color; 140 Illustrations, color
  • Serija: The Focal Press Toolkit Series
  • Išleidimo metai: 23-Dec-2021
  • Leidėjas: Routledge
  • ISBN-10: 0367424363
  • ISBN-13: 9780367424367
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9780367424367.html
Raktažodžiai:
The Projection Designers Toolkit is an insiders guide to the world of professional projection design, serving as a reference for the planning and execution of each step in the projection design process.

The text addresses the design process within the context of a professional projection designers workflow, focusing on specific tools of the trade, best practices for communicating your design to collaborators, tips and tricks, determining budget, working with assistants, and more. Featuring interviews with some of the top names in the industry, the book offers an unprecedented insight into the professional projection designers process across a wide range of fields, from Broadway and regional theatre to corporate design and music touring. The book also includes in-depth discussion on production process, system design, cue and content planning, content design, digital media fundamentals, media servers, video equipment, and projection surfaces. Additionally, it features hundreds of full-color photos and examples of designer artifacts such as draftings, mock-ups, paperwork, cue sheets, and renderings.

Filled with practical advice that will guide readers from landing their first job all the way through opening night and beyond, The Projection Designers Toolkit is the perfect resource for emerging projection designers and students in Digital Media Design and Projection Design courses.
Acknowledgements xv
Introduction 1(2)
Part I Understanding The Field 3(54)
1 Projection Design for the Theatre
5(19)
1.1 What is Projection Design?
5(2)
What's in a Name?
5(2)
1.2 A Brief History: People, Technology, and Trends
7(7)
1.3 Working as a Projection Designer
14(5)
The Skills
15(1)
The Job
15(1)
Agents and Unions
16(1)
Financial Concerns
17(1)
Bookkeeping
17(1)
Permissions
17(1)
Travel
18(1)
Running an Office
18(1)
Field Notes: Wendall K. Harrington
19(5)
2 Production Personnel and Collaboration
24(22)
2.1 The Creative Team
24(9)
Playwright
24(1)
Director
25(1)
Stage Management
26(1)
Dramaturg
26(1)
Scenic Designer
27(1)
Lighting Designer
28(1)
Projection Designer
29(1)
Costume Designer
29(1)
Sound Designer
30(1)
Composer
31(1)
Music Director
32(1)
Choreographer
33(1)
2.2 The Management Team
33(2)
Artistic Director
33(1)
Producer(s)
34(1)
General Manager
34(1)
Company Manager
34(1)
Production Manager
34(1)
2.3 Unions
35(4)
United Scenic Artists, Local 829
35(2)
Contract Language
35(1)
Joining USA 829
36(1)
IATSE
37(1)
Actors' Equity
38(1)
American Federation of Musicians
38(1)
Other Unions, Guilds, or Associations of Note
38(1)
Field Notes: Daniel Brodie
39(7)
3 Projection Design Personnel
46(11)
3.1 The Projection Design Team
46(3)
Projection Designer
46(1)
Content Creation
47(1)
Assistant Designers
47(1)
Associate Designers
48(1)
Programmer
48(1)
Field Notes: Paul Vershbow
49(3)
Crew Members
51(1)
Operator
51(1)
Staging Companies
52(1)
Field Notes: Christine Franzen
52(5)
Part II Design And Production Workflow 57(142)
4 Production Process Overview
59(13)
4.1 Design and Planning
59(3)
Discovering the World of the Play
59(1)
Hiring Your Team
60(1)
Meetings
60(1)
Creating/Sourcing Content
60(1)
Communicating the Design
61(1)
System Design
61(1)
Rehearsal Time/Designer Runs
61(1)
Shop Orders
62(1)
4.2 Load-in
62(2)
4.3 Tech
64(1)
4.4 Previews and Performances
65(1)
4.5 Post-opening
66(1)
Field Notes: Zachary Borovay
67(5)
5 Preliminary Design Steps
72(17)
5.1 Financial and Logistical Concerns
72(3)
Determining the Design Fee
74(1)
Equipment Concerns
74(1)
Timetable and Scheduling
75(1)
5.2 Assessing the Projection Needs
75(4)
Determining Needs Together
75(1)
Asking the Right Questions
76(3)
1 How Does This Show Benefit from Using Projection?
76(1)
2 How Are We Using Projection for This Production?
76(1)
3 What Kind/Style of Content are We Using?
77(1)
4 What is the Show Venue?
77(1)
5 What are We Projecting Onto?
77(1)
6 What Kind of Equipment is Available?
78(1)
5.3 Understanding the Script
79(1)
The Script
79(1)
Script Analysis
79(1)
5.4 Developing a Design Concept
80(4)
Script Response Questions
80(1)
Research as a Design Tool
80(2)
Finding Your Research
82(1)
Documenting Your Research
83(1)
Developing Intention
83(1)
Field Notes: Peter Nigrini
84(5)
6 Communicating the Design
89(19)
6.1 The Functions of Projection Design
89(6)
Creating a Dynamic Environment
89(1)
Mood
89(1)
Visual Reinforcement
90(1)
Interacting with Performers
90(3)
Presenting/Representing the Performers
93(1)
Stage Magic/SFX
94(1)
Creating a Commentary
94(1)
6.2 Theatrical Styles and Projection Design
95(4)
Classical Theatre
95(1)
Neoclassicism
96(1)
Melodrama
96(1)
Realism
96(1)
Naturalism
97(1)
Expressionism
97(1)
Theatre of Cruelty
97(1)
Epic Theatre
98(1)
Theatre of the Absurd (Absurdism)
98(1)
Immersive Theatre
98(1)
Documentary Theatre and Verbatim
99(1)
Physical Theatre
99(1)
6.3 Presenting Your Ideas
99(4)
The Concept Statement
100(1)
Presentation Tools
100(2)
The Design Presentation
102(1)
Field Notes: Rasean Davonte Johnson
103(5)
7 System Design
108(21)
7.1 Asking the Right Questions
108(4)
Who is Designing the System?
108(1)
What Type of System is Required for the Job?
108(1)
What Do You Need the System to Accomplish?
109(2)
What are Your Resources?
111(1)
What Media Server is Required?
111(1)
7.2 Selecting Display Devices
112(4)
Start with the Surface
112(1)
Selecting Projectors
113(1)
Projector Accessories and Considerations
114(1)
Emissive Displays
115(1)
7.3 Interactivity
116(2)
Camera Devices
116(1)
Audio Devices
117(1)
Encoders and Markers
117(1)
Field Notes: David Bengali and Chet Miller
118(11)
8 Cue and Content Planning
129(14)
8.1 Scene Breakdown
129(1)
8.2 Cue Sheet
130(3)
FYI: A Word About Cue Labelling and Numbering
131(1)
What to Include in a Cue Sheet
132(1)
8.3 Thinking About Content and Workflow
133(2)
Workflow Diagrams
133(1)
Content Work List
133(2)
Field Notes: Christopher Ash
135(8)
9 Content Design and Creation
143(19)
9.1 Thinking About Content in Relation to the Theatrical World
143(6)
Thinking About the Presentation Surface(s)
143(1)
How is the Content Being Displayed?
144(3)
The Overall Stage Picture
147(2)
9.2 Content Considerations
149(5)
How Much Content is Required?
149(1)
What are the Surfaces?
149(1)
File Organization
150(1)
Naming Protocol
150(2)
What Kind of Content is Needed?
152(2)
Field Notes: Tal Yarden
154(8)
10 Digital Media as Content
162(18)
10.1 Digital Media Fundamentals
162(6)
Measuring Data
162(1)
Pixels and Resolution
163(1)
Digital Graphic Files
163(1)
Color Theories and Terminology
164(2)
Color Mixing
166(1)
Color Management: Color Models, Color Spaces, and Device Profiles
166(2)
10.2 Content Types and Workflow
168(12)
Still Imagery
168(1)
Common File Types for Still Images
169(1)
3D Modeling, Renderings, and Animation
170(2)
Game Engines
172(1)
2D Animation Types
173(1)
Video Imagery
174(1)
Digital Video File Formats, Codecs, and Containers
175(2)
Video Editing Basics
177(2)
Rendering Considerations
179(1)
11. Load-In through Opening
180(19)
11.1 Preparing for Tech Rehearsals
180(7)
Load-In
180(1)
Tech Table
181(2)
Focus
183(1)
Fine-tuning Projectors
184(1)
Image Warping and Projection Mapping
185(1)
Masking
185(1)
Programming, Levels, and Looks
186(1)
Training Operators
186(1)
Working with Other Control Systems
187(1)
11.2 The Tech Process
187(2)
11.3 Previews, Opening, and Beyond
189(3)
Opening Night
190(1)
Documenting and Archiving the Design
190(1)
Production Reports
191(1)
Field Notes: Matthew Ragan
192(7)
Part III The Tools Of The Trade 199(72)
12 Video Systems and Components
201(19)
12.1 Video Systems and Fundamentals
201(2)
Video Playback Systems
201(1)
Live Video Systems
202(1)
Interactive Systems
202(1)
12.2 Video System Components
203(4)
Video Source
204(1)
Distribution
205(1)
Video Cables
205(1)
Interfaces and Connectors
206(1)
Output Devices
206(1)
12.3 Distribution and Control Concerns
207(8)
What Types of Connectors are Needed?
207(1)
Cable Adapters
207(1)
Cable Runs
208(1)
Extending Your Signal
209(2)
Dynamic Data Channel (DDC)/Extended Display Information Data (EDID)
211(1)
Signal Splitting
212(1)
Video Scaling
212(1)
Graphics Expansion Devices and Wall Controllers
212(1)
Controlling and Routing Video Signals
213(1)
Video System Accessories
214(1)
Field Notes: Grant McDonald
215(5)
13 Video Projectors and Emissive Displays
220(15)
13.1 Understanding Video Projectors
220(3)
Projector Components
220(1)
Projector Types
221(1)
LCD Projectors
221(1)
DLP Projectors
221(1)
LCOS Projectors
222(1)
Light Sources: Lamps, LED, and Laser
222(1)
13.2 Projector Considerations
223(5)
Brightness
223(1)
Resolution/Aspect Ratio
223(1)
Lens Capabilities
223(1)
Projector Stacking
224(1)
Edge Blending
224(2)
Useful Projector Calculations
226(2)
Calculating Image Width
226(1)
Calculating Throw Distance
227(1)
Calculating Throw Ratio
227(1)
Calculating Image Brightness/Luminance
227(1)
13.3 Emissive Displays
228(3)
Video Monitors
228(1)
LED Displays
229(1)
Transparent Displays
230(1)
Field Notes: Laura Frank
231(4)
14 Projection Surfaces
235(24)
14.1 Projection Screens
235(4)
Screen Gain
235(1)
Viewing Angle
236(1)
Thinking About Contrast Ratio
236(1)
Texture
237(1)
Front vs. Rear Projection
238(1)
14.2 Fabrics and Coatings
239(3)
Muslin
239(1)
Scrims, Netting, and Mesh
240(2)
Screen Coatings
242(1)
14.3 Scenery as Projection Surfaces
242(9)
Projecting Onto a Flat Surface
243(1)
Projection Mapping
244(4)
Overlapping Projection Surfaces
248(1)
Surface Concerns
249(2)
Field Notes: Jeff Sugg
251(8)
15 Media Servers
259(12)
15.1 What is a Media Server?
259(5)
Types of Media Servers
259(2)
Common Features and Considerations
261(3)
Projection Mapping
261(1)
Masking
261(2)
Edge Blending
263(1)
Show Control/Networking/Protocols
263(1)
Supported Formats/Codecs
263(1)
Inputs/Outputs
263(1)
Previsualization
263(1)
Software vs. Turnkey
263(1)
Computers and Licensing
263(1)
15.2 Communication and Networking
264(9)
Entertainment Control Systems
264(1)
Networks
264(1)
Standards and Protocols
265(8)
MIDI
265(1)
Transmission Control Protocol (TCP)
266(1)
User Datagram Protocol (UDP)
266(1)
Open Sound Control (OSC)
266(1)
DMX 512-A
267(1)
Art-Net
267(1)
Timecode
267(1)
Network Device Interface (NDI)
268(1)
PJLink
268(1)
Syphon/Spout
268(3)
Part IV Deliverables 271(26)
16 Drafting, Graphics, and Paperwork
273(24)
16.1 Draftings
273(5)
Ground Plans
273(1)
Projection Plan
274(1)
Centerline Section
275(1)
Rack Drawings
276(2)
16.2 Design Graphics
278(7)
Mood Boards
278(1)
Storyboards
278(2)
Mock-Ups
280(5)
16.3 Diagrams and Paperwork
285(6)
System Diagrams
285(1)
Tech Table Specifications
286(1)
Surface Cheat Sheets
286(2)
Design Paperwork - Spreadsheets
288(11)
Scene Breakdown
289(1)
Cue Sheets
289(1)
IP Tracking
289(1)
Timecode Tracking
289(1)
Surface Tracking
290(1)
Notes/Work Lists
290(1)
Permission Tracking
290(1)
Operator/Department Notes
290(1)
Field Notes: Caite Hevner
291(6)
Part V Working Outside Of The Theatre 297(16)
17 Projection and Media Design in Other Sectors
299(14)
17.1 Projection and Media Design in Other Sectors
299(8)
Dance
299(1)
Opera
300(2)
Music/Concerts/Touring
302(1)
Installations/Displays/Site-Specific Work
302(1)
Theme Parks/Casinos/Cruise Ships
303(2)
Industrials/Trade Shows
305(1)
TV/Film
306(1)
Architectural/Projection Mapping
307(1)
Field Notes: Olivia Sebesky
307(6)
Index 313
Jeromy Hopgood is a scenic, lighting, and projection designer whose work has been seen in theatres across the US. In addition to his freelance work, he was one of the creators of the multidisciplinary Entertainment Design & Technology program at Eastern Michigan University, where he is a tenured Professor. Jeromy is a regular instructor at LDI in Las Vegas, as well as a long-time member of USITT and the current Vice-Commissioner for Education of the Digital Media Commission. As an expert in the field of show control and digital media, Jeromy teaches master classes across the country related to projection and sound design, system engineering, and the industry-standard QLab show control application.