Dream On with grandMA3


“梦想”是一个巧妙的和多层次的mix of movement, music, visuals, cool technology and narrative magic, an immersive digital performance fusing the drama of Shakespeare with the dynamic worlds of gaming and theatre in a ground-breaking production by the UK’s Royal Shakespeare Company in collaboration with Manchester International Festival, Marshmallow Laser Feast, and the Philharmonia Orchestra.

Staged physically in the Studio at Portsmouth Guildhall and inspired by the classic A Midsummer Night’s Dream, the characters were played by six real actors utilising Vicon motion capture cameras, their avatars and effects appearing onscreen – centring around the antics of cocky and capricious mischief-maker Puck. They run amok in the virtual Midsummer forest, hellraising and spoofing four other sprites during a disruptive and chaotic journey!

Matt Peel负责照明设计和展示控制。他使用新的Grandma3软件,利用了电力 - 以及IOSC(开放式声音控制)和DMX远程触发功能 - 他的Grandma3系统。

The highly acclaimed show was broadcast live for 10 evenings and enjoyed by thousands worldwide, who logged in, either paying for an interactive ticket – with the chance to shoot fireflies into the story to help illuminate Puck’s pathway through the forest – or simply watch the performance for free.


作为该项目的研发期的一部分,Matt解释说,与RSC的Daniel Orchard密切合作,不真实的发动机开发商,他们综合了已知的事件技术,以与虚拟和现实世界的展示控制系统沟通。

为虚幻开发的MVR(我的虚拟机)进口商使Vectorworks管道管道为现实世界照明而被一个虚幻的照明,并在Grandma3中收到。OSC集成到Arduino供电的接近传感器中,以传达物理世界的状态;和PosistageNet(PSN) - 3D实时位置数据协议 - 用于虚幻的插件,使能GrandMa3和虚幻(已有内置DMX和OSC)进行双向传送。

By building custom grandMA3 fixture-types, certain aspects in the game world could be controlled via DMX, e.g., the height and brightness of an object like the sun, or the colour of an avatar, etc. Using grandMA3, all these elements could be rapidly tweaked in real-time on the console.

“Using the grandMA3 in this way meant we could work really fast in this context to make adjustments to these game effects, rather than using game engine keyframing which is a lot more time consuming jumping Unreal in and out of ‘editor’ mode,” says Matt.

A project like Dream was a perfect opportunity to experiment with this bi-directional control and state awareness, merging game-based event logic to create a new style of live performance. It allowed the grandMA3 to be the master show controller sending and receiving unicast OSC between 16 different role machines.

Unreal Engine instances were used to create the rich and complex visual environments in which the action took place, and OBS instances allowed vision mixing the final output between Unreal and four broadcast cameras.

Matt explained that a small rig of traditional theatre lighting – in the form of eight moving lights - in the real studio motion capture volume (capture space), assisted in directing the actors to respond to interactions from the remote audience.

In addition to orchestral music by composer Jesper Nordin and Philharmonia Orchestra principal conductor and artistic advisor Esa Pekka-Salonen, at strategic points the actors’ movement was fed into Gestrument software (a Jesper Nordin project) allowing them to ‘play’ digital instruments and interact together via their motion. Another clever twist which created a stream of beautifully ethereal sonic moments.




梦想是由棉花糖激光盛宴的Robin McNicholas的针对,Sarah Perry是运动主任,项目领导和行政制片人是RSC的数字发展总监Sarah Ellis。Ambersphere Solutions Ltd是英国MA Lighting的独家经销商。

照片:©Stuart Martin / RSC

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