Angels in America

Philip Chosky Theater
Carnegie Mellon University

December 2012

For the Prior's Ghosts I used the opensource "RGBD Toolkit" software and a custom camera rig to create depth/color imagery and projected it overscale on the moving back wall. The "imaginary" characters (Mr. Lies & Ethel) transformed the stage when present via a custom system of software that I developed for actor tracking and real-time computational video image generation.

CMU's production, directed by Jed Allen Harris and designed by Britton Mauk (set), Calvin G. Johnson (lighting) and Larry Shea (media), gives the setting a power of its own, even in a play with characters writ large. The movable backdrop is propped up by wooden planks that are systemically removed, transforming a wall into a menacing presence, closing in on the action, opening to reveal who-knows-what or perpetrating giant projections. The stage floor pulsates with patterns at times, while flashes of red light indicate scene changes as set pieces slide effortlessly into and out of place.
-Pittsburgh Post-Gazette

Model of the scenic design - the large wall is on an automated wagon and moves up and downstage. Set pieces are on automated wagons moving off into the wings. Video projection was on this wall as well as the floor of the stage.


Prior's Ghosts


Prior's Ghosts
Prior's Ghosts
Brian Morabito & Adam Hagenbuch as the Priors - performimg for the depth camera system
The RGBD System combines a kinect with a DSLR camera in a calibrated setup.
Brian hamming it up.
Adam in front of the system
The Cast playing with the interactive floor projections
Rodney Jackson as Mr. Lies & Casey Anderson as Hannah
The swirling imagery is computed in realtime and follows the actor as he moves, creating a dynamic liquid like effect.
The liquid projections lead Harper to Prior for their shared dream.