you would need to have two cameras to cover the wider stage for proper tracking. Many interestingcombinations of visual effects could be accomplished with such a setup. For example, abackground layer of visuals may be purely controlled by the prerecorded score, to establish areactive environment. For foreground animations, you could coordinate a color tracking effect toanalyze the movement of the dancers. Perhaps the dancers are representative of two rivalingforces, and half are clad in red, while the others are in white. As the movement of red dancersoutweighs the movement of the white, a projected red avatar could be set to react with a set of animated movements. When the white dancers respond, an avatar acting as their character couldalso retort.Essentially, the system would be able to support many conceivable stage andperformance configurations taking into account the size of the space, number of performers, andthe types of performances being given. It would also encourage experimentation on the part of theuser for preparing custom visualizations that would be able to withstand improvisational situations.This aspect holds a great importance to the concept of this project, as many of the existing waysof performing projected stage shows make it quite difficult to achieve this level of expressiveness.Without brining in the aspect of laser light shows, for the projected concert visuals strictly, there iscurrently this issue of the lack of expressiveness which could be viewed as a spectrum.At one end, you have your visuals for pop concerts. Every video clip is laboriously timedout with some extra frames at the head and tail to account for timing slippage. As the songprogresses, video clips are triggered to sync up with the various parts of the songs in sections.Transitions such as fading between the looped clips are utilized to smooth out sections that do notwarrant a jarring cut.The reverse of this, are the “eye candy” visuals that are more common in technoperformances that you might see at a rave. These visuals are typically linked to the music's tempo,but usually provide very little in terms of story telling as they usually consist of quickly flashingcolors and shapes. This can be seen as an updated and automated version of the wet showtraditions from psychedelic music in which overhead projectors would be used to display a dish of swirling colored oil paints. In both of these techniques, there is certainly the ability to improvise andenhance a performance, but visually, not much more is being said than, “look at the colors”.In the center of this spectrum you have VJ's who utilize both of these in a manualapproach of transitioning between manipulated video clips and reactive, eye candy type visuals by
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