My goal is to explore the real time, real space animation of 3D objects: it is the notion of projecting moving images onto props—or mannequins—as a means to lend them texture, visual definition and presence. This is a departure from the engrained convention of projecting imagery on a flat screen or watching monitors; it not only postulates new ways of interacting with animated pictures but shatters the distinction between actor/spectator since the controller may be sitting with the audience or even be communicating remotely while dictating the marionette’s parts—an instance of merging the director, actor and spectator roles!

Such a situation brings forth the possibility of a fully interactive, game-like theatre where audience members can share the direction, or exclusively direct the play from their portable devices or at home. Only certain parameters could be pre-programmed, such as the length of time each player may be in control of a character and the physical limits of the latter’s movements. Likewise, other spectators could design objects and backdrop sceneries in real time, forcing the actors on stage—human or mannequins, or both—to continuously adapt to the unexpected outcomes. Such a situation brings forth the possibility of a fully interactive, game-like theatre where audience members can share the direction, or exclusively direct the play from their portable devices or at home. Only certain parameters could be pre-programmed, such as the length of time each player may be in control of a character and the physical limits of the latter’s movements. Likewise, other spectators could design objects and backdrop sceneries in real time, forcing the actors on stage—human or mannequins, or both—to continuously adapt to the unexpected outcomes.

This approach could also be used for installation artwork, where participants could remote-control the work from their home or in the gallery; or for marketing purposes (to say nothing of educative tool applications), where the programme contents can be uploaded directly from one’s office or wireless device!

But it could be as simple as a static object being projected upon from multiple angles, as shown with the piece Moving Head.

Or it could be interactive, using basic infrared motion-tracking, with 4 projectors, as shown in the piece Shark

Of course, where pre-rendered movies, simultaneously shot from multiple camera viewpoints are needed—Like in the above examples, the versatility and capability of 3D animation software is put to the task. Once the projector set-up is in place, another difficulty is to follow a prop, which is in movement on a set. Much experimentation remains to be done in this area, as exemplified with the clip Kunqu.

Nonetheless, the theoretical consideration should constitute an important element of myresearch. Considering that, in order to lay out the premises with an acceptable degree of accuracy, a thorough understanding of the paradigms prevalent in the field of animation, cinematography and media arts (and perhaps marketing) is critical. Through an in-depth analysis of the current trends, it should be possible to assert to what degree, and in what way, this hybridization of disciplines may provide pertinent answers or generate new questions.

Such a situation brings forth the possibility of a fully interactive, game-like theatre where audience members can share the direction, or exclusively direct the play from their portable devices or at home. Only certain parameters could be pre-programmed, such as the length of time each player may be in control of a character and the physical limits of the latter’s movements. Likewise, other spectators could design objects and backdrop sceneries in real time, forcing the actors on stage—human or mannequins, or both—to continuously adapt to the unexpected outcomes. Such a situation brings forth the possibility of a fully interactive, game-like theatre where audience members can share the direction, or exclusively direct the play from their portable devices or at home. Only certain parameters could be pre-programmed, such as the length of time each player may be in control of a character and the physical limits of the latter’s movements. Likewise, other spectators could design objects and backdrop sceneries in real time, forcing the actors on stage—human or mannequins, or both—to continuously adapt to the unexpected outcomes.

Hence, I should assemble evidences from the existing body of literature and draw from those involved in the practice. Among others, I will look at the works of Jan Svankmajer, Royal Deluxe Theatre, Robert Lepage’s Ex Machina, Lemieux.pilon 4d art, Cirque du Soleil, La Fura Dels Baus and Chunky Move. Furthermore, having been involved in this endeavor for 18 years, I have gathered evidences of my own. Consequently, It will be appropriate to pursue experimentations in the field of 3D animation, marionette making and motorization of control, infrared and optical motion-tracking techniques, multiple projection synchronization and tracking, speech recognition and synthesized speech.

Excitingly, many recent technological advances have made such a task easier: I’m alluding to new and powerful animation software, breakthroughs in high definition video projection equipment, affordable computer control technology for simple robotics and speech recognition as well as better material for moldable structures (resins, graphene), etc.