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Projection Design for Theatre and Live Performance explores the design and creation process of projections from a non-technical perspective, examining the principles of media for the stage in a manner that is accessible for both beginning designers and advanced designers dabbling in projections for the first time. This introductory text covers concepts and tools for designing, techniques to help readers tap into their creativity, and the core skills required of this field: problem solving, project management, and effective communication. Focusing exclusively on design and creativity, this book encourages individuals to leap into the creative design process before facing any perceived hurdles of learning everything technical about media delivery systems, cueing systems, projectors, cables, computer graphics, animation, and video production. Projection Design for Theatre and Live Performance is a reminder that, from the invention of photography to the enormous variety of electronic media that exist today, the ways projection designers can enhance a theatrical production are limitless. Written in an accessible style, this book is a valuable resource for students of Projection Design as well as emerging professionals. Its focus on design and creativity will restore the confidence of individuals who may have been daunted by technical hurdles and will encourage the creativity of those who may have been disappointed with their efforts in this field of design in the past.
To many, the technological aspects of projection often go unnoticed, only brought to attention during moments of crisis or malfunction. For example, when a movie theater projector falters, the audience suddenly looks toward the back of the theater to see a sign of mechanical failure. The history of cinema similarly shows that the attention to projection has been most focused when the whole medium is hanging in suspension. During Hollywood's economic consolidation in the '30s, projection defined the ways that sync-sound technologies could be deployed within the medium. Most recently, the digitization of cinema repeated this process as technology was reworked to facilitate mobility. These examples show how projection continually speaks to the rearrangement of media technology. Projection therefore needs to be examined as a pivotal element in the future of visual media's technological transition. In Practices of Projection: Histories and Technologies, volume editors Gabriel Menotti and Virginia Crisp address the cultural and technological significance of projection. Throughout the volume, chapters reiterate that projection cannot, and must not, be reduced to its cinematic functions alone. Borrowing media theorist Siegfried Zielinksi's definition, Menotti and Crisp refer to projection as the "heterogeneous array of artefacts, technical systems, and particularly visual praxes of experimentation and of culture." From this, readers can understand the performative character of the moving image and the labor of the different actors involved in the utterance of the film text. Projection is not the same everywhere, nor equal all the time. Its systems are in permanent interaction with environmental circumstances, neighboring structures, local cultures, and social economies. Thus the idea of projection as a universal, fully autonomous operation cannot hold. Each occurrence of projection adds nuance to a wider understanding of film screening technologies.
Digital Media, Projection Design, and Technology for Theatre covers the foundational skills, best practices, and real-world considerations of integrating digital media and projections into theatre. The authors, professional designers and university professors of digital media in live performance, provide readers with a narrative overview of the professional field, including current industry standards and expectations for digital media/projection design, its related technologies and techniques. The book offers a practical taxonomy of what digital media is and how we create meaning through its use on the theatrical stage. The book outlines the digital media/projection designer’s workflow into nine unique phases. From the very first steps of landing the job, to reading and analyzing the script and creating content, all the way through to opening night and archiving a design. Detailed analysis, tips, case studies, and best practices for crafting a practical schedule and budget, to rehearsing with digital media, working with actors and directors, to creating a unified design for the stage with lighting, set, sound, costumes, and props is discussed. The fundamentals of content creation, detailing the basic building blocks of creating and executing digital content within a design is offered in context of the most commonly used content creation methods, including: photography and still images, video, animation, real-time effects, generative art, data, and interactive digital media. Standard professional industry equipment, including media servers, projectors, projection surfaces, emissive displays, cameras, sensors, etc. is detailed. The book also offers a breakdown of all key related technical tasks, such as converging, warping, and blending projectors, to calculating surface brightness/luminance, screen size and throw distance, to using masks, warping content and projection mapping, making this a complete guide to digital media and projection design today. An eResource page offers sample assets and interviews that link to current and relevant work of leading projection designers.
This paper develops new error assessment methods to evaluate the performance of debt sustainability analyses (DSAs) for low-income countries (LICs) from 2005-2015. We find some evidence of a bias towards optimism for public and external debt projections, which was most appreciable for LICs with the highest incomes, prospects for market access, and at ‘moderate’ risk of debt distress. This was often driven by overly-ambitious fiscal and/or growth forecasts, and projected ‘residuals’. When we control for unanticipated shocks, we find that biases remain evident, driven in part by optimism regarding government fiscal reaction functions and expected growth dividends from investment.
Bringing together cultural history, visual studies, and media archaeology, Bruno considers the interrelations of projection, atmosphere, and environment. Projection has long been transforming space, from shadow plays to camera obscuras and magic lantern shows. Our fascination with projection is alive on the walls of museums and galleries and woven into our daily lives. Giuliana Bruno explores the histories of projection and atmosphere in visual culture and their continued importance to contemporary artists who are reinventing the projective imagination with atmospheric thinking and the use of elemental media. To explain our fascination with projection and atmosphere, Bruno traverses psychoanalysis, environmental philosophy, architecture, the history of science, visual art, and moving image culture to see how projective mechanisms and their environments have developed over time. She reveals how atmosphere is formed and mediated, how it can change, and what projection can do to modify a site. In so doing, she gives new life to the alchemic possibilities of transformative projective atmospheres. Showing how their “environmentality” produces sites of exchange and relationality, this book binds art to the ecology of atmosphere.
Publisher Description
The Projection Designer’s Toolkit is an insider’s guide to the world of professional projection design, serving as a reference for the planning and execution of each step in the projection design process. The text addresses the design process within the context of a professional projection designer’s workflow, focusing on specific tools of the trade, best practices for communicating your design to collaborators, tips and tricks, determining budget, working with assistants, and more. Featuring interviews with some of the top names in the industry, the book offers an unprecedented insight into the professional projection designer’s process across a wide range of fields, from Broadway and regional theatre to corporate design and music touring. The book also includes in-depth discussion on production process, system design, cue and content planning, content design, digital media fundamentals, media servers, video equipment, and projection surfaces. Additionally, it features hundreds of full-color photos and examples of designer artifacts such as draftings, mock-ups, paperwork, cue sheets, and renderings. Filled with practical advice that will guide readers from landing their first job all the way through opening night and beyond, The Projection Designer’s Toolkit is the perfect resource for emerging projection designers and students in Digital Media Design and Projection Design courses.
Projection is a technology for generating large, high resolution images at a price point end users can afford. This allows it to be used in a wide variety of large-screen markets such as television and cinema. In addition, there are emerging small screen markets where a pocketable miniaturized projector can display images from mobile information devices such as smart phones or portable media players. Fully revised, this second edition of Projection Displays provides up-to-date coverage of the optical and mechanical systems in electronic projection displays. It takes into account major new developments in the many technologies needed to manufacture a projector display system. It presents a comprehensive review of projector architectures, systems, components and devices. Key new and updated features include: new material on light sources for projection displays; updated information on the human factors of projection displays including color gamuts, resolution and speckle; coverage of new image generating systems including LCOS and scanned laser systems; up to date information on front and rear projection screens; practical examples of projection display applications; models for predicting the performance of optical and mechanical systems This book is aimed at practicing engineers and researchers involved in the research, development, design and manufacture of projection displays. It includes key aspects from the many technologies contributing to projection systems such as illumination sources, optical design, electronics, semiconductor design, microdisplay systems and mechanical engineering. The book will also be of interest to graduate students taking courses in display technology and imaging science, as well as students of the many other engineering, physics and optics disciplines that lead into the field of projection displays. The Society for Information Display (SID) is an international society, which has the aim of encouraging the development of all aspects of the field of information display. Complementary to the aims of the society, the Wiley-SID series is intended to explain the latest developments in information display technology at a professional level. The broad scope of the series addresses all facets of information displays from technical aspects through systems and prototypes to standards and ergonomics

Job Forecasting

United States. Congress. House. Committee on Science and Technology. Subcommittee on Investigations and Oversight

Published: 1983

Total Pages: 410


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Liquid Crystal Display (LCD) projection technology has, in recent years, led the way in large area displays because of its potential to deliver scalable, high-resolution images at a low cost. Since large displayed images demand high brightness and contrast, a full understanding of polarization, and how to manage its effects, is essential for the development of quality systems. Using the example of LCD projection technology, this practical text provides a thorough coverage of polarization engineering problems, with appropriate solutions and mathematical tools for analysis. Key features: A comprehensive introduction to the basics of polarization, LCDs, projection technologies and LCD projection system engineering. A detailed examination of optical system components, including polarizers and retarder stack filters. A full treatment of system contrast and color management issues. In-depth analyses of how to manage polarization in the major LCD projection systems. Display engineers, scientists and technicians active in this field will find this a valuable resource, as will developers of large screen projection displays and microdisplays. Also useful for graduate students and researchers as an accessible introduction to the technology. The Society for Information Display (SID) is an international society, which has the aim of encouraging the development of all aspects of the field of information display. Complementary to the aims of the society, the Wiley-SID series is intended to explain the latest developments in information display technology at a professional level. The broad scope of the series addresses all facets of information displays from technical aspects through systems and prototypes to standards and ergonomics