Video Mapping Designing 3D Media For Flashy Performance
The first technique of Video Mapping is borrowed from working with visual effects for movies, especially in 3D, where the concern about tempo is similar (for similar reasons); refer to the real world scale in your preview window. A great addition to it, apart from the obvious criteria and local peculiarities is the measure of man. A simple silhouette against the preview screen is very helpful. Use the zoom function to display the animation at different zoom levels, paying attention to the size of the silhouette in relation to its size. 1: 1 shows the actual speed gives the impression of being behind the audience, with people in front of you. This approach can help you use a different pantomime technique (traditional 2D animators). Learn the choreography as you zoom in to different proportions, as if moving the elements with your hands like actors with hand-held screens do in high-tech Hollywood films.
From the movement you are learning, you can get further preview aid by taking this Video Mapping ‘performance’ somewhere where there are very large buildings and ‘performing’ the choreography as if it were happening in the building you are standing in front of .Bringing your laptop or iPad along with the reference movie can be helpful if remembering the beats is a new exercise for you. A second refinement can be added to this technique as soon as a comfortable stimulation approach has been achieved with the prior art. includes adding sound.
A click track (a recorded metronome used by musicians to keep in sync when overdubbing) can be very helpful in establishing a “backbone” rhythm. This keeps you “under the speed limit”, so to speak, and has the added benefit of creating a fancy pacemaker unit.
If the click track is too monotonous, just use it as a reference to select a rhythmic piece of music at the same speed. (For non-musicians, look for the term BPM.) The aim to achieve quality in Video Mapping presentations is the contrast ratios. It’s disappointing (to say the least) that finely crafted images become flat, gray, and desaturated in context. Control of the ambient light at the presentation location. In this highly unlikely and ideal case, one would simply turn off all competing light sources at show time so that projections could be played back like in a dark theater.