Breaking Rectangles: Exploring Creative Video off the Screen
3:05pm in Studio B
Video displays are defined by boundaries. There is the screen size, number of pixels displayed, refresh rate and color space. What happens if we discard those boundaries and take video art off the screen and into the public environment?
Join us for a panel discussion on public space and creative video production. We will look at projects that incorporate video into the space beyond the screen, through lighting, immersive displays and interactive video experiences.
We will discuss how we can extend a digital creation off the screen and into three- dimensional space for true-to-size human interactions. Through lighting we get an inherently lo-res, abstract, evocative, visual exchange, while interactive experiences create immediate engagement for the audience. These interventions can have an even greater impact than a representational experience made up of millions of pixels. They can also complement a high-res expression, expanding the literal storytelling and wrapping the spectator in a compelling visual landscape of architecture and space.
J.T. Rooney 00:12
We have a lovely panel here. We’re excited to chat and see how the conversation goes. Again, if you’re just coming back into the room, remember that you can go to either space. If you do, please go through the hallway that way, so you didn’t interrupt the other panel. There’s restrooms in the back. We’ll have a discussion for about 40 minutes or so. And then at the end, we’ll have some time for questions. So without adieu, I’ll kick it off to you all to introduce yourselves and get going to talk about breaking rectangles. Thank you we left it to flip a little switch on apologies. Yeah, it’s coming. Keep speaking to it. Yeah.
Josue Ibañez 01:18
Can you guys hear me? Yeah. Well, thank you so much for being here today. My name is Josue.
J.T. Rooney 01:25
Tell a little bit about yourself. We’re gonna introduce yourselves. Okay.
Michael Stiller 01:31
Taking my three minutes.
Josue Ibañez 01:37
Okay, so So my name is Josue Ibañez. And I’ve been working in interactive and Immersive media industry for almost 70 years. And I’m really excited to be here. And thank you so much to Laura for inviting us. And I’m ready to share my story and also ready to share space with you guys. Please. Okay.
Hana Kim 02:02
Oh, my name is Hana. Kim. Wow. So many mics. I’m a Projection and media designer for performance. And yeah, so like anything involving with performance and storytelling, that’s what I do. And
Michael Stiller 02:21
we’re also working on a little bit of a comedy routine involving microphones. So I’m Michael, that picture is 10 years old. I’m a lighting designer. So I’ve heard some talk in the other talks about the LDS and such a seal, no, LDS in the room. But I’m a lighting designer with a practice that treads pretty heavily in the world of what I call lighting media convergence. And I don’t know if I’m an accidental lighting designer or one by fate. So the metal side of that is my middle name. And my mother’s maiden name is lift, which is German for light. So that’s like one for the Kismat side. But my first interest my first love was in making movies. This is really before video was a thing. At age eight, I begged my parents to buy me a Super Eight, Camera and a projector. And with my chemistry set as main prop i That way, you know, I could make my mad scientist movies. But at age 10, my parents took me to the theater. And I was fascinated by the way the lights were behaving and patterns. I didn’t, I went to a liberal arts college, no training in these fields always pursued them in any case. But really, there was more of an opportunity to pursue lighting as an extracurricular and in general, again, this is I’m old, early days. And I think one way or another, it seemed like if I’m going to have a career path, tried to make a living, it was going to be in lighting design. And I enjoyed lighting. Obviously, since I was turned pro prior to that I moved to New York City, I was making projected artworks for my friends performances. At some point, they asked me to light their shows, because they knew I like to do that. And that was a way to stop waiting tables. And let’s just say that set me off on a career of lighting design that took me to performance, live events, entertainment, television, film, and then all the way back around to lighting, media convergence. And I now have a studio that does a lot of work in the architectural and built environment. You guys call it installation work. I know a lot of it is media facades and things like that. So you’ll hear more about that in a bit.
Josue Ibañez 04:36
All right, thank you. So I’m going to start telling you a little bit more about myself. As I told you before, I have so many titles and you know, when I live in Mexico City, and every time that I come here, it’s hard for me to say, you know, when the officer asked me like, What do you do for a living? I’m like, oh shit, you know, like, what do I say now because I do so many things. He’s, and I have so many titles. But I mainly circulate myself between all of those. And I started my career in 2007. And I, I always say that I started my career when I was building this device, this kind of is a table. And this little device, I made it with my hands. And with all of this kind of like a, you know, experimentation with multi touch. So we’re talking about 2007, which was the year that the first iPhone was lounge. So we everybody was really, you know, amazed about seeing a multi touch device in their hands. So, at that time, I was part of this small community building bigger, multi touch surfaces. And nowadays, we see all of these devices all over the place, right. But for me, you know, like, the ability of breaking the pixels was, you know, seeing this as a magical way of approaching media, right. And, you know, moving forward, from this year, into 2023, and more into the design and Immersive experiences. And between this time, I, I was part of a group, I was one of the formula for family members, and actually, my former partners are here, in I’ve been part of this place, called cocoa lab. And in this heart color, like laboratory or company, we’ve been creating experiences all over the world. And we’ve been also, you know, like thinking about how we break the pixels, how we do something different each time, you know, like, the way we’re approaching each time with a challenge, the way we’re approaching about not just working into something that is rectangular, it took us into, into so many challenges into so many ways to break also reality and also deal with creativity, you know, like we were projected into the pyramids, or in the different types of services, but that allows us to, you know, work with the storytelling and discover that the power about breaking the pixels was the power about, you know, telling a story, that was one of the most powerful learnings about all, when I was, you know, into these type of projects, you know, like, the way we discover, to unleash these capabilities help us a lot to understand better the way to, to break the pixels. And moving a bit forward, I think, one of the biggest learns in my life or in my career, about this ability of breaking the rectangles, it’s about bending reality. And I always liked this idea of bending reality, because it compares like magic, right? When you’re bending, you know, or breaking these rectangles, somehow you’re creating this magic, and I want to show you real quick a reference about that I always quote, you know, like, the moment that I saw this word from these Japanese artists, it completely blew my mind, I was like, I cannot believe this is happening. And these are very an old work, but I really love because this is the idea of, you know, still a rectangle. But somehow you’re creating two elements, right? Something that is digital and something that is physical, you know, in one side, you have the screen and the other side, you have this piece of cloth that is moving with with this kind of like sealant that is blowing the element. And even today, for me, this is the perfect sample about bending reality, the perfect way about explaining how we like to bend right, you know, like in, you know, no matter how much Technology you’re using, you know, it can be very simple as this and it’ll like I’ve been unexplored exploring my life. And I always like to explore ideas. And I was a fan of this show. Probably you guys know from Netflix dark. And there’s this kid that has this magic lamp and he’s just like exploring and his Clegg has a piece of tech in the lamp. And I was I was trying to replicate this kind of like magic lab into the lab. And then I we build this kind of like magic lab with real DMX Wireless and also a tracking system into a lamp. And so help this idea bend reality has been also present in my career by always trying to do and, and also, I will say that break rectangles somehow. It’s also about breaking fear. And breaking fear, I think is one of the most powerful things that you can do with new projects you don’t like all of the the bit the past video that I show you from cocoa lab. It was about a challenge, right? And I’m going to tell you a short story about one of my biggest fears in my career. And it was this project for Matt Wolf. You probably guys hear about me I will You probably guys hear about projected desert, which is an experience that is in Las Vegas. And I was really scared about this project, because for those who here have been doing Projection mapping, this was a project that it was very scary because the surfaces were not flat. You know, like they were all curves. And these are nightmare, you know, for every person who is involved in Projection mapping this complete nightmare, right? The the surface that is not flat is something that you avoid to have right every time. But in this case, you know, it was it was so terrible experience about approach into this. I even remember talking with Alex, who’s here, like, I remember, we were in the know, talking together. And he was saying to me, You think we can do that? And I say, Yeah, of course, we can do that. And I just run I was just scared, a shattering like, I was just really scared about this project. Because we I didn’t know if it was possible to do it. Right. And, again, I was researching a lot of technologies. And of course, there is so much products out there, but none of them was able to do what we wanted to do, none of them was able to, you know, have this type of system that they wanted to, or if it exists, it was very expensive, and we couldn’t afford it. So we have to develop our own Technology for media map this system. So we kind of develop this tracking system, or we put some kind of like markers in the in the surfaces. And then we were able to, you know, recreate this map in 3d in the space. And after that we were able to calibrate in space. But once you pass that fear, once you solve that technical stuff, it’s about, again, telling a story. And it’s about the powerfulness that you can accomplish with an storytelling in what you can do with magic, right? When actually, when you visit this place, the Technology disappear completely, you know, even the Projectors are there, you don’t you don’t see them, because they become part of a new reality, a new way to see the space. And I guess, in the overall part of, of this knowledge about breaking rectangles, bending the reality and breaking the fear. It’s about building new narratives. And the most important for me, it’s also that IT support your creative intent, right. And I like to think about creative intern, as an example that I always put to some of my students about the creative internet, it’s like a shoe box. Like if you have the power to put you know, like to reduce the people into the size of a shoe box and you put them inside of the shoe box. And you wanted to take them into a journey. Where do you want to take them? Where do you want to what do you want to do with that people and in that’s kind of like the power of you know, like bending the rectangles, bend reality and also breaking the fear. So this is for me the way that I see breaking for tangles. Thank you
Hana Kim 13:29
that’s so cool. I just loved your presentation. So I’ll say that. And I’m Hana kin. And for me, I think breaking the rectangles when I first got the prompt it was more like I was thinking like what am I doing that is like that is suiting to this prompt is I think I tried to focus on and then wording here is a somewhat iffy I feel like what is even ancient and what is even new because like it’s not really like you know, I’m I don’t consider myself as a technologist I don’t consider consider myself as like working in the forefront of in Technology I more consider myself as like someone who’s very keen on storytelling device that’s been around for forever. And just like having an open mind to absorb relatively new or mediums that come our way to support that ancient storytelling. So I think in my head it’s more about like, what was even before rectangles, what is even rectangles and then this is just a very old rule that I grew up going to I’m gonna make the sound very, this is like very old so yeah, I think I can just try Get back on when I yeah, for you. So this is just like showing, like some of the work samples, it’s, I just, you know, life I haven’t really been able to update it for in the past few years, but I think it shows like a sense of like, kind of like what I’m trying to do. And each piece I tried to. So I work primarily in like performance driven, like very like to like narrative driven art form. So like have that be theater, opera, musical, you know, anywhere from little like little tiny show to Broadway. So it’s like, just like all that involves, like, humans on stage, performing something that interacts with like what I’m doing. So like, I’m trying to support the piece by piece and then project by project. So this kind of shows just the overall sense of things. And I’m gonna turn back on the music I don’t want. I don’t mind it. But let’s go to the next one. And then one of the works that I brought here as a not quite case study, but like, just as another example of breaking the rectangles. This is a site specific opera that I did it here actually, I’m based in LA and and this happened in Los Angeles Historic Park with a company called the experimental opera company called the industry. And it was a opera that set in the park where audiences were moved around to different sections of the opera. And then this, the photo that’s here shows the last section of the opera that was that dealt with ghosts of our history, American history, also ghost of the city. And the idea that kind of came across, came up in the group meeting was like, why do we literally use the land? Why do we literally use the land and the city as a surface? So I think that some think that’s a Broadway bridge, that’s a bridge and then then there’s a metro station, don’t quote me on the name of the bridge, I’m pointing out, but it’s all so like, and then all the found found surfaces in the construction area that was in the site. So we were basically taking really and then using the back of the Billboard there. So we were like literally trying to bring shine light on to these surfaces that are that are like literally our city. And this was like, another section that was… But yeah, this was a, this was one of the we also another thing with that we used was we used the recycled water that they were using for their sprinkler system in the park, and then use that as a Projection surface. Certainly not like any, like, big event level of like, fine this or like fine water surface. But I think like we were focusing on like, what, like, because this opera is about, well, I like I wouldn’t go deep into it. But the opera was about like the origin of America, and how, like the history, like the history of this land. So like we were trying to use the land as much as possible. And then some other works that I brought, just kind of like that was supporting. I thought like, you know, something that I made that was more in the realm of like, have a handmade quality and also like not really dealing with like, screens in a rigid way, brought some of those work samples. Okay, so this was like another another thing that we didn’t really deal with the surface necessarily. It was like, we kind of like this was just done in an opera called Orfeo in Santa Fe, opera, and we kind of use the mist system to convey like he he’s falling like his journey into the underworld. And this concept came about because we were in Santa Fe, where like, the nature is really beautiful. And really, we really wanted to highlight the air and where we were. So we kind of like try to use the natural element as a different surface. Fine, actually, I think I’m early in my time. But that was the that was kind of like the overview that I brought just a little things that I brought to talk about breaking the rectangles, and we can talk more about it later.
Michael Stiller 20:33
Okay, sorry, I just wanted to get the audio back up. So Hannah’s heard me say this before, but the Projection on the sprinkler system, like the found water, and the Projection on the nest, I think is really cool. And it’s a really good example of breaking the rectangle or atomizing, the rectangle. So that’s lovely. So my name is Michael, I already told you that. I have a small design firm in New York called MSD. And this is a couple of sentences that are kind of a more pretentious way of saying we mix it up. And I realize after half a day here that I am in the company of people who makes it up. And I don’t think make it up like it’s a fantasy. But we have ideas of new ways to put together systems and make new systems. And that’s what we do. So I do that to you do that. Maybe I do that with a slightly different outcome than you do or to a slightly different effect. We’ll see more on that. So we, we in my team, we like big pixels, right? In general, in the video world, the trend has been to smaller and smaller and more and more pixels, right? higher res high res high res, right, that’s where the Technology is taking us. And that’s great. We like our pixels big and soft. And sometimes we’d like to take a big soft pixel and bounce it off another surface and reflect it back and make it even bigger and softer. We’re not trying to do anything representational. Of course, you can do abstract and emotional work with high res. In a way, we can only do abstract and emotional work with our super low res stuff. We’re also interested in illuminating, you know, not just a surface to make a visual statement or for a line of sight experience. We’re interested in illuminating spaces. And you know, you can illuminate a space with six sided high res Projection or LED. And that’s great, too. So that’s not that’s not our jam, we do it with light, right. And we use media to drive the lighting, because we can follow along with the high res media, but also, it’s just a great way to do it. And as I’ve told you, I had a background where I was super interested in what we call motion pictures at the time making films. And for me as a lighting designer, and maybe by the way, I became a lighting designer partly because of like, you know, Right Place Right Time wrong place. Right time. I don’t know, it was it was the 80s. And it was only when element labs came out with the versatile and the Versa tube. Like that’s when I really got to bring it back around. You’re smiling and nodding your head because I’ve heard a number of people talk about element labs, right? That really brought it back around for me it obviously all of a sudden was like Oh, media and lighting together like a Reese’s Peanut Butter Cup. Like how good is that. So that’s when I got back. That’s when I brought the media back into the equation. So back to making shit up. The systems that we use are pretty funky and weird sometimes. And this has to do with how the lighting fixtures are designed or heard in another session talking about the limitations of DMX and tell me about it. But let’s talk about lighting fixtures at the Architecture the interior designer wants to use that can do things we want to do but like are controlled by phase control dimming or zero to 10. I mean, that’s the worst case scenario. But we go there as well. We certainly have lighting fixtures and companies that make lighting fixtures that can be controlled by media, and they have their proprietary processors. That’s great. Except if we use more than one manufacturers worth of stuff now we’re splitting a media feed into multiple processors to control the different fixtures. Okay, this is us making shit up. But often we have lighting fixtures that are just like DMX are streaming ACN or chi net. And we really have to build something from scratch to make a system that will control all those different fixtures because we’re not tending to have one fixture type in a project or you know one control protocol type. So this is an example I like to show it’s a pretty small project. What you’re looking at is a screenshot a lot of you probably know of TouchDesigner but on the on top On the upper right, is this lighting control processor, which is really cost effective, really powerful. It can put out lighting control in all these different protocols. But it can also take in stuff from the network and then spit it back out into another protocol. So we can use this, to do a number of things, the touchscreen that you’re looking at zone A, that’s actually an off the shelf part of the system, it just made this really easy to implement. And what you’re looking at below that touchscreen, is some streaming ACN output, and you probably can’t read it. But the first bunch of numbers, and anybody who’s a lighting person will recognize this is kind of a lighting DMX output. The first block of numbers are actually controlling the lights, but the underneath, right about, you’re gonna see my mouse right about here, this is putting out streaming ACN to touch designer. And we use this to tell touch designer, how to create these color gradients, which were then projected onto or fed to low res screens with diffusion in front of them, but also fed to these, these are lighting fixtures mapped to the media. So this device was sending out data to touch designer and then seeing the data that TouchDesigner generated because it turns these nodes back into streaming ACN and turns into to chi net to run the actual fixtures which happened to be color kinetics fixtures. So in a very, very simple couple of off the shelf things was not super expensive, we were able to give the client the ability, and this was Accenture. So their whole logo is based on a color gradient. But they wanted to be able to, you know, have some presets that they could change that would affect the media screen, but also the lighting in the space in those three zones, zones A, B and C. And if we watch this for another moment, we’ll get to the screen where here. So again, this off the shelf lighting controller gave us the ability to just send three different sets of RGB data to a touch designer, which would then generate that gradient, which would go on the screens, but also again, be projected onto the ceiling to create a real Immersive environment, you know, without having to like blanket the space with high res pixels, which would have been very expensive and not practical in this case, either. So this way, Accenture could kind of take their gradient and let their clients because this was their Experience Center kind of create their own with their own color scheme. And this is what the project looks like. Right, so you can see the three different zones in the space. Somebody went to one of those touchscreens on the wall, they went to you know, zone A, B and C they picked three colors, and they created a color gradient that was animated. And as it animated in the screens that also animated in the ceiling. Right. This is a pretty modest small project. But it’s one I like a lot. And this is to me, another kind of Immersive, probably. I’m a lighting guy. Now my favorite kind of Immersive. So I’m going to show you one more project. This is in Chicago, this was in collaboration with ESI design, they were the prime designers. It’s called sensing change. And this is a media driven public art piece. It’s actually also weather data triggered media driven public art piece, in which we have one, one stream of media controlling the 25% of the bars, which are a white light fixture like I think it’s a 10 or 15 millimeter pixel pitch facing the viewer. And then the other media stream controlling the other 75% of the bars that are a color changing, pixel driven fixture that is are basically illuminating a very unfortunate cinderblock wall on the outside of a parking structure that bounded this amenity space in this new big, fancy office tower in Chicago. The office tower, by the way, is kind of just out of frame to the right here, kind of behind us, right, this is their second level, terrace and then any space. In this capacity, we make the Pixel Map for the media designers, we were not the media developers. For this one, we were in the previous project. And you can see we you know basically said all the white light stuff goes in the bottom and the color stuff goes on the top. But of course the trellis. It was a trellis put it together for us. And because we’re lighting designers, they expect us to be electrical engineers. This is a construction project or licensed engineers, we can’t do that. But we have to help them. So we put together these drawings and you know, identifying each fixture, each fixture by the way had its own IP address or two. And it was a whole networking thing as well. We’re not the IT people, but we have to sort of put together the information to help them do it right. And even kind of break things down for the electrical engineers in such a way that they can power it and it won’t blow a circuit. So I’m just going to end with an attempt to show you a video that we had trouble loading. So if it doesn’t work, you can go to Michael stiller.com and look at the video but we’ll see what happens. So I think I mentioned it was weather data driven. Some of the media obviously, I hope looked like precipitation or wind. And we were taking live, live weather data and triggering pre render media. Generative was in the cards for a while, but that’s how it went. So that’s what I’ve got. Thank you. I think we have a few minutes for questions. Yeah.
Applause first, thank you all. You have a couple minutes for questions if people want to ask if microphones on either side and ironically, members of element labs and stuff like that around so it’s a good good crowd. But yeah, questions anyone? Who is that from the from the world? I’m gonna give you a mic just for fun.
Not not from the internet question. Just from me. I’m just a lot of these ideas came out had this i idea of like, kind of this magic experience kind of happening where like, particularly the, the blowing of the cloth and that moment and those experiences, how, what, when creating ideas for things like how do you go about like, like, knowing that you’ve you’ve you think you’re onto one of those moments where you’ve you found something? Or can you talk to that process at all, in any of the experiences.
Josue Ibañez 32:50
So, at the beginning of my career, I used to go on search IDs online and search for pictures. And I can share with you, that’s the best thing that the worst thing that you can do. The worst thing that you can do, nowadays, ideas, our ideas are on Pinterest, and then you just search for, like our installation, and you think that’s an idea and then use, you know, take them and put them in your board and say, Hey, I got a concept, I got an idea. And that’s what I used to do. Many years in my career, and I can tell you like the past six years, after all these years. One of my my, my mentors in Coppola was telling me, you know, do not put any thing visual, write it, explain it into a napkin to someone else. The moment you know, that idea makes it into a napkin, and you can explain to others, others, that’s an idea that you can keep moving forward. And in my personal process, I actually avoid to see stuff. And somehow, when when I am, you know, creating or developing an idea. I tend to refer to things right, because the tools are there, you have Instagram, or Pinterest. But I tend to you know, like tie my hands in the back and try to not to do that. In my process. The moment that I go, wow, is the way that I’m developing this by writing that idea. In my back of my head, I’m you know, exploding with visions. And that’s when I say like, oh, that’s a great idea. But that’s my old moment. You know, but, but it’s nothing visual yet. You know, it’s just words. And if those words can be translated into an idea, that’s a perfect one, I think.
J.T. Rooney 34:52
Any other questions? Just nodding heads but any other questions? Nope. Here you go.
Yeah, Question for HANA Kim? What are some of the challenges in the force of like storytelling and the story that you want to tell that uses, say some Technology to tell it versus like, what the Technology wants to do with some times? It goes against what the story wants to tell. And so I’m curious what, maybe not just technological, maybe sociological challenges, or what have you dealt with there?
Hana Kim 35:30
Oh, I think that’s actually a great question. Because I feel like that’s a common problem we encounter, like there, it wants to do its own thing. And then that’s not necessarily what you want it to do. I think, there, that’s where like, really keeping an open mind and trying to even though like, for example, coding, I’m not good. Like, I don’t code but like, I recently was, like, you know, chatting with Chet GPT, like, started writing, like, you know, getting help or whatever, like, so just like having an open mind. And then like, trying to keep up with the tools, I feel like, helps you to come up with a work, work around or like to kind of tame the thing, like, whatever you’re using to do what you need it to do. Because there’s always like something else that can really help or like you can put it in the pipeline to go reroute it to where you want to go. And also, sometimes I think you also, like maybe challenge helps like it sometimes like also, like, it makes you think about like, as long as like, you don’t lose the core, then. And I actually really like when you said like, taking what is idea? I think it’s really actually really interesting. And I was like nodding my head so hard, because I I think I had a similar trajectory that I used to grab like referential images. And now I work more with keywords. So like having like, trying to grasp on to the core, and then not losing it. I think sometimes like technical challenges like makes, you can actually use it to your advantage. Okay, it only does this one thing. But what I’m trying to do is actually not even a shell, I’m trying to convey this emotion or like, I’m trying to tell this keyword, then what can I do with this very rigid thing? Sometimes like it works that way as well? Is that answer to your question?
Yes. Thank you.
How’s it going, guys? Oh, one knocked over mountain water ball?
J.T. Rooney 37:47
You can’t question anymore. That was it.
Man, I blew it. I was curious, what inspires you all? Is there a certain type of media or a certain activity or things that are inspiring to you to create the fresh ideas that you really want to do yourselves?
Michael Stiller 38:07
Hello, is this working now? I guess for me, the creativity does not exist, or the sorry, the idea or I’m sorry, I didn’t catch the word you use.
But are you just inspiration?
Michael Stiller 38:22
Yeah, the inspiration. It really comes from the environment. Or if it’s there’s a story, there’s a story within the environment. But I look at this, I look at the space, I look at the three dimensionality. And then there’s usually a story behind it. And I really think about what am I going to do with this space because it would be entirely different in another space with another set of surfaces. I don’t know if there’s time for each of us to give us a little quick answer to that. Yeah.
Josue Ibañez 38:50
I’ve been inspired a lot by communities. And you know, like this event, I always go back and I want to do something when I’m really close, you know, with people doing things. Myself, I also produce a Design Festival in Mexico City, which I bring people from different parts of the world to speak into, you know, inspire people or crowd or a bigger crowd into the Mexican design industry. And I do it because I also get inspired there. You know, like in been in places like this. I think it’s key for me to keep moving forward and being involved with the community making the network but also maintain myself, you know, informing and actually been meeting all these people that I would didn’t met before and make these collaborations that also the things that inspire me a lot
Hana Kim 39:54
I think earlier in my career I like work Euston pot inspires me a lot. When I’m working on something, I get inspired to do something else. And I find like, like everyone said, like, now I’m finding more and more like non work II thing also, like inspire me greatly, like including community, just talking to people just walking to a city that I’ve never been. Thanks so much, looking at how the sun hits the pavement. That’s one for me.
J.T. Rooney 40:29
Any other questions? I have one, maybe for Michael is showing your screenshots and looking at the art and information and how this translates to this, this and this for seemingly, something that’s simple, right? Like to the human eye with this color with this color? The amount of complexity that’s go through that is quite a lot. How do you maybe both of you or all of you see that complexity affecting when you’re looking at? Like, what type of screen like breaking the rectangle? Like, is there any factor in there of doing something really, that seems complicated or really simple that goes into the creative decision making process? It kind of garbled that, like, you know, if it’s going to be hard, you go a different path? Or do you plow through even though because you know, someone feeling the color red is going to be really impactful? Does that make sense?
Michael Stiller 41:16
I think I think what I’ll say is that, for me, the screen is really not separate from the device that’s putting out the pixel, the illumination, and the way lighting fixtures are made. There’s no it’s talked about in another session. But there’s no standardization, you know, the red is the red of the semiconductor that’s in the LED chip that that manufacturer puts out. So I’m not sure if that gets to your like that is one of the bigger challenges like whether we figure out a way to send each of the different fixtures there. There Correct. Protocol is kind of not hard. But it’s more like how do we get all this stuff to play together well, and look right, and not have latencies? So I guess you’re asking me, do we just plow ahead? I think we try very hard to figure out a good solution to the problem. But you know, sometimes when we make stuff up, it doesn’t work. And we have to be willing to say, Oh, that’s not going to work, we got to move on. So maybe it’s both we push forward until to sort of satisfy ourselves that we can do it. And it’s achievable. And if it’s not, we have to we have to go back to the drawing board. I don’t know if that answered the question.
J.T. Rooney 42:27
Sure. Yeah, it does know for sure. It’s super interesting. For everyone else here. That kind of concludes our time on this one. So thanks again to our panel here for giving them the round of applause. And then, there’s another session next door that’s going to continue this room is going to now from here on out progressor afternoon just show what’s happening in there on a live stream. So if you need to work or something like that, you can watch him in here, but little quick 10 minute break and then at 4pm PRG will be on stage next door. So thank you very much
media, pixels, rectangles, lighting, work, project, opera, surface, lighting designer, breaking, idea, lighting fixtures, fixtures, questions, design, hear, career, dmx, inspire, creating
Hana Kim, J.T. Rooney, Michael Stiller, Josue Ibañez