Behind the Curtain | Advanced projection techniques system, it is likely that the moving projector, manual approach will take longer and be less repeatable. calls for display of an image clip and that clip will play on a scenic piece, a wall for example, what happens if the wall tracks on-stage during or prior to the cue? Will we be satisfi ed with a set of cues that involves the wall moving into position, coming to rest, the video playing, the video ending and the wall moving back off-stage? Perhaps, but it may be much more dynamic for the video treatment to begin as the wall tracks on stage, creating a reveal of the video that can build as the wall reaches its stop point. That is one of the simplest and most effective uses of image tracking. Other creative possibilities include imagery that changes or follows the movement of actors, creating an interactive presence. Or, by creating content that changes perspective in synch with physical movement, the designer can create wildly exaggerated forced perspective effects that seemingly alter the size of the physical space itself. Content design and image tracking The fi nal area of this topic to be explored is the design of the actual video content used in image tracking scenarios. Similar to content requirements for other advanced projection techniques, there is an obligation to design content that effectively supports the technique. The design of the content must take into account that the surfaces displaying the content are moving, that they are moving at a particular rate of travel and that there is a narrative reason for this to take place. Otherwise, the result appears to be a movie screen that happens to be moving around in space for no particular reason and that may not escape the notice of the viewer. Josh Weisberg is President of Scharff Weisberg, Inc., an audio, video, lighting, and staging and rental company located in the New York metro area. To learn more about Scharff Weisberg, Inc., visit www.scharffweisberg.com. Creative uses for image tracking Having established the methods for moving a projected image in synch with moving physical objects, it would be worthwhile to examine the reasons why anyone would want to do it in the fi rst place. In theatrical applications there is a clear and compelling reason to explore image tracking when projection is part of the scenic design. For example, if the script FALL 2011 “ “ The design of the content must take into account that the surfaces displaying the content are moving . . . and that there is a narrative reason for this to take place. Neo ™ Baby ™ 36 FALL 2011