RU2790235C2 - Stage performance methods - Google Patents

Abstract

FIELD: amusement industry.

SUBSTANCE: methods are described that create a feeling in the audience that an artist moves from one place to another during a stage performance. Methods are also described, in which an actor enters/leaves a stage platform, or an artist’s image appears on a screen of the background of the stage/disappears from it. Described methods include the interaction of the artist with an object/item of the props or an image of the object/item of the props and/or include the interaction of the artist’s image with the object/item of the props or with the image of the object/item of the props during the stage performance.

EFFECT: development of stage performance methods.

12 cl, 5 dwg

Description

FIELD OF TECHNOLOGY

During the stage performance, the artists perform for the audience. Artists basically play out certain situations, called scenes, on a stage platform. The stage may have a backdrop visible to the audience that is behind the stage platform. In some cases, digital projection images may be displayed on the stage background screen. And these images complement the different scenes that the artists perform. Digital projection changes images during presentation and/or makes images move or animate. As a result, viewers get a more vivid experience while watching the stage performance.

BRIEF DESCRIPTION OF THE INVENTION

The methods outlined here help expand the area of movement of the artist during the presentation to the screen of the background of the stage and from there back to the stage. Methods are described for moving an artist from a stage platform to a background screen as an artist image, or an artist image on a background screen as a real artist on a stage platform. In general, the movements described in this document between an artist on a stage platform and an image of an artist on a background screen, or between an image of an artist on a background screen and an actual artist on a stage platform, involve the interaction of the artist with stage props and/or the interaction images of the artist with the image of the item of props on the screen of the background of the stage. In some examples, a real artist may interact with an image of an item of props, and/or an image of an artist may interact with an actual item of props.

In some instances, this transition and how it occurs (using a prop item or an image of a prop item) can provide viewers with a fantastic yet realistic impression that the artist is moving vast distances during the performance. In some examples, the movement of an artist from one place to another may be perceived by the audience so that the artist remains in the same place, however, the angle from which the audience sees this place changes.

The transfer can be done by using scene dimming. These methods not only expand the area that a performance can cover, but greatly increase the number of ways in which artists can enter or leave the stage platform during a performance. These techniques deepen the perception of the show for viewers.

In one example, the methods may be perceived by the audience such that the artist has moved from the stage platform to the stage background screen through the prop (FIG. 2). In another example, the methods may be perceived by the audience such that the artist has moved from the background screen to the stage platform through the prop (FIG. 3). In the following example, the methods can be perceived by the audience so that the artist left the stage platform using a prop item (FIG. 4). In yet another example, the methods may be perceived as having the artist enter the stage platform using a prop item (FIG. 5). The methods can be used individually, all together, or in part.

In one example, a method for presenting a stage performance includes, at approximately the time an artist interacts with a prop item on stage or interacts with an image of a prop item on a background screen, and the artist leaves the stage, an image of the prop item or animation appears on the background screen of the stage. prop item, and this image interacts with the artist's image on the background screen immediately or shortly after his image or animation.

In one case, the way the show is performed involves the appearance of the artist on the background screen, and the animation of the artist's image to show his interaction with the image of the prop item on the background screen, or to show the interaction of this image with the prop item on the stage platform, and this happens at the moment or shortly before the artist's image disappears from the background screen, and he, interacting with the props on the stage platform, appears on the stage platform.

In one instance, the method of performing a show includes animating an image of a prop on a background screen while an artist on the stage platform is interacting with the image and walking away or appearing to walk away from the stage platform.

In another case, the method of performing the show includes animating the image of the prop item on the background screen while the artist interacts with the image and appears on the stage.

BRIEF DESCRIPTION OF THE FIGURES OF THE DRAWINGS

The accompanying drawings, which are included in the specification and are part of it, illustrate the ways of stage performances. We would be grateful if the methods illustrated in the figures would be taken as an example and not a limitation. We will be grateful if changes, modifications and deviations from the methods illustrated in the figures will be made without deviating from the essence and scope of the design outlined below.

FIG. 1 shows various components that are related to stage performance and describes the methods below. (1) Stage platform example. (2) Scene background screen example. In some examples, the stage platform and background screen may be referred to as a stage. (3) An example of an artist standing on a stage platform. (4) The image of the artist on the stage background screen. (5) An item of props in the form of a well that stands on a stage platform. (6) Image of a well on the stage background screen. (7) An ascending ladder on the stage platform. In some examples, stairs may be referred to as props.

FIG. 2 shows images in chronological order that show the artist's departure from the stage platform (and the appearance of his image on the stage background screen) using the methods outlined in this document. FIG. 2A the performer stands on the stage platform. To the right of the artist on the stage platform is a prop item in the form of a well. On the inside of the prop in the form of a well on the stage platform, there may be a passage (hidden) large enough for the artist to fit into it. In one example, the stage platform exit is provided with a hinged door. Also in FIG. 2A is a scene background screen showing a mountain on the horizon and the sun in the sky.

FIG. 2B, the artist has moved to the right and entered the inside of the well prop. For the audience, who are sitting in front of the stage platform, the impression was that the artist jumped into the well.

FIG. 2C shows an artist who is in the interior of the well. The performer may still remain on the stage platform, hidden from the audience by a prop in the form of a well, as shown in the figure. The performer can move through the swing door on the stage platform and remain on the platform below the main stage. In this position, the audience does not see the artist, and it seems to them that the artist left the stage platform by jumping into the well.

FIG. 2D shows an unlit scene (blackout or scene change). In practice, the entire room may be dimmed (lamps may be dimmed or switched off completely) or only the stage may be dimmed (spotlights illuminating the stage may be dimmed or completely switched off). While the lights are dimmed/off, the audience cannot see the stage platform. At this time, workers, for example, go to the stage platform and remove a piece of props in the form of a well. If the artist is still on the stage platform, they can leave at this point. If an artist has exited through a flap on the stage platform during a power outage, this flap can be closed. Dimming the stage basically prevents the audience from seeing what is happening on the stage at that time.

FIG. 2E the lights are turned on and the stage is now visible to the audience. The well on the stage platform is no more. The well image is now projected onto the background screen. In this example, an artist is also depicted next to the well, who was previously on the stage platform. Now he is in the image next to the well (at this time, the artist may or may not be shown on the screen). The audience will get the impression that the well from the stage platform was moved to the stage background screen at the time the stage was darkened.

FIGURE 2F shows a moving image on the screen in the background: the artist emerges from the image of the well and stands next to the well. The audience gets the impression that the artist came out of the well onto the screen.

The entire sequence of events shown in FIG. 2 is perceived by the audience in such a way that the artist leaves the stage platform by jumping into the well. Then the well is transferred to the background screen (scene change) and the artist (the image of the artist who was on the stage platform) exits the well already on the screen. It seems that the artist (real artist) has moved from the stage platform to the screen (artist's image) using props. In this case, a well.

In various embodiments of the method, the steps shown in FIG. 2A-C or in FIG. 2A-D can become a separate way of how the artist's image appears on the stage background screen. In some examples, the props may not be in the form of a well. In some cases, there may also be no stairs.

FIG. 3 shows images in chronological order, which is an example of how an artist enters the stage platform (transfers to the stage platform from the background screen) using a variety of methods outlined in this document. FIG. 3A shows an image of an artist on a stage background screen. To the left and bottom of the depicted artist, as seen by the audience, on the screen of the background of the stage is also an object of props in the form of a well. There is a stage platform in front of the rear screen.

FIG. 3B, the artist is depicted inside a prop in the form of a well. In chronological order between FIG. 3A and FIG. 3B, the image of the actor has been animated on the background screen. The audience got the impression that the artist jumped into the well. In the image, the artist may or may not be visible in the well, making it appear to viewers that the artist has jumped into the well and disappeared into it.

FIG. 3C shows a darkened scene (lights off). In practice, the entire concert hall can be darkened (the lights are dimmed or completely turned off) or only the stage can be darkened (the spotlights illuminating the stage are dimmed or completely turned off). At this point, in one example, workers enter the stage platform and place a prop item on it in the form of a well. In the example, a prop item in the form of a well can be placed above a passageway on the stage platform, which is accessed by opening a folding door on the platform. The performer can stand on the platform below the main stage platform. In another example, the artist may take shelter inside a well prop that was placed on the stage platform during a blackout. Darkening the stage completely or partially deprives the audience of the opportunity to see what is happening on the stage at that time. The time the stage is blacked out allows props to be changed during the performance.

FIG. The 3D light is on and the audience can now see the stage. The image of the well and the performer is no longer on the background screen of the stage. There is now a prop item in the form of a well on the stage platform. In this example, the artist is shown inside a well prop. It can be either inside the well itself or on a platform located under the main stage platform (below the stage). In this place, the audience does not see the artist. The viewers get the impression that the well from the background screen (and the artist in that well) was transferred to the stage platform while the stage was darkened.

FIG. 3E shows the artist who emerged from the well prop (the artist walked up from the platform below the stage through the well to the main stage platform, or perhaps he came out of the well prop itself) and runs away from the well.

The entire sequence of events shown in FIG. 3 is perceived by the audience such that the performer disappears from the stage background screen by jumping into the well shown on the stage background screen. Then the well is transferred to the stage platform, and the artist comes out of this well onto the stage platform. The artist (image of the artist) seems to be transferred from the background screen of the stage to the stage platform (the real artist) through a piece of props, the role of which in this example is played by a well.

The practical application of the method may vary. Thus, the actions shown in FIG. 3A-B or FIG. 3A-C can be performed separately, for example, to make the artist disappear from the stage background screen. The actions shown in FIG. 3D-E or FIG. 3C-E, and be performed separately so that the actor enters the stage platform. In some examples, the prop may not be a well. In some examples, stairs may be missing.

FIG. 4 shows the chronological sequence from the example where the artist leaves the stage platform using the methods outlined in this document. FIG. 4A, the performer is standing on a ladder that is attached to the stage platform, and the image of a well is shown on the background screen, to the right of the performer. Also on the screen are a mountain on the horizon and the sun in the sky.

FIG. 4B shows that the artist goes to the right to the stairs, stands opposite the image of the well and jumps from the stairs as if into a well.

FIG. 4C shows the position of the stairs on the stage platform in relation to the background screen. The resulting distance between the ladder and the screen is shown. The performer is shown as he jumped down the stairs and into the gap between the stairs and the stage background screen. In this position, the artist is only partially visible to the audience. Also shown is an animation of the image of the well on the background screen. The image shows that when the artist partially entered the well, water splashes appear, as if he had jumped into a real well.

FIG. 4D shows the artist has completely moved into the space between the stairs and the background screen. The artist in this position is not visible to the audience. The background screen also shows an animation of the well, as well as the artist entering it completely (the artist is not visible in the image that is shown on the screen), causing a splash of water. FIG. 4E shows a scene identical to FIG. 4D, but shown from the audience seated in front of the stage platform.

FIG. 4F is a similar view showing a scene that appears a little later than that shown in FIG. 4D: The water splash has already ended. The entire sequence of events shown in FIG. 4 is perceived by the audience in such a way that the artist, standing on a ladder fixed on the stage platform, leaves the platform by jumping into the well.

In various variations, behind the events shown in FIG. 4 that cause the artist to leave the stage may be followed by events that result in the artist returning to the stage platform (i.e., FIGS. 3C-E, FIG. 5A-E) or the artist's image appearing on the background screen (i.e., FIG 2D-F). In some examples, the subject of the prop may not be a well. In some examples, there may be no stairs. In some examples, instead of a ladder, for example, another object can be used that will close the artist from the audience.

FIG. 5 shows a chronological sequence of images with an example of an artist returning to the stage platform using the methods outlined in this document. FIG. 5A shows how the audience sees the stage platform with a staircase located on the inside of the stage platform and a screen behind the stage platform showing a well, a mountain on the horizon, and a sun in the sky.

FIG. 5B shows an animation of the well image on the background screen. The animated image shows the seething of water in a well, which can occur in a real well if a person or some object approaches the surface of the water from the depths of the well.

FIG. 5C shows an animation of the well later, with an artist emerging from the water in the depicted well and splashing water.

FIG. 5D repeats the scene of FIG. 5C only from the side view of the stage platform. It shows the position of the stairs in relation to the background screen on the stage platform and the gap that has been created between the stairs and the back screen. The artist is in this space, and from the audience he is mainly hidden by the stairs. It is shown that the artist begins to exit this space to the very top of the stairs, where he will be visible to the audience. The background screen also shows an animation of the image of the well, including an image of an artist emerging from the well and an image of splashing water.

FIG. 5E shows an artist (the image of the artist on the stage background screen has already disappeared), who seems to have completely come out of the well and is standing on the top step of the stairs. The animation of the well (the image of the artist emerging from the water and the image of water splashing) has already been completed. The entire sequence of events shown in FIG. 5 is perceived by the audience that the artist has emerged from the well on the stage background screen and moved to the stage platform.

In various variations, behind the events shown in FIG. 5, when the artist enters the stage, events may follow as the artist leaves the stage platform (FIGS. 2A-C, FIGS. 4A-F). In some examples, the prop item may not be a well. In some examples, there may be no stairs. In some examples, instead of a ladder, for example, another object can be used that will shield the artist from the audience.

DETAILED DESCRIPTION OF THE INVENTION

Terms

In this document, "about" means approximately. When one event is said to occur at about the same time as another event, the first event usually occurs a little earlier, at the same time, and/or a little later than the second event. In this document, when one event occurs at about the same time as another event, this means that viewers will perceive it as two events occurring at the same time, or they will perceive it as the second event occurring as a reaction to the first.

In this document, the term "artist" describes a person who plays/performs during a performance.

In this document, "adjacent" means something that is next to or adjacent to something. When it is said that one thing is not adjacent to another, then there is a separator or space between the first and second thing.

As used herein, "animate" means to move or make an image move, usually on a background screen.

In this document, "appearing" means that something appears to be real and true, but is not necessarily so.

In this document, "appear" means that something comes into view and becomes visible.

In this document, "around" means the surrounding area.

As used herein, "associated" means something coupled or connected.

In this document, "spectators" means visitors to the event.

In this document, "border" means the boundary line.

In this document, "change" means change.

In this document, "coordinate" means that two elements work together.

In this document, the term "dark scene" means a scene that is not well lit. Scene dimming can be temporary (that is, lighting can be turned off briefly and then back on) and can be used to hide the scene and/or the actions that take place on the stage from viewers.

In this document, "digital" means electronic or computer.

In this document, "disappear" means to go out of sight, to become invisible.

In this document, "demonstrate" means to present or show, and it usually refers to the background screen of a scene.

In this document, "effect" means a change that results from a cause, action, or sequence of actions.

In this document, "to leave" means to come to a certain place.

In this document, "to leave" means to leave a certain place.

In this document, "image" means a representation of something. In this document, images usually appear on the stage background screen during a stage performance. Typically, unless otherwise noted, the image may represent the artist. Usually, unless otherwise noted, the image may represent the subject.

In this document, "initiate" means to start something.

In this document, "interact" means that one thing interacts with another and/or one thing affects another. Often in this document, interaction can mean that one thing provokes an interaction with another.

In this document, "obscure" means to cover.

In this document, "optional" means optional or optional.

In this document, "object" means a thing that can be seen or touched. Usually "object" cannot refer to an artist.

In this document, "perceive" means to notice or be aware of something.

In this document, "perception" usually refers to the artists and artist images and their movement between the stage and the background screen and the stage, such things as the similarity of the artists and the artist images that make the move, and/or the timing and space consistency of the transition between the scene. and a background screen and a background screen and a stage.

In this document, "item of props" means an object that is usually on the stage platform during a performance.

In this document, "reaction" means an action that is performed in response to something.

In this document, "represent" means to represent.

In this document, "stage background screen" describes an area, usually located behind the stage platform, on which an image can be projected.

In this document, "stage platform" means the area on which a performance is performed.

In this document, "transition" means change or movement. Transition means making or beginning a transition. In this document, transition generally refers to moving the artists/props from the stage platform to the background screen as artist/stage prop images and/or moving the image of the artists/stage props that are displayed on the stage background screen to the stage platform as real artists/props.

In this document, "movement" means moving from one place to another.

In this document, "angle" means the position from which someone or something is observed.

Artists, images and transition

As stated in U.S. Patent Publication No. 2012/0225765, September 6, 2012; U.S. Patent Publication No. 2014/0357386, December 4, 2014; stage backgrounds can be coordinated with each other in such a way that the images are presented to the audience as a real complement to the artists on stage. In particular, methods have been set forth for accurately transitioning real artists on a stage platform into images of the same artists on a stage background screen, or accurately transitioning images of artists on a stage background screen into actual artists on a stage platform.

In this document, novel methods have been introduced for turning artists from a stage platform into images of artists on a stage background screen, or turning images of artists from a stage background screen into artists on a stage platform. This transition typically involves the use of props and/or images of props during the move. The methods set forth herein are perceived by viewers such that an artist moves considerable distances after they transition from a stage platform into an image of the same artist on a stage background screen, or an image of an artist on a stage background screen transitions into an actual artist on a stage. stage platform. In some instances, the methods of transferring artists set forth may be perceived by viewers such that the artist does not move from one place to another, but stays in the same place, but viewers perceive the place and/or artist from a different angle.

In some examples, an artist standing on a stage platform may interact with an item of props on the stage platform. The prop item is transferred from the stage platform to the image of the prop item on the stage background screen, and the audience can perceive it as the artist moving from the stage platform to the screen using the prop item. Moving can give the audience the impression that the artist has traveled a long distance. In some instances, the move may give viewers the impression that the artist has not moved to another location, yet viewers are looking at the location and/or artist from a different angle. In some examples, an artist on a stage platform may interact with an image of a prop item on the stage background screen shortly before or at the same time that the audience sees the artist move from the stage platform to the stage background screen. In some instances, the move may involve dimming the scene or turning off the lights completely to make changes.

In some examples, the artist's image on the stage background screen may interact or appear to viewers to interact with the image of the prop item on the stage background screen. The image of the prop item is moved from the background screen to the real prop on the stage platform, and the audience can perceive that the artist is moving from the stage background screen to the stage platform using the prop item. Moving can give the audience the impression that the artist has traveled a long distance. The movement may give the audience the impression that the artist has remained in the same place, but the audience after the movement looks at the place from a different angle. In some examples, an image of an artist on a stage background screen may interact or appear to interact with an actual prop on the stage platform shortly before or at the same time that the audience sees the artist move from the stage background screen to the stage platform. In some examples, moving may involve using a dark scene or turning off the lights completely to make changes.

Props and images of props

In the methods set forth herein, the objects or props move an artist from a stage platform to an artist image on a stage background screen, or move an artist image on a stage background screen to an actual artist on the stage platform. The item of props can be perceived as a means of moving the artist.

In general, in order to move an artist standing on the stage platform to the image of the artist on the stage background screen, the artist first leaves the stage platform. Typically, an item or items of props are used for the artist's departure. One example of this can be seen in FIG. 2B. The artist jumps to the center of the prop in the form of a well. The audience perceives the artist's actions in such a way that he jumps into a real well. If there were no props, then the audience would not have such an impression. In this particular example, a well prop is used to hide the artist from the audience, as shown in FIG. 2C. In some, but not necessarily all examples, props can be used to hide the performers from the audience.

Another example of using a prop to move an artist off a stage platform is shown in FIG. 4B-C. There, the artist jumps from the top step of the ladder, which is fixed on the stage platform. The ladder can be considered a prop item. After the artist jumps from the ladder into the space between the ladder and the stage background screen, the ladder shields the artist from the audience as shown in FIG. 4D-E.

FIG. 4B-D also shows an example of an artist leaving the stage platform using an image of a prop item. There, the artist, standing on the top step of the stairs, jumps in such a way that it seems to the audience that he is jumping into the image of a well on the screen of the background of the stage. As mentioned above, the impression is enhanced by the image of splashing water from a well.

In some examples, after the artist has left the stage platform, an image of the artist may appear on the background screen of the stage. Usually, an image of a prop item can be used to perform this action. Such an example is shown in FIG. 2E-F, where the artist image emerges from the well image on the stage background screen. Viewers perceive this to mean that the well into which the artist jumped in FIG. 2B-C moved the artist from the stage platform to the stage background screen where the artist appeared as an image.

Another example of using a prop image to make the artist's image transition to the stage background screen is shown in FIG. 5B-E. There, an image of a prop item in the form of a well is shown on the stage background screen. The animation shows the seething of water inside the well, as if something is rising from the depths to the surface of the water. The artist's image then emerges from the water, moving to the background screen of the stage. The image of the artist matches the image of the prop item in the form of a well, which ensures the transition of the image of the artist on the screen of the background of the stage. Viewers perceive this to mean that the image of the well into which the artist jumped in FIG. 4B caused the artist's image to move on the stage background screen.

To transition an artist's image from the background screen to the actual artist on the stage platform, the image may first fade or disappear from the stage's background screen. Usually, an image of a prop item is used for such an action. One example of this is shown in FIG. 3A-B, where the image of the artist is animated and perceived by the audience as if he had jumped into the well. After this jump, the artist is not visible to the audience. And the audience perceives it as if the artist is inside the well.

In some examples, after the artist's image has disappeared from the stage background screen, the real artist may appear on the stage platform. Usually, props are used to accomplish this. One example of this is shown in FIG. 3D-E. Here the prop item in the form of a well is located on the stage platform. The artist can be inside the prop or under the stage. In this example, the audience does not see the artist. The artist then exits the prop and becomes visible to the audience.

As another example, an artist enters the stage using an image of a prop item as shown in FIG. 5A-E. In this case, the artist's output provides an image of the prop item, not the actual prop item. As shown in FIG. 5B, an image of a well with splashing water is animated on the stage background screen. The artist then appears on a ladder fixed to the stage platform. An artist's image can also come from a well image.

In some of the examples shown herein, props can be used as platforms or aids to enable an artist to enter or exit a stage platform. Images of props can be used to enter and/or leave the stage platform. Images of props can also be used to bring the artist into and/or out of the background screen. Actual props can also be used to bring the artist's image into and/or out of the background screen.

In this document, a well is an example of a prop item/image of a prop item. Many other kinds of props/pictures of props can also be used. There are many possible examples. You can easily imagine props as a variety of objects, such as vehicles (on land, water, air, space), buildings, celestial objects, natural objects (for example, waterfalls) and a number of others that can be used as a means of interaction between artists on stage. platform or background screen, and which provide the transitions described in this document and/or give the audience the impression that the artist is moving from one place to another, or that the angle from which the audience is looking at the same place changes during the performance. The methods described can also be used to complement an artist entering or exiting a stage platform, or an image of the artist appearing on and off the stage background screen during a performance.

Movement of artists

The methods described here are commonly used to give the audience of a stage performance the feeling that the artist is moving over long distances. In some examples, the effect may be created that the audience sees the artist from a different angle but in the same location (for example, the artist's location on the stage platform appears to be the same as the artist/image is on the stage background screen, but the viewing angle for the audience has changed.) This feeling is caused by the artist moving from the stage platform to the stage background screen or the artist's image when moving from the stage background screen to the stage platform.

In some examples, using the described methods, an artist leaving the stage platform may appear on the background screen of the stage as an image near the place where he left (for example, compare FIG. 4B (artist leaving the stage platform) with FIG. 2E- F (appearance of the artist's image on the stage background screen)). In some cases, the image of the artist disappearing from the stage background screen may enter the stage platform as the artist himself, near or adjacent to the place where the image disappeared from the stage background screen (for example, compare FIGS. 3A-B (disappearance of the artist image from the stage background screen) from FIGURES 5C-E (artist entering the stage platform)).

In some examples, using the methods described, an artist leaving a stage platform may appear on the stage background screen as an image away from or near the place they left. However, in some cases, even though the artist has been moved from the stage platform as an image to the background screen of the stage, it may appear to the audience that the artist is in the same place, but after moving, they see his location from a different angle ( for example, compare FIGURE 2B-C (artist leaving the stage platform) with FIGURE 2E-F (appearance of the artist's image on the stage background screen)).

In some examples, the image of the artist disappearing from the background screen may enter the stage platform as the artist himself, not near the place where the image disappeared from the background screen of the stage. However, in some examples, even though the artist's image has been moved from the stage background screen to the stage platform as the artist himself, it may appear to viewers that the artist has remained in the same place after moving, but they see his location and/or himself from a different angle (for example, compare FIGS. 3A-B (disappearance of the artist's image from the background screen of the stage) with FIG. 3D-E (exit of the artist to the stage platform)).

blacked out scene

Some movement between artists and images, or between images and artists during a stage performance may be better perceived by the audience if temporary stage or stage platform dimming is used - so that the audience does not see what is happening on the stage platform / stage background screen. For example, due to the darkness on the stage, the audience does not see how the staff goes to the stage platform to add or remove props. Examples of such use of scene dimming during a transition are shown in FIG. 2D and 3C.

Transition coordination and accuracy

A feature of these methods is the transition of artists and / or objects / props on the stage platform into images of artists / objects / props on the stage background screen or the transition of images on the stage background screen into artists and / or objects on the stage platform.

As a rule, such a transition is time-coordinated in such a way that at about the time when the artist / object / and props leave the stage platform, their image appears on the background screen. Likewise, around the time the image fades from the background screen, the performers/objects or props they portray appear on the stage platform.

As a rule, the coordination of the transition site also matters. At the same time, the transition in some cases is and appears to the audience as the movement of objects / props / artists over considerable distances. In some cases, however, viewers may perceive movement as a change in perspective of the same location. FIG. 2, for example, the artist leaves the stage platform by jumping into a simulated well in its middle. At about the same moment or a little after the artist's jump, his image appears on the background screen of the scene from the image of the well. FIG. 2 there is a physical distance between the well on the stage platform and its image on the stage background screen. In other words, the two locations are not adjacent. However, viewers perceive the change in physical distance as the same location, but after the transition they see it from a different angle. Generally, viewers' perceptions can be influenced/controlled by how these methods are implemented.

In some cases, the locations of artists/objects/props and their images may be adjacent, i.e. the disappearance of objects/props/artists from the stage platform occurs approximately in the same place where their images appear on the stage background screen, and vice versa (then is, the transition of images on the stage background screen into objects / props / artists on the stage platform). Such an adjacent transition is discussed in more detail in US patent No. 9468860.

As a rule, the transition is also coordinated in terms of movements. An example of this is shown in FIG. 4: When the performer jumps from the ascending steps into the well image on the stage background screen, the water splash image appears from the well image. It seems to the audience that the artist really jumped into the well with water, causing splashes.

This coordination of time, location, and movement during the transition is designed to make the viewer perceive what they see as if the images were an extension of the stage platform.

In addition to coordinating during the transition in the above methods, moving between objects/props/artists on the stage platform and their images on the stage background screen, or moving between images and objects/props/artists has an accuracy property or characteristic. In some examples of such accuracy, the appearance of props/artists and their images is similar or identical. For example, the costumes of live artists are the same as the costumes of their images. The colors of the costumes are also the same. In some cases, the images of the artists' faces are also very similar or identical to what the live artists look like. It seems to the audience that the artist on stage and his image on the stage background screen are one and the same person.

Image and animation production

Images of artists/objects/props that are displayed on or projected onto a stage background screen can be created using methods and tools known in the art. There are many ways to create, project, and animate images. The technology that makes it possible to create such things is gradually becoming cheaper and easier to use.

In some examples, the methods used to create digital images (successive images form an animation); to integrate these images into a background typically displayed on a scene background screen (eg, a mountain horizon and a sun in the sky, as in FIG. 2); and to coordinate the digital images of the artists/objects/props and background with the actual artists/objects/props on the stage platform can be described as below. Part of this is described in US Pat. No. 9,468,860.

Digital images of, for example, an artist can be captured using a digital video camera. You can shoot against a single-color background, as the artist performs a variety of movements. The movements to be filmed must be planned in advance according to how the artist's image should move on the stage background screen during the stage performance. In one example, the artist whose image is captured at this stage is the same artist who will be performing on the stage platform in the performance. As a rule, the costume worn by the artist during the filming stage is exactly the same as that in which the corresponding artist will be on stage. When processing the material, the video designer can take into account the exact dimensions of the body, the colors of the costumes, the dimensions, shapes and curvature, the lighting conditions, the exact placement on the stage, the dance moves during the transition, and so on, so that the digital images look exactly like real live images. artist on stage. This is the accuracy of this system and method.

The next step is to use video editing software to extract the artist(s) image(s) from the video file to your computer. Alternatively, the software can remove the monochrome background, leaving only the image(s) of the artist(s).

The extracted video images of the artist can be stored in one computer system. And in the second, you can save a video of the desired background (for example, a mountain horizon and the sun in the sky, as shown in FIG. 2). A switcher that switches between the video outputs of two computer systems, or mixes the output of both, can be used during a performance on stage to show the artist's video image at the right time and thus ensure that the artists/objects/props transition to images, or vice versa. You can use other features of computers, switchers, and display devices. Some of these alternatives are described in US Pat. No. 9,468,860.

Implementation examples

Examples of the implementation of this inventive method are given in the numbered paragraphs below.

Implementations generally related to the methods in FIG. 2

1. A method for demonstrating a stage performance, comprising:

transition between the artist on the stage platform and the image of the artist on the background screen of the stage; or moving the artist from the stage platform to the background screen of the stage where the artist appears as an image;

using a prop item or object and an image of the prop item or object to perform a transition or move.

2. Implementation method 1, where the animated image of the prop item occurs during the transition or movement.

3. A method for demonstrating a stage performance, comprising:

the animation of the image of the object on the stage background screen after the artist interacts with the object on the stage platform, and around the time the artist leaves or pretends to leave the stage platform.

4. Implementation method 3, when the image of the object on the stage background screen includes the image of the artist.

5. Implementation method 3, when the image of the object on the stage background screen includes the image of the artist entering the screen.

6. Implementation method 3, when the animation of the image of the object on the background screen is coordinated with the interaction of the artist with the object on the stage platform.

7. Implementation method 3, when the transition between an artist interacting with an object on the stage platform and an animated image of the object on the stage background screen includes hiding the stage platform from the eyes of the audience.

8. Implementation method 3, when the object on the stage platform includes a prop item in the form of a well; the image of the object includes the image of the well; the interaction of the artist with the object on the stage platform includes the artist entering the simulated well; and the image of the object on the background screen of the stage includes the image of the artist emerging from the image of the well.

9. Animation of the image of the object on the stage background screen after the artist interacts with the object on the stage platform, and around the time the artist is introduced to the audience leaving the stage platform; the animated image is seen by the viewer as a result of the artist's interaction with the object.

10. An enhanced method for an artist to leave a stage platform during a stage performance, comprising:

digitally animating an image of the object on the stage background screen around the time the artist interacts with and leaves the object on the stage platform, the image being an image of the object on the stage platform;

digital animation that occurs at a location on the stage background screen that is not adjacent to the location where the artist leaves the stage platform; And

an effect where the animation of an image appears to the audience to be initiated by, or the result of, the artist's interaction with an object on the stage platform.

11. A method comprising:

positioning of the object on the stage platform; an object that can hide from the eyes of the audience; the artist who enters the facility;

hiding the stage platform from the eyes of the audience after the artist enters the object on the stage platform;

opening the stage platform to the audience, after which the image of the object is displayed on the stage background screen; And

animating an image of an object in such a way that the artist's image appears to viewers as emerging from the image of the object.

Implementations generally related to the methods in FIG. 3

12. A method for demonstrating a stage performance, comprising:

transition between the image of the artist on the stage background screen and the artist on the stage platform;

or moving the artist's image on the stage background screen to the stage platform where it appears as a live artist;

the use of a prop or object and their images to make a transition or transfer.

13. Implementation method 12, in which the prop item animation is used during the transition or transfer.

14. A method for demonstrating a stage performance, comprising animating an image of an object on a stage background screen around the time an artist image interacts with an image of an object on a stage background screen and before the object appears on the stage platform.

15. Implementation method 14, when the artist leaves the facility and enters the stage platform.

16. Implementation method 14, when the transition between the animated image of the object on the stage background screen and the object on the stage platform includes dimming the scene.

17. Implementation method 14, when the object image on the stage background screen includes a well image; the interaction of the artist's image with the object's image includes the artist jumping into the well image; and the object on the stage platform includes a prop item in the form of a well.

18. Animation of the image of the object on the stage background screen around the time when the image of the artist interacts with the image of the object on the stage background screen, and before the object appears on the stage platform and the artist emerges from the object and enters the stage platform.

19. A method for highlighting an artist's exit to a stage platform during a performance, comprising:

digital animation of the image of the object on the stage background screen approximately at the time when the artist's image interacts with the image of the object on the stage background screen, and up to the moment when the prop item in the form of an object appears on the stage platform and the artist emerges from the prop item in the form object and enters the stage platform;

a digital animation that occurs at a location on the stage background screen that is not adjacent to the location where the artist exits the prop as an object onto the stage platform; And

an effect where it appears to the audience that the appearance of the artist from the object prop on the stage platform is initiated or is the result of the interaction of the artist's image with the object's image on the stage background screen.

20. A method comprising:

animating the image of the object on the screen of the background of the stage at about the time when it seems to the audience that the image of the artist is ready to enter the image of the object;

hiding the stage background screen from the view of the audience;

opening the stage platform to the audience, after which the prop item appears on it in the form of an object; And

exit to the stage platform of the artist, who emerges from the prop in the form of an object.

Implementations generally related to the methods in FIG. 4

21. A method for demonstrating a stage performance, including:

animating the image of the object on the background screen around the time that the performer on the stage platform is interacting with the image and is leaving or appears to be leaving the stage platform.

22. Implementation method 21, when the image of the object on the stage background screen includes the image of the artist.

23. Implementation method 21, when the image of the object on the stage background screen includes the image of the artist entering the stage background screen.

24. Implementation method 21, when the animation of the image of the object is coordinated with the interaction of the artist with the image.

25. Implementation method 21, when the object image on the scene background screen includes a well image; the artist's interaction with the image includes the artist appearing to the audience as entering the well image and leaving the stage platform; and the image animation includes an image of water splashing from a well.

26. Animation of the image of an object on the stage background screen at about the time when the artist on the stage platform interacts with the image and seems to leave the stage platform; the animation of the image is presented to the viewer as the effect of the interaction of the artist with the image of the object.

27. A method for emphasizing an artist leaving a stage platform during a stage performance, comprising:

digital animation of an image of an object on a stage background screen around the time the artist interacts with the image and the artist appears with the image, then leaves the stage platform;

digital animation occurring at a location on the stage background screen adjacent to the location where the artist leaves the stage platform;

an effect where it appears to viewers that an animated image is initiated or is the result of an artist interacting with the image.

28. A method comprising:

projecting a digital image of the object on the stage background screen when it is outlined by a transparent frame;

projecting a digital image of the artist in a transparent frame, when the artist on the stage platform next to the rear screen appears to the audience as leaving the stage platform; And

projecting a digital image change to show the reaction to the artist's alleged departure from the stage platform.

Implementations generally related to the methods in FIG. 5

29. A method for demonstrating a stage performance, comprising:

animation of the image of the object on the stage background screen at about the time when the artist interacts with the image and enters the stage platform.

30. Implementation method 29, when the image of the object on the stage background screen includes the image of the artist.

31. Implementation method 29, when the object image on the stage background screen includes an artist image appearing from the object image.

32. Implementation method 29, when the animation of the image of the object is coordinated with the interaction of the artist with the image.

33. Implementation method 29, when the object image on the stage background screen includes a well image; the interaction of the artist with the image includes the artist appearing in front of the audience exiting the image of the well onto the stage platform; and the image animation includes an image of water splashing from a well.

34. Animation of the image of the object on the screen of the background of the stage at about the time when the artist interacts with the image and enters the stage platform; the animation of the image is presented to the audience as an effect of the interaction of the artist with the image of the object.

35. A method for enhancing the effect of an artist entering a stage platform during a stage performance, comprising:

digital animation of an image of an object on a stage background screen around the time the artist interacts with the image and enters the stage platform;

digital animation appearing at the location on the stage background screen where the artist enters the stage platform;

when viewers have the impression that the artist's interaction with the image is initiated or is the result of a digital animation of the image.

36. A method comprising:

projecting a digital image of the object on the stage background screen when it is outlined by a transparent frame;

projecting a change in the digital image of the object when the artist appears in a transparent frame around the digital image and enters the stage platform next to the stage background screen;

when the change in the digital image of the object looks like a reaction to the artist's exit to the stage platform.

Additional implementation examples

37. A method for demonstrating a stage performance, comprising:

projecting an image of the prop item on the stage background screen in case the artist interacts with the prop item, or animating the image of the prop item on the stage background screen in case the artist interacts with the image of the prop item - around the time when the artist interacts with prop item on the stage platform or with the image of the prop item on the stage background screen and when the artist leaves the stage platform; And

projecting an image of the artist onto a stage background screen at about the time the artist leaves the stage;

wherein the image of the artist interacts with the image of the prop item or with the animated image of the prop item.

38. A method for demonstrating a stage performance, comprising:

projecting an image of the prop item on the stage background screen and animating the artist image on the stage background screen to show the interaction of the artist image with the prop item image; And

stop projecting the artist's image on the stage background screen around the time or shortly before the artist interacts with and enters the stage platform props.

39. A method for demonstrating a stage performance, comprising:

projecting the artist's image on the stage background screen, animating the artist's image to show his interaction with the image of the prop item on the stage background screen or his interaction with the props on the stage platform - about the time or shortly before the artist's image disappears from the screen the background of the stage and the artist interacts with the item of props on the stage platform and enters it;

wherein the artist's image is at least partially hidden from the viewer's view by props or lighting changes so that the artist's image is not seen to disappear from the stage background screen.

40. A method for demonstrating a stage performance, comprising:

placing the raised stage platform in front of the stage background screen;

projecting and/or animating an image of a prop item on a stage background screen at a position in the same focal plane as the raised stage platform;

projecting and/or animating an artist's image on a stage background screen at a position in the same focal plane as the raised stage platform; And

removing the projected and/or animated image of the artist from the stage background screen around the time the artist enters the raised stage platform at approximately the same position as the prop image.

To the extent that the word "includes" or "comprising" is used in a detailed description or claim of a right, it is equivalent to the word "comprising" because that word is interpreted when used as a transitional word in a claim of right. Also, to the extent that the word "or" is used in a detailed description or claim of a right (for example, A or B), it is equivalent to "A or B, or both". When applicants wish to indicate "only A or B, but not both", then the wording "only A or B, but not both" is used. Thus, the use of the wording "or" in this document is inclusive, not exclusive. See Brian A. Garner, A Dictionary of Modern Legal Usage 624 (2d. Ed. 1995).

Claims (14)

1. A method for demonstrating a stage performance, in which: at the time when the artist leaves the stage platform through a hole in it, which is made large enough for the artist to pass through it and which is hidden from the audience by the props, so that when leaving the stage platform , the artist becomes invisible to the audience, digital projection of the image of the prop item and the image of the incoming artist is carried out on the background screen of the stage, while the artist image includes a digital image of the previously recorded and stored real movements of the artist. 2. The method of claim 1, wherein the lighting of the stage platform is dimmed or turned off at the time the artist leaves it, so that the stage platform becomes invisible to the audience until digital projection of images on the background screen is started. stages and will not turn on stage platform lighting. 3. The method according to claim 1, wherein the opening in the stage platform is a hatch door. 4. The method according to claim 1, wherein the opening in the stage platform is a well. 5. The method according to claim 4, wherein the image of the prop item includes an image of a well and an image of an artist appearing on the stage platform from the well. 6. A method for demonstrating a stage performance, in which: at the time when the artist enters the stage platform through a hole in the stage platform, which is made large enough for the artist to pass through and which is hidden from the audience by the props, the image of the actor is digitally projected and of a prop item on the stage background screen located behind the stage platform and animating the artist's image as if he were leaving the stage platform, while the artist's image projected on the stage background screen includes a digital image of the artist's previously recorded and stored real movements. 7. The method of claim 6, wherein the lighting of the stage platform is dimmed or turned off at the time the artist leaves it, so that the stage platform becomes invisible to the audience until digital projection of images on the stage background screen is started. and will not turn on the lighting of the stage platform. 8. The method according to claim 6, wherein the opening in the stage platform is a hatch door. 9. The method of claim 6, wherein the opening in the stage platform is a well. 10. The method of claim 9, wherein the image of the prop item includes an image of a well and an image of an artist leaving the stage platform by jumping into the image of the well. 11. A method for demonstrating a stage performance, including: a) animation of the image of the prop item on the stage background screen, while the artist, who is on the raised ladder located on the stage platform in front of the stage background screen, so that there is a gap between the raised ladder and the stage platform, jumps into the gap and is hidden from the audience by a raised staircase in such a way as if he had left the stage platform, or b) animating the image of a prop item on the stage background screen, while the artist, hidden from the audience and located in the gap between the raised ladder located on the stage platform, in front of the stage background screen in such a way that between the raised ladder and the back screen the stage plan had a gap, jumps out of the gap and enters the stage platform. 12. The method according to claim 11, in which the image of the prop item is an image of a well.

Images