Arcadia is the epitome of an evolution in production and stage design. Working closely with the production teams and owners: I have covered many roles, from sequencing the enormous flames, to projection and LED mapping this magnificent structure.

The spider, as the structure is commonly known, is a fully immersive – in the round – stage. Where the audience are underneath the DJ, looking up at the artist. The side is symmetrical across 3 planes, creating 6 legs that are projected upon. To finish there is a complex LED structure encasing the DJ booth.

My main responsibilities have been to integrate all of the video, mapping the LED processor and the projectors.Then allowing a control surface that the resident VJ can use to busk away custom content on both the projectors and LED.

This was a monumental project. To create a volumetric interactive installation above the stage, where dancers and actors would be underneath. The aim of this was to engage visually with the audience and to provide the basis for the narrative to unfold.

The forest itself consisted of 208 14 meter high columns, each with 8 strips of led placed along its circumference. The columns were then arrange on 12 different trusses which could move independently. The amount of movement available covered 36 meters, allowing for a whopping 50 meters of total coverage.

The best part about this project is that all of the video mapping was updated in real-time. There was several burnt in positions that had a set of mapping that correct the perspective for certain camera and vvip locations. However in transit the forest had to manually sample a position in which it would then update the mapping of the content. This allowed for the forest to reveal and expose content as it transitioned from one position into another.

All of the motion data was fed back into our system, coming from a collection of Kinesys and Cyber Hoist motors. The data was translated into 16 bit art net values, and then the individual pixel mapping of each column was updated based on where in physical space the column was.

The entire show composed of a three hour choreographed performance, where content was locked to timecode, however was adjusted live as necessary. Intrinsic details like colour balancing and matching was achieved by controlling the media server with a lighting console as the show was running.

I was tasked with a very specific job of mapping and sequencing the playback of complex LED Strings that were places inside rideable mountains. These mountains arose from the stage, and then were choreographed with the drawing of petroglyph figurines that were constructed out of LED.

The LED was strings that were complexly manipulated into figurines, during the show these strings would be drawn out a a path, revealing ancient Petroglyph structures embedded into the mountains. It was inherent to get the mapping absolutely perfect, and then to generate a path that could be drawn over a definable amount of time.This path could then be sped up, or slowed down and was finally blended with content to look like sparkling fire inside of the mountains.

A truly volumetric experience. We designed and built a three-dimensional cube made up of SGM string pixel balls. This created a physical space that allowed actors to walk through, but also create a volume of light that we could program and create special content for. The programming was then choreographed to moments so that on cue, beams of light would radiate out around the actors, creating a fully immersive occasion.