Elsewhere in the Wood is a live-action, installation in miniatures that invites the audience to watch and interact with a world much smaller than our own. Inspired by Théâtre Optique d’Émile Reynaud, Elsewhere in the Wood takes place in three small physical boxes, occupied by Autumn, a 14-year-old girl, and the monsters she encounters. The project consists of Unreal Engine projections, the technique of pepper’s ghost, two motion captured actors, and physical interactive elements. Join us as Autumn finds herself lost in a unique wood, materialized through the combination of projected and real elements of the forest world. As creators interested in breaking the fourth wall, Elsewhere in the Wood directly addresses the audience members in an effort to influence the narrative and help Autumn complete her journey home.
The Unreal Engine world is projected in the back of the box and the characters are projected into what appears to be 3D space in the mid-ground by the technique of Pepper's Ghost. In the foreground there are physical forrest features that the audience can interact with.
Motion Captured Actors
Here we see the actors acting out live the scenes that are projected into the box in miniature in the next room.
Scene 2 - The Mourner
This is the environment that is projected on the back of the box that reacts live from the audience interactions
Lin monitoring the motion-captured skeletons along with manually swapping out the characters and atmospheric sounds in the scenes
Chris is changing the voice of the character's live using Touch OSC and Max/MSP while monitoring the interactivity of the audience to inform the actors how to react to the audience support or lack of support
Shocking the King
These buttons are one of the interactive elements that the audience can use to help Autumn escape an obstacle, in this case the clenches of the King, and regain faith in the people that care about her.
This is the visuals that the viewers get when the audience shocks the King in Scene 3 of the narrative.
Adobe || SFMOMA
This past summer I had the privilege to work @ Adobe as their VR film intern on the Community engagements team. I was brought on to explore the edges of the VR medium so that Adobe can be better informed in their VR tooling explorations.
One of my projects was working with SFMOMA to document, in 360 film, their exhibitSoundtracks.
Because this is an audio exhibit, I was really excited to play with ambisonic/spatialized audio and how that lends itself to 360 video.