Enabling Distributed Theatre Performances through Multi-Camera Telepresence

Kaiser, Rene; Ursu, Marian F.; Falelakis, Manolis; Horti, Andras

doi:10.1145/2814347.2814351

Cited by 9 publications

(6 citation statements)

References 7 publications

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“…[8] presents a platform for group communication that allows participants to create video communication session centred on a shared activity. Finally, [4] presents a script-based approach that provides multi-camera telepresence for distributed theatre.…”

Section: Related Workmentioning

confidence: 99%

Co-creation Stage: a Web-based Tool for Collaborative and Participatory Co-located Art Performances

Pagador

Dominguez

Masneri

et al. 2021

ACM International Conference on Interactive Media Experiences

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In recent years, artists and communities have expressed the desire to work with tools that facilitate co-creation and allow distributed community performances. These performances can be spread over several physical stages, connecting them on real-time towards a single experience with the audience distributed along them. This enables a wider remote audience consuming the performance through their own devices, and even grants the participation of remote users in the show. In this paper we introduce the Co-creation Stage, a webbased tool that allows managing heterogeneous content sources, with a particular focus on live and on-demand media, across several distributed devices. The Co-creation Stage is part of the toolset developed in the Traction H2020 project which enables community performing art shows, where professional artists and nonprofessional participants perform together from different stages and locations. Here we present the design process, the architecture and the main functionalities of the tool as well as the results of the first user evaluation with Opera houses and artists. CCS CONCEPTS• Human-centered computing → Collaborative and social computing; Computer supported cooperative work; • Computer systems organization → Real-time systems.

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Section: Related Workmentioning

confidence: 99%

Co-creation Stage: a Web-based Tool for Collaborative and Participatory Co-located Art Performances

Pagador

Dominguez

Masneri

et al. 2021

ACM International Conference on Interactive Media Experiences

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“…In reality, the resulting media was mostly of the same thing, and did not relate directly to the action. Kaiser et al [24] also explored how the narrative of a production is affected by the placement of 360° high-resolution cameras throughout a theatre production's stage. A performance was conducted to explore this new perspective on theatre productions, essentially moving the audience to the middle of the stage.…”

Section: Production Usages Of Context Based Metadatamentioning

confidence: 99%

Media of Things

Wilkinson

Bartindale

Nappey

et al. 2018

Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems

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Rich metadata is becoming a key part of the broadcast production pipeline. This information can be used to deliver compelling new consumption experiences which are personalized, location-aware, interactive and multi-screen. However, media producers are struggling to generate the metadata required for such experiences, using inefficient post-production solutions which are limited in how much of the original context they can capture. In response, we present Media of Things (MoT), a tool for on-location media productions. MoT enables practical and flexible generation of sensor based point-of-capture metadata. We demonstrate how embedded ubiquitous sensing technologies such as the Internet of Things can be leveraged to produce context rich, time sequenced metadata in a production studio. We reflect on how this workflow can be integrated within the constraints of broadcast production and the possibilities that emerge from access to rich data at the beginning of the production lifecycle to produce well described media for reconfigurable consumption.

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“…Some of the action was played out in one theatre location (set on one part of the island) and some of the action in the second theatre location (set on another part of the island), with actors communicating via screens, which formed an integral part of the set-design, and wireless microphones, which were positioned close to the actors' mouths, to prevent audio-feedback (howling). The enabling technologies for this second field trial have been reported elsewhere [74] [75] [33]. Specifically, we have developed a script-based approach to enable the dynamic control of screen contents and pan/tilt/zoom (PTZ) cameras.…”

Section: Field Trial 2: Distributed Audiences (The Distributed Tempesmentioning

confidence: 99%

“…To that end, the script-based approach [33] for controlling dynamic screen contents and PTZ cameras in (distributed) theatre would make a useful tool for low budget performance companies to stream their performances. Available PTZ cameras range from reasonably priced to high-end devices.…”

Section: Benefits Of a Script Based Approachmentioning

confidence: 99%

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Co-present and remote audience experiences: intensity and cohesion

Geelhoed

Singh-Barmi

Biscoe

et al. 2016

Multimed Tools Appl

Self Cite

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This article presents the results of modelling audience response to new types of networked theatre plays. As the main contribution of the work we introduce two types of metrics: intensity, relating to how intensively co-present and remote aspects of a performance are rated, and cohesion, relating to how a performance as a whole, the combination of copresent and remote aspects, affects an audience. In particular, we model audience response based on two in the wild evaluations, staged by a low budget theatre company, a streamed and a distributed performance. The streamed performance is similar to NT Live, where a theatre play is delivered to other theatres with an audience. The distributed performance, on the other hand, connects actors in two different theatres (with audiences) creating one single play. The streamed performance was experienced as less intense as well as less cohesive by the remote audience, whilst the distributed performance integrated co-present and remote aspects tightly. Remote aspects of the distributed performance were still experienced as less intense, but the performance as a whole was highly cohesive. Apart from the identification of these two new metrics (intensity and cohesion), based on our experiences we argue that an innovative way of bundling relevant emerging technologies is needed to give a voice to the, as yet silent, remote audience.

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Enabling Distributed Theatre Performances through Multi-Camera Telepresence

Cited by 9 publications

References 7 publications

Co-creation Stage: a Web-based Tool for Collaborative and Participatory Co-located Art Performances

Co-creation Stage: a Web-based Tool for Collaborative and Participatory Co-located Art Performances

Media of Things

Co-present and remote audience experiences: intensity and cohesion

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