interactive projections
up previous page
intro realization credits

It has been almost ten years since the premiere of KÀ, so I decided to finally release more information on the technology that drives the projections. I figure that by now, many people have found out the processes themselves and they should be open for everybody. Warning: it gets very technical. The following text presents some previously unreleased information on the technical aspects of the show.

the rotating sand cliff deck

Main stage / projection mapping

A special feature of the system is the technique of projection mapping onto a stage that moves with several degrees of freedom. The images move with the 25'x50' (ca. 8x15m) main stage and appear almost as if they are painted onto it. For instance, lighting and shadows cast by a projected stone surface are calculated in real-time depending on the stage position as well as an interactive water surface which also follows the movement of the stage.

artificial stone surface (2012)

To achieve this, the stage, called the Sand Cliff Deck, and other parts of the theater were modeled true to scale in the computer. The position of the real stage is captured by sensors provided by the automation interlock system and controls a virtual counterpart. So, in addition to the real stage, there is a virtual stage inside the computer that moves exactly as the original one does.

In order for the projection mapping to come to realization, I had to place a virtual camera for every projector into the program. The virtual camera optics had to match the real projector optics exactly. Projecting the image that the virtual camera films of the virtual stage allows all of the pixels to fall in place, and it looks as if the things displayed on the virtual stage are happening on the real stage.

The biggest task was to solve the mathematics in order to calculate the camera projection matrix using only a relatively small number of reference points in the theater. In the initial attempt, the image stuttered and reacted to the stage movement with a certain delay. Every projection system has to fight with latency – the time difference between sensor input and image output – or the refresh rate of the sensor data. In this case, both held true. The final solution was to predict the position of the stage some milliseconds into the future and to smooth those values using a Kalman-Filter.

projection test on the sand cliff deck (2012)

For the physical projection, there are three large-venue DLP projectors that overlay all of the images; a process known as "stacking". To converge all three projected images exactly onto the moving stage in three-dimensional space, every projector has to shape the image a little differently. A certain depth-of-field blur remains since the projectors can only physically focus on a plane parallel to the lens.

The proscenium is modeled as a three-dimensional black mask in the projection software in order to avoid any image being projected on it. On top of this, the black portion of a DLP projected image is never completely black, but rather a dark grey called "video black". To hide the edge of the projected area in very darkly lit scenes, controllable dowsers are attached in front of the projectors. They can be closed gradually in order to softly blend the video black at the borders of the image, or completely hide it when no image is projected.

Interactivity / sensors

Thanks to the Canadian inventor Philippe Jean of Les Ateliers Numériques, the movable stage floor was equipped with capacitive sensors. The whole stage, to put it simply, becomes a giant touch-sensitive display. Interactions with the acrobats and the stage surface are made possible – this is best seen in interactions of the acrobats' feet and bodies with the artificial water surface.

projection test of the interactive water surface (2012)

Infrared cameras, observing the near-infrared spectrum, are used for the interactivity of the underwater scene and the lianas (vines) of the forest. Here, infrared floodlights are used to illuminate the performers, with their light being invisible to the audience. By this means, the interaction becomes independent from stage lighting. Even in darkness everything is visible to the camera and the interaction continues working.

The input images from the camera have to be warped to line up with the projected image. This is necessary since the positions and optics of infrared cameras and projectors differ. This way, movement viewed in the camera image will trigger a reaction at the correct position within the projected image. Dichroic filters are utilized to eliminate the infrared portion from the follow spots, so they do not cause interactions as well.

A Lyapunov-Fraktal, the inspiration for the glowing vines

Algorithmic images and physics

I almost exclusively use algorithms and simulations as means of expression within my work. The interaction can, in principle, control every behavior of the simulation and every parameter of its appearance. Often the single picture is not my main focus but rather the behavior of the image in time.

Behind the physical simulations of all images are mathematical constructs. Basic mathematical representations of the images within the current version of the show, updated in 2012, are:

  • a particle system for the rain of arrows
  • multiple layers of density fields for the storm clouds
  • audio analysis of thunder sounds for the lightning
  • mirrored sine waves for the waves of the sea
  • particles and 2.5D reflection calculations for the air bubbles
  • overlaid, distorted fractals and realtime lighting calculations for stone and ice
  • chains of elastic springs for the lianas
  • fields of elastic springs and light refraction for the water surface

A networked interaction with other theater systems, known as "show control", heightens the presence of the images and their connected elements. For example, thunder from the sound department triggers lightning in the storm clouds. Also, the movement of acrobats underwater creates virtual air bubbles and triggers corresponding underwater sounds. The essential connected components of the projection system are shown in the following schematic diagram.

the projection system 2012

The operation of the projection system is controlled by a lighting desk. All essential system elements – the cameras, lighting desk, projection computers, and projectors – are redundant systems and thereby protected against a total breakdown. There is an automatic failover switching for the computers. This means that in case one system fails or freezes, the backup system automatically takes over. At any moment, the console operator can manually switch between systems should this be necessary.

For even more information on the technical background of the show, I'd like to point to the very competent and comprehensive article by John Huntington as well as to this article by Davin Gaddy concerning the 2012 updates.

up previous page
intro realization credits