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Articles March-April-May-June 2020

The Art and Craft of Sound Design- Interview with Bishwadeep Chatterjee

PT met up with Bishwadeep Chatterjee, one of India’s most esteemed Sound Designer. In this extremely insightful interview, he generously shares his unique perspective and experience on music recording and sound design..... read more

Bose Professional Assures an IMMERSIVE SOUNDSCAPE At Sardar Patel Stadium – The Largest Cricket Stadium in the World

US President Donald Trump and First Lady Melania Trump were welcomed by Prime Minister Narendra Modi as they arrived for the “Namaste Trump” event on 24 Feb 2020..... read more

Shankar and Siddharth Mahadevan’s Lambodara Studios – Leaves you Breathless

Auroville based leading acoustic consultancy & audio video system design firm Sound Wizard was tasked with designing acclaimed singer, composer and music director Shankar Mahadevan’s ..... read more

In Conversation With Sreejesh Nair

Besides being a part of the first Dolby Atmos Mix theater installation in India and the first Dolby Atmos Premiere Mix room in the world, Sreejesh Nair has been responsible for crafting the sound for major films like Bombay Velvet, Gangs of Wasseypur - II, Agneepath..... read more

Stained Class Productions - Beyond the Realms of Sound

Meet the father & son duo, Murugan N. and Mrinal N. whose musical influence has been Judas Priest and who have aptly named their studio after the fourth studio album of Judas Priest - Stained Class. Mrinal who manages the technical aspects ..... read more

Independent Producers Blurb on their Music and Technology

One of Asia’s largest music festivals, OPPO Sunburn in association with Percept Live and Klassique Events Goa returned to its birthplace Goa, this December after a hiatus of 3 years. The festival which made a grand homecoming for its 13th edition at Vagator for a three-day showcase ..... read more

Sequence of Steps to Follow on Resuming Studio Operations Post an Extended Duration of Shutdown

Munro Acoustics India has put together a suggestion/ guideline document after consulting many studios and engineers across the world to aid their clients in the Indian Subcontinent, Middle East and SE Asia..... read more

Acoustic and Audio System Design for Small Rooms - Part 1

Acoustic and audio system design for a “small room” can be extremely challenging, especially for critical listening applications like control rooms and reference home cinemas. It is vital to understand the relationship between system..... read more

Harman Reigns Supreme in Indian Cinemas

Sound in the cinema, until recently, was dictated by standardized speaker layouts. If you are from the commercial cinema project, from the first design to the finished furnishings..... read more

Recording To Records

Music in India has changed drastically. This music and song driven country which is largely dominated by Bollywood soundtracks, has in the past year seen less of originals and more of old songs being plagiarised..... read more

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Conceptualising and creating Visuals for Big Stages EDM Acts

The visuals on stage are obviously the most visible aspect of any live stage. In this article VJ KayCee, Founder of Pixadoo studios in Bangalore and the mastermind whose high-octane visuals have ignited EDMs like VH1 Supersonic, Cirkus Indigo and many more, took out time from his busy schedule to enlighten PT readers about the art of Conceptualising and Creating Visuals for Big Stage EDM Acts


Today, visuals and EDM acts go hand-in-hand which is why it’s critical that there is perfect synergy between all the various teams working on an event. Like any industry, ours too sees a variety of trends and currently EDM concerts are leveraging large LED screen sets with equally large structures, integrating lights, visuals and lasers, and so on in a perfect time-coded sequence. So, if you’re at a concert and there’s a DJ performing you will experience all of these elements in an extremely synchronised manner. You can’t have one element without the other; it’s almost like a storyline, where each one has a role to play and at a particular time, in order to leave a strong impression on the audience. And world over we are witnessing this trend.

Naturally, in any industry, you will find challenges, more so in one that is considered relatively alternative. The industry in India is nascent, not from an adoption perspective but from a significance perspective. Everyone wants to invest in big events, popular DJs, aspirational visions, but not on actual visuals and visual artists. We need to move past the mindset of working for exposure, artists shouldn’t be put in positions as such. Talent, handwork, and creativity really deserve to be acknowledged and it’s unfortunate that we are still experiencing this on a regular basis. I see that crediting or rather the lack of it is another challenge that artists are facing. We need to ensure a healthy working environment to guarantee sustainability and success and by investing in artists and crediting those responsible for the work, then we are automatically taking a step in the right direction.

We’ve come to learn over the years just how important it is to find a working style that suits us; there’s no one rule or method of working that’s going to be ideal for all, especially when creativity is at the core of what we do.

At Pixadoo, we spend a lot of effort in deeply understanding an event before anything else. What it’s about, communication objective, scale, venue, stage size and design, with an equal focus on the artist/s performing. Having clarity on all these key pieces of information lay the foundation for our work as visual creators to brainstorm with our in-house team of experts and identify a theme that then lends the way for various versions of that theme in the form of sketches.

One thing I do want to emphasise here is the need to be on the same page as the client at every stage of the process. Simply sharing these sketches and ideas is not enough, it is imperative to ensure that they are visualising the content, in the way you intend, and a good way to do this is to go down to the minutest details in your sketches. I truly believe the success of an event lies in ensuring that the objective stays in focus throughout the conceptualisation and creation process.

Once the concept is sealed, we actually create the entire structure in a 3D environment to include all the elements we would use in the real world, working closely with the production head and other members including sound engineers. From sound to engineering and from lighting to SFX and lasers, the one thing we guarantee to all our partners is a fantastic experience.

The next step, and this is one that I especially ensure I am on ground for is the actual creation of the stage at the venue. This is where the 3D concept structure comes to full use, because we create the on-ground stage design in the exact way planned and right down to the T. The final step is to create the visual content and unless you keep in mind the objective of the event, the personality of the artist and the nature of your audience, your visuals just won’t weave magic. The content creation process we follow involves the entire team working together to visualise and construct art work. We then create different themes based on the stage design and the event theme which are then established as the main looks for the stage. When there’s an artist performing, we always try and match the looks as closely as possible. We also send the entire blueprint of the event to each individual artists’ visual team so they can customise their performance and leverage the stage design to their benefit.

While I outline it quite simply, the visual creation process in itself is quite dynamic and can be elaborate. Sometimes we begin with simple sketches, and then move on to Illustrator, Photoshop, After Effects and motion graphics. There are also times when we begin with a sketch and then make use of Maya or 3D Max to create the motion graphics and then use After Effects to composite the entire content piece. Whenever I can, I try to keep it basic where I use softwares like Resolume, Madmapper, Modulate and a few others but what I want to say is that if you are able to clearly understand the need and objective, you can create exemplary work even by just using images.

If you look at the industry today, that in itself is considered alternative, and within that your role too is alternative so it’s important to leverage this and keep pushing the boundaries as to what’s possible. The route isn’t paved out for you, and that’s the beauty of it.


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Current Issue : March - June 2020
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