CORPORATE UNCONSCIOUS AND THE VIDEOWALK FORMAT
1.1 Background and Context
1.2 Research Question
1.3 Objectives and Scope
1.4 Structure of the Thesis
2. Corporate Unconscious 2.1 Credits
2.2 Description
2.3 Video Documentation
2.4 Synopsis
2.5 Full Text
3. Theoretical framework 3.1 Videowalk: Exploring the Format
3.1.1. Walking as a type of art.3.1.2 Audiowalks
3.1.3 The emergence of Videowalk
3.1.4 Choosing the format3.2 Site-Specific Art and Spatial Narratives
3.3 Engaging Audiences in a Constructed Reality
3.3.1 Illusion and Engagement: The Rubber Hand Effect in Theater
3.3.2 We should invent reality before filming it
3.3.3 Simul Entertainment GmbH3.4 Meta-Score
4. Creative process 4.1 Concept Development
4.1.1 Synchronicity and simultaneity.
4.1.2 Corporate Language as a Narrative Tool4.2 Space research
4.3 Development of visual, auditory and performative identity
4.3.1 Corporate Identity
4.3.2 Art Direction and Stage Design
4.3.3 Performativity
4.3.4 Costumes
4.3.5 Music composition
4.3.6 Cinematography4.4 Dramaturgy and Script Development
4.4.1 Narrative Layers
4.4.2 Storytelling
4.4.3 Dramaturgical arc
4.4.4 Space Score and Timing4.5 Videowalk Production phases
4.5.1 Creation of Fake Historical Footage
4.5.2 Videowalk Filming
4.5.3 3D Modeling and Scanning of the Space
4.5.4 VFX Development and 3D Animated Scenes
4.5.5 Documentary Development4.6 Performance and Participation4.6.1 Installations & self-reflective moments
4.6.2 Leveled performances
4.6.3 Fake participants and recursive participation
4.6.4 Easter eggs4.7 Multimedia Techniques
4.7.1 LiDAR Scanning and As-build modeling
4.7.2 On-site shading and texturing
4.7.3 Character and animations
4.7.4 Camera tracking and VFX compositing
4.7.5 Virtual production and "inverse virtual production"
4.7.6 Video Game development
4.7.7 Spatial audio
4.7.8 AI text models
4.7.9 iOS playback app
5. Conclusion
6. Acknowledgments
7. References
The development of the video game aspect within Corporate Unconscious required a different approach from traditional video production, focusing on interactivity and user engagement within the constructed 3D environment. Utilizing the base project in Unreal Engine, where the video content was also developed, allowed for a unified aesthetic and technical foundation. This integration meant that the digital environment used for the videowalk could be directly adapted for the game, ensuring consistency between the two experiences.
The transition to a game format required optimizing the comprehensive 3D model of the building for real-time interaction. This optimization involved streamlining the model to reduce computational load without sacrificing significant detail that contributed to the space's recognizability. Techniques such as Level Streaming were employed to manage resource loads efficiently, allowing different sections of the building to be loaded and unloaded dynamically as the player moved through the space, thus maintaining smooth gameplay without compromising the rich visual detail of the environment.
The player's character in the game was based on the same Metahuman used for animations, ensuring visual consistency across different media formats within the project. Simple control schemes were implemented for player navigation and interaction within the game environment, focusing on ease of use to accommodate a broad audience, including those who may not be regular video game players.
This approach was not just about creating an additional component to the experience; it was about extending the narrative and immersive qualities of the videowalk into an interactive format. This allowed participants to observe and move through the digital space, and to engage with it in a more active and exploratory manner.