4.7 Multimedia Techniques

SPACE AS A SCORE:
CORPORATE UNCONSCIOUS AND THE VIDEOWALK FORMAT

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

In the early stages, technical trials were conducted to assess how the space could be "expanded" or how much narrative and visual material could be generated from what the environment offered. I collaborated with Nicolás Fuentes on laser scanning experiments and created drafts in Unreal Engine to digitally reconstruct the same space. We traversed this environment with iPads, overlaying the 3D reconstructions onto our physical surroundings, probing the boundaries of perception and the sense of agency within the space. This process raised crucial questions: What happens when the 3D model aligns with reality, except for a few deliberate anomalies? Would we then believe these digital fabrications to be real? How immersive could this iPad-mediated experience be, and does immersive binaural audio enhance this immersion?

It's important to note that while Corporate Unconscious incorporates significant technological elements, the intention was never for technology to overshadow the human and narrative aspects. The technological exploration, crucial in delving into a format still nascent in multimedia artistic creation, was foundational. Yet, the core of the experience was designed to remain straightforward and accessible — a video that participants follow through a space, a simplicity that in itself is sufficient for audience engagement.