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  • She's Not There: When New Illusions Meet Ol' Time RealTtime; Mo-cap, Virtuality and Live Music Performance

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    Author(s)
    Moyes, Peter
    Harvey, Louise
    Griffith University Author(s)
    Harvey, Louise H.
    Moyes, Peter D.
    Year published
    2016
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    Abstract
    She’s Not There: new illusions meet ol’ time real time opened the CILECT (Centre International de Liaison des Ecoles de Cinéma et de Télévision) congress, Queensland Conservatorium Theatre, Brisbane, on the morning of November 20, 2016 (see Figure 1). Conceived and directed by the authors, Louise Harvey and Peter Moyes, and produced by Peter, the project used motion capture of a vocal performance by Christine Johnston for the 3D animation of our fictional cabaret singer, “Ms. Burly Chassis.” Louise modelled Burly and was assisted in the animation by Griffith Film School graduate Jessica O’Neill. Retaining the vocal track ...
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    She’s Not There: new illusions meet ol’ time real time opened the CILECT (Centre International de Liaison des Ecoles de Cinéma et de Télévision) congress, Queensland Conservatorium Theatre, Brisbane, on the morning of November 20, 2016 (see Figure 1). Conceived and directed by the authors, Louise Harvey and Peter Moyes, and produced by Peter, the project used motion capture of a vocal performance by Christine Johnston for the 3D animation of our fictional cabaret singer, “Ms. Burly Chassis.” Louise modelled Burly and was assisted in the animation by Griffith Film School graduate Jessica O’Neill. Retaining the vocal track laid down by Christine, composer Cameron Patrick arranged the music for The Zombie’s 1965 hit She’s Not There with reference to a first pass of animation to assist with synchronisation and the creation of musical highlights. Re-presenting this animation on a screen aloft an empty theatrical stage, a virtual camera operator traverses this space, his movements in replication on the screen above, tracked by the motion capture cameras surrounding ‘the volume’ of the stage. The live orchestra accompaniment further embeds the sense of immediacy created by the virtual camera in its affectation of a ‘live broadcast’. Real confronts virtual towards the end of the song as Christine enters the physical stage to take up the refrain (and the accolades) as Burly’s attempts to hit a high note descend into uncontrollable coughing.
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    Journal Title
    Animation Studies
    Volume
    11
    Publisher URI
    https://journal.animationstudies.org/peter-moyes-mo-cap-virtuality-and-live-music-performance/
    Copyright Statement
    © The Author(s) 2016. This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported (CC BY-NC-ND 3.0) License which permits unrestricted, non-commercial use, distribution and reproduction in any medium, providing that the work is properly cited.
    Subject
    Computer Gaming and Animation
    Design Practice and Management
    Film, Television and Digital Media
    Publication URI
    http://hdl.handle.net/10072/124134
    Collection
    • Journal articles

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