Broadway video design is a lot more complicated than it looks. And it already looks pretty complicated. Listen to this week’s “Stagecraft” podcast below: On the new episode of “Stagecraft…
In the musical adaptation of “Back to the Future,” the intricacy of the video design seems pretty obvious, as screens are used to create the illusion of 88-mph DeLorean rides and clocktower climbs. “It’s all entirely 3D animation,” said video designer Finn Ross of that show’s designs. “There’s nothing real in there at all. Sometimes we might sample real-world textures, but we wanted to get this sort of heightening of reality to meet the level of energy the show exists on.
“I’ve been relighting the waves in another piece of software according to what the scene required, and then matching them to a sky that is organic, real footage,” she said. “That image then needs to treated, and beyond that, there are all the layers of gradients and birds and stuff going on.” “Video designers are interesting creatures in the number of different other disciplines we touch upon,” Ross said. “We have very close collaborations with the set and the lighting designer, but then we will get involved in costumes, and we’ll be syncing things with sound and we’ll be worrying about paint finishes on bits of scenery we’re going to project onto, and then talking to writers if there are any words that are being projected.
In “The Shark Is Broken,” the video isn’t just there to clarify scene changes and mark the passage of time. “We’re actually doing a psychological development of the character,” Dunn said, creating an atmosphere on stage that would “land the character into their scene with some knowledge of where they’re at psychologically.”
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