We finished our latest show “The Longest Night: A Winter’s Tale” in November and it’s now been playing at Morehead for about 2 months. It’s getting a great response from the community. There’s so much demand, in fact, that we’ve had to create extra weekend and weekly showings so we won’t have to turn people away. We’re very happy about this response, of course.
Here’s the description of “The Longest Night” straight from the Morehead website:
“The Longest Night: A Winter’s Tale” is a one-of-a-kind fulldome planetarium show that captures its audience with a timeless fable of courage, generosity and renewal. Its story explores the concept that winter is a time for Earth to rest, waiting for new growth in the spring.
Its star, a young girl born into a family of nomadic storytellers, embarks on a simple quest that leads her to a dragon’s nest. What will she discover there, and how will it help her save her village?
Morehead collaborated with Paperhand Puppet Intervention to develop the story and visuals of “The Longest Night.” The Morehead production team seamlessly wove together live-action video of Paperhand’s world-class puppeteers with beautiful and intricate fulldome animation to create this innovative and imaginative show. Its cast and crew comprised dozens of puppeteers and production professionals, and The Paperhand Band created original music for the show.
For more info, here’s a short promotional video we created for the show:
We’ve got one more behind the scenes video to share created by our production intern, Paul Davis. In it, Jay Heinz (that’s me) talks about all things related to audio and sound design used in Solar System Odyssey. I promise none of it is in the 3rd person, either.
It’s been a while since we’ve updated this blog because we’ve been pretty busy finishing up our latest show, The Longest Night: A Winter’s Tale. More about that in some later posts, but we’ve opened it at Morehead and it’s getting a great response.
In the meantime, I just wanted to share a behind the scenes video one of our incredible student interns, Paul Davis, produced. Paul had his hand in many aspects of The Longest Night, from RED camera operator, to rotoscoping to some After Effects animation. In his spare time, he made this video where Peter Althoff, our technical director, talks about some of the tricks involved with dome production that were specifically used in Solar System Odyssey.
Some of us at Morehead are heading down to Baton Rouge this week for IPS and Domefest and we’ll be up on the big screen a lot. Join us in Sky-Skan’s Zendome (the biggest dome in the dome village) at 3:15 on Wednesday for a screening of Solar System Odyssey. Clips from two of our shows also made it into Sky-Skan’s Best of Fulldome reel during their main presentation. Lastly, we’re happy to announce that Jeepers Creepers is a Juried Finalist and on the Juried Show Reel for Domefest this year. See you there!
In the first four fulldome shows that Morehead produced, we didn’t have to do much collaboration with outside groups. We’d sometimes contract out a writer or the composer, but for the most part, our productions were created almost completely in-house. That all changed when we met with Donovan Zimmerman from Paperhand Puppet Intervention and decided to collaborate on our newest show in production, The Longest Night. Paperhand had been putting on stage performances in North Carolina for over 10 years and we loved their style, aesthetic and message. But collaborating with a completely non-digital group presented some challenges.
The basic plan was for Paperhand to write the script, we’d take it and produce storyboards and pre-viz. After that we’d shoot live action of Paperhand’s giant puppets on green screen, do the digital production and finally, Paperhand would score the show. Every step of the way we’d make sure to COLLABORATE, meaning that we weren’t just dividing up the tasks, but we were bouncing ideas off each other and making sure we were both happy every step of the way. Easier said than done.
The first challenge was that Paperhand had never been involved with a dome production. In fact, they’d never been involved with a film production of any of their shows. So we were starting from scratch. The first thing I like to do is to explain the basic steps in making a show:
1. Concept & Script
2. Storyboards & Concept Art
3. Animatics/Pre-Viz & Scratch Audio
4. Production (film and 3D) & Sound FX/V.O.
5. Music, Narration and Post
But another thing I like to show to newbies is this great video from Cirkus Productions out of New Zealand about the ABCs of the animation process.
Once we were fairly certain they wrapped their head around the basic process, we had to make sure that they understood the differences between STAGE, SCREEN and DOME productions. Luckily, in some ways, a dome production with live actors is actually more similar to a stage production than a film. It’s just that the stage surrounds the audience and we can move from scene to scene much more quickly.
As you know, you don’t cut on the dome like you do in a film. Instead, you need to draw the viewer’s eye to what is important using other techniques. Paperhand had plenty of experience working in that manner. So once we had convinced them that it wouldn’t work to cut to a close up of an object or character and got them back using their old school techniques, things worked much more smoothly. Oddly enough, this was one situation where the less “film” knowledge worked out to our advantage.
What they weren’t prepared for is the limitations of the color green when shooting on a green screen. It’s tough when you’ve been making puppets for 15 years with green in them for someone to tell you that you can’t use that color. If all else fails and they ended up having green on their puppets, we could have painted the room blue.
The next thing we had to explain to our new non-digital friends was the beauty of digital magic. At first, they assumed that when creating concept art or pieces for the production, they’d have to make them life sized. They also thought that if we needed 200 trees, they’d have to paint 200 trees. They were happy to hear about the copy and paste functions in After Effects. They were also happy to realize that we could tweak colors very easily in the system without them having to paint new versions. The great thing is that we ended up with a lot of fantastic concept art. Here are some examples:
We’re right in the middle of production on our newest show, tentatively called The Longest Night: A Winter’s Tale. The show is being created in collaboration with Paperhand Puppet Intervention, a talented crew of people who normally produce live theater with giant puppets, masks, stilt dancing, rod puppets, shadows or silhouettes, and anything else they think will work. They’re wildly popular in our part of North Carolina and we like their stage shows so much that we thought it would be great to put them up on the dome and send them around the world.
For the past six months we’ve been developing ideas, writing scripts, creating storyboards and pre-visualizing a show unlike anything that’s been seen up on the dome. It’s an experiment, that’s for sure. But as it develops, we’re getting more and more excited about it. In the weeks to come, we’re going to be posting updates on When In Dome about the ideas, the process and the people involved. Stay tuned…
Next week we are heading out to Denver for the Feb 3-5 2012 IMERSA Summit. This year’s theme is “Lessons from our past, Visualizing our future: Winning solutions for the digital dome.” We’re screening our new show, Solar System Odyssey, at 5:30PM on Friday and then I’ll be giving a presentation directly afterwords entitled “Domenclature” about the need to create a “film language” for the dome and what we learned producing SSO. If you’re going to be there, please stop by, see the show and say hi.
I was recently at a non-planetarium, non-fulldome conference for science communicators called ScienceOnline. The attendees that I met, who happened to be mostly scientists, science journalists or pr people, generally didn’t know what I meant when I said I “produced fulldome video.” As many of us have experienced, saying that you make “planetarium shows” doesn’t quite work either because most adults tend to think about pre-digital shows. It’s a good thing I attended a session called “Pimp Your Elevator Pitch” and decided to use it to work on giving a definition of what fulldome is in less than 45 seconds.
Here’s what I ended up with:
Fulldome videos are primarily science documentaries that are projected onto a domed surface, typically in a planetarium. Many fulldome videos deal with astronomy, but other subjects are appropriate for the dome, especially topics or environments that are difficult to experience as a human being, such as deep underwater, inside the human body or in the future. We like to think of a flat screen video as a window into another world but with a fulldome video you can poke your head up inside that world and become immersed within it. Think of a 3D animated movie crossed with IMAX and put it in a planetarium.
Some feedback I got with my original pitch was that I started by saying that they’re “not planetarium shows,” which instantly put the idea of an analog show in people’s minds. I also originally described them as a combination of PIXAR and IMAX in a dome and was told that people in very rural areas might not know what PIXAR or IMAX are. Something to keep in mind.
Any other ideas out there? How have you described “fulldome” to others quickly?
We just rendered a flat screen version of the trailer for our newest show – Solar System Odyssey. Looks pretty good in a rectangular format, if I do say so myself. Check it out below. But you’ll have to check it out on a dome to get the full effect, obviously.