Independent VR Dance Research
What You See Is What You Get.
Independent Virtual Production in Performing Arts
2 MOCAP SUITS
2 OCULUS RIFTS
FOR A VR WORKSHOW MADE WITH UE4, MAYA, BLENDER AND TOUCHDESIGNER
BY CIRCAT SOUND AND NODE-INSTITUTE
PROGRAMMING: 04/21 - 12/21
LIVE STREAMING : 12/2021
ABOUT THIS PROJECT
"VP is where the physical and digital worlds meet." (WETE Production)
"It combines virtual and augmented reality with computer generated imagery and game-engine technologies to enable production crews to see their scenes unfold as they are composed and captured on set." (Moving Picture Company)
The gaming industry has been working on the development of real-time generated animations for a long time. In photorealistic quality they let avatars run through a world and change camera angles without lengthy rendering time.
Game engines such as UNREAL are therefore now also being used for films in order to produce virtually. This avoids the problems of linear production, such as the increasing relocation of the artistic process to post-production: corrections can be made on site, and all areas can work directly with one another in the virtual space. Since the virtual world is shown on LED walls or projection surfaces, the usual “green screen fatique”, unclear game situations and misunderstandings about the appearance of a scene do not occur.
Physical movements can be mapped realistically, e.g. the movement of substances and liquids. The physical lighting and camera movements can be synchronized with and above all by remote motion capture people can participate in the process from different locations virtually active. The use of game engines enables an interactive work process with a creative feedback loop.
If people can work in real time in a virtual world, if virtual and physical space merge into a mixed reality, this could be the point where performativity (re) enters the virtual performing arts.
So how can VP be used for the production process in dance theater? What synergies arise when physical and virtual production flow together? What obstacles does the virtual work environment pose for the dancers? What can be simulated and what cannot?
QUESTIONS AND OBJECTIVES
We see this project as artistic research that deals with the interface and the performance possibilities of dance in virtual space. Since VP is very expensive, we are also setting ourselves the task of trying out more cost-effective implementation options with this project.
The project includes both production-technical issues as well as formal-aesthetic issues:
- Can there be liveness experiences and feedback loops through direct collaboration in the virtual space?
- Can virtual space as an interactive element that can react according to physical and non-physical laws create new forms of performativity?
Implementation has just started. We will document individual milestones, failures and findings here.
So stay tuned!