Infinity Visions Inc.
Bellevue, WA. U.S.A.
Walt Disney World Resort
Lake Buena Vista, Florida
September 16-20,1996
PYROTECHNICS AND MULTIMEDIA DESIGN
Alberto Navarro
@
Infinity Visions Inc.
2111 Blarney Place SE.
Bellevue, WA98004. U.S.A.
Phone: (206) 455-0172
Fax: (206) 455-2053
e-Mail: ALBERTON @ aol.com
ABSTRACT
"Multimedia" is today's most fashionable show biz password.
The "Multimedia Spectacular" show can have a long term effect
on the pyrotechnic show industry.
This paper looks back at the not so modern multimedia shows existing since
primitive man, and discusses the role of pyrotechnics in the past and how
it can be developed in the future to shape the modern multimedia show concept.
The modern multimedia show industry is very young and we are constantly
developing new techniques and learning how to integrate them into a high
tech show design.
The presentation of this lecture at the Symposium will be made as a multimedia
presentation, designed by computer and displayed through computer-video
presentation, in order to illustrate the general ideas and content of this
paper.
This is not intended to be an exhaustive technical multimedia element study,
but an introduction into the artistic and production considerations to be
taken by pyrotechnic artists working with multimedia shows.
Introduction
Fireworks versus Multimedia show.
FIREWORKS:
One Definition.: "The science of enclosing energy in a weak casing
and the art of liberating it quickly with a great power of detonation,deflagration
and combustion to obtain sound, propulsive, lighting, or colored smoke effects".(
Bracco, Lebovichi, "Ruggieri, 250 Ans de Feux d'Artifice")
MULTIMEDIA:
Definition. mul*ti*me*dia (adjective)
First appeared 1962:using,involving, or encompassing several
media <a~approach to learning>. Multimedia is associated with a learning
experience, through communication of one or various themes.(Comptons Encyclopedia)
MULTIMEDIA SPECTACULAR:
A Multimedia show, indoors or outdoors, produced with three or more computer
synchronized media to perform a spectacle expression of a theme. A Multimedia
show uses at least three of the following media:
Sound: Music,Narration,Sound Effects.
Images: Film, Slides,Gobos,Laser graphics.
Lighting: Lights, Laser beams.
Pyrotechnics: Fireworks, Special effects.
Screen Systems: Canvas, Inflatables, Water screens, Decors,
Sets,VideoWalls, Natural scenery.
Actors: Singers, Dancers, Extras.
Multimedia Design is the art and technique of bring up
several audio visual medias, pyrotechnics and human action together, in
synchronized interactivity, to produce an entertaining and spectacular learning
experience.
A "Pyromusical" show when, accurately synchronized to the music
is close to the multimedia category, but as it has its own historical character,remains
an independent show category.
PART I
Origins
The origins of the contemporary multimedia show, can be found as
remotely as in the rituals of primitive man, involving fire, dance, chant,
percussions and sound effects. Various themes were used such as; protection
from the magic influence of a solar eclipse, calling for rain, spreading
fecundity on the tribe, or praying for good harvest. These ceremonial 'shows'
were also public events involving several media, including flames, but no
fireworks yet.
It has been difficult to establish when the first fireworks show was performed.
We know that the war-fireworks (bombards and grenades) were
used for the first time in Europe in the Battle of Clacy in 1346, and in
China as early as 600 AD, and around 1100 as court entertainment. Fireworks
was the first Sky Art, the first large scale artificial light show entertainment.
History of Outdoor Performances.Precursors of Multimedia
This historical overlook shows how similar the position of fireworks in
todays "multimedia shows" is to the position that fireworks had
in the origins of the so called intermedia-intermezzo or
" multimedia shows" of the last centuries. And
perhaps these historical spectacular representations were greater in magnitude,
flamboyance and budget than what we call today a "multimedia spectacular".
In Italy, around the mid 16th century (1589), and in parallel with the origin
of modern theater (Palladio's Teatro Olimpico de Vicenza 1585), a new type
of entertainment was emerging with great success. The Inter media
or Intermezzo of the spectacular Court festivals. These shows
remain today unsurpassed in elaborate complexity and refinement.
Scenic ornaments, intricate machineries and moving sets, actors, singers,
dancers, musicians , oil lamps with colored glass, created all together
a fascinating and fantastic sequence of events relating a story, legend,
myth or military event.
These festivities were organized by the Prince and were usually performed
at night during consecutive days in open air areas, such as public squares,courtyards
and parks.
Rivers and lakes also became stages for water pageants or "Naumachia"
:
Visual.1:(Naumachia, Italy, prepared for the wedding festivities of Catherine
of Lorraine and the grand duke of Tuscany,1589. The courtyard of the Pitti
Palace was flooded for this occasion and roofed over with red satin.)
Visual.2: (Naumachia, Italy, in the Hippodrome of Rome, c.1650).
Visual.3:(Naumachia.England, or water pageant presented by the Earl of Herdford
to Queen Elizabeth I on the Lake of Elvetham,1591.)
Visual.4:(Naumachia, France, Versailles, May 7 1674, "Pleasures of
the Enchanted Island" A play prepared for Louis XIV. View representing
the island of Alcina)
Visual.5: (The island vanished within a spectacular fireworks display at
the end of the performance).
A parallel evolution of this art and technology was happening in France,
Spain and Austria, many times exchanging artists, choreographers and also
pyrotechnicians.
Louis XIV summoned from Italy the theatrical director, Giacommo Torelli,
who introduced the spectacular opera style of performance to France, and
carried out the reform of theater in general by introducing the principles
governing both architectural structure and the machinery needed for swift
changes of scenery.
Evolution of Pyrotechnics as Theatrical Special Effects Enhancement
The first important multimedia pyrotechnic public display produced
in the occident was in Paris, France in 1612 for the ocassion of the marriage
of Louis XIII and Anne of Austria.(Slide 6.)
In 1743, Louis XV appointed the brothers Ruggieri from Bologna, Italy, to
participate in a play with the Italian Comedy.
They brought their ability to perform theatrical fireworks with animated
machineries performing elaborated movements and rhythms in synchronization
with the aerial displays. The fireworks were an important part of the general
theatrical evolution. The importance of exact pyrotechnic layout, movements
of the effects in harmony with the play, the perspective of the setting,
and symmetry of effect were mandatory. The sets and machinery also served
to hide the pyrotechnicians and the launching areas. The staging and supports
for the fireworks were designed from the origin of the creative process
with a royal team of play writers, architects, artisans, engineers and pyrotechnicians.
The use of fireworks as a decorative or enhancement element was used in
these royal celebrations and commemorative events.At first the fireworks
effects were only to simulate the natural fire or the effects produced by
weapons. The fireworks were used primarily to simulate certain actions of
the play, the noises of the battle, the dragon spitting fire, the eruption
of a volcano or to light behind by transparency great allegoric decors.
The deflagration of black powder produced the effects of shooting and with
the addition of metallic powders created lighting effects simulating gun
or cannon shots. From there came the European term; artificial fire- French:
feu d'Artifice, Spanish: fuego artificial, Italian: fuoco artificiale.
Fire was also the main source of theatrical light at this time. Before fireworks
existed as a show in itself, they were used as part of a theatrical event.
The origin of fireworks shows actually lies in theater shows, which we are
now coming back to today.
Beginning of Fireworks Spectacles
However, soon after, advancements in fireworks technology multiplied the
number of effects. Communication quick match, colored stars, golden rain,
salutes, serpentines,rockets, and ultimately, aerial shells with unseen
sky effects were developed.
This diversification made possible the use of fireworks to create a show
entertainment by itself, thus separating the use of fireworks as only a
secondary enhancement of a theatrical representation. Fireworks spectaculars
soon showed their entertainment impact, with no need of any other medias
to create a show by it own means. Parallel to these emerging fireworks shows,
the heritage and practice of theatrical representation was carefully kept
by fireworks designers to not abandon narration or expression of a theme.
More powerful mechanical machines and monumental sets were built to create
action through the movement of the pyrotechnic effects,the fireworks program
was painstakingly designed, taking care of the order and succession of effects.
In Japan in 1733, the first important fireworks display took place at the
River Sumida in Edo. Fireworks entertainment as a solo was born. The introduction
of musical fireworks, Handel's Royal Fireworks music, was first performed
on April 27, 1749 to commemorate the Peace Treaty of Aix la Chapelle. The
music was composed expressly for the fireworks. This introduced a new dramatic
style of performing fireworks along with a musical score.
Since then fireworks have spread all over the world as the most powerful
outdoor public entertainment, associated with celebrations of all kinds.
For centuries the "inter media", or multimedia shows, have been
rare. The film industry at the beginning of the century took over the mass
entertainment market, overshadowing theater and spectacular shows as a way
of telling stories or reenacting historical events. Fireworks on its own
progressively abandoned its theatrical origins, becoming abstract light
shows with absence of theatrical representation or dramatic content.
The Evolution of the Contemporary Multimedia Show
With the rebirth of multimedia shows, fireworks have again the
possibility of telling stories and rebuilding their dramatic effects through
the enhancement and help of the other media and new technologies.
The evolution of the contemporary multimedia show is parallel to the progress
made in each different media and computer science.
In the 50s and 60s the appearance of the Light and Sound show, for the enhancement
of monuments, combined with a musical score and a narration describing the
history of the site, was a la mode. The new possibilities of using electrical
arc lamps, colored filters and bigger sound systems, made this type of show
possible. Some of them began to have a few pyrotechnic enhancements, and
on certain occasions ended the show with a fireworks display.
With the apparition of laser projection technology, some fireworks shows
added on laser beams, and then with the invention of scanners, graphic images.
This opened a spectacular means to communicate images related to a theme.
Image projection systems first used film projectors to add animated photographic
images to the performances. High intensity slide projectors were used in
the 80s, to project large backgrounds on buildings or screens set as a part
of the scenery.
The integration of all this media was possible with manual or automatic
time code based interfaces, allowing a synchronization in between the medias.
Multimedia Spectacular Shows Today
Todays definition of a multimedia spectacular show includes; indoors
or outdoors, day or night, a show with synchronized use of media such as;
sound, lighting, laser, image projections (film, video,slides),special effects,
pyrotechnics, actors, structures, all choreographed to develop a theme.
PART II
Designing a Multimedia Show
The purpose of a multimedia show, as opposed to a pyrotechnics show, aside
from the additional excitement of different media, is to provide an intellectual-emotive
experience, to convey a message. The images and sound provide the perfect
opportunity to tell a story.
Following are the elements to consider when designing a show.
The concept could be defined as what all parts of the show have in common.
What is to be expressed and what your audience knows about this theme determines
how detailed your story line must be. In the Japanese Kabuki theater, the
actors play suddenly becomes static, petrified. This is known as Mi-E, which
indicates the climax of an important scene and expresses its character,
or concept. Think of the multimedia show in a still image at a given time
and determine if the concept would be conveyed.
There must be a story line or the show risks to become a confusing jumble
of images, sound and light. On the other hand, too much explanation can
make the show slow and lose the emotional impact of the action and the surprise
of media interaction.
The show can be an original story, with original characters. In this case,
the audience must become familiar with the characters as soon as possible,
in order to capture their sympathy and attention.
The other option is of course known characters and a known story. The audience
is captured by recognition and the identification with the show is immediate.
The theme can be known, such as an historical event, or based on science,
nature, or art using a particular discovery, element or experience.
The length of a multimedia show is important. I feel that the ideal length
is about 15 minutes. Longer will be much more expensive, and risks to lose
the attention span of the audience. Shorter will not allow time to convey
the message. However, with the addition of narrative dialogue, or live performances,
the show can easily be lengthened to up to 30 minutes.
As a rule,the most useful formula is; Perception + Memory = Recognition.
It is always satisfying to the audience to have this recognition experience.
The site acts as the symbolic center for the show. The site can be either
a clean slate on which all the show structure is built, or it can be an
already existing theatrical venue, or a Cathedral, monument, historical
site, or natural wonder (gorge, amphitheater, lake..) which already provides
and influences the show content. An existing monumental or natural site
must be taken into consideration when designing the show, to enhance the
existing setting as well as portray a story. A city as a whole can even
be used as a theatrical space.
If multimedia shows continue with the present success, they will perhaps
become the 8th art, and sites should begin to be constructed expressly for
them. However, until this becomes the practice, we must adapt ourselves
around existing sites. Theme parks are the perfect venue for multimedia
shows and hopefully they will be planned in the future with this in mind,
constructing a specific multimedia theater into the park design.
Along with the concept, the architecture of the show is the essence of
the show. This is what makes it beautiful, innovative and technologically
practical. The first architectural point to consider is the location of
the audience. What is the space that they will see? Will they be circular,
frontal or multi frontal?
The ambiance conditions of the show area are also very important. Obviously,
any light show is performed best in the darkness. City lights or any foreign
source of light must be avoided or dealt with. Too much outside light source
retracts from the intimacy and quality of the show.
In the engineering process of the structural lay out, everything must be
plotted. At this stage, the architect and all the media artists must work
together. A 3-D animation of the show structures could be very useful to
determine perspectives and audience viewpoint, blind points and the balance
of the visual effects.
The main portion of the design are the image supports (image screen supports,
canvas, screens, water screens, video walls, inflatables, natural formations,
existing structures, etc.). The spatial distribution of these surfaces is
the initial impression and landscape of the show. These elements must be
harmoniously distributed.
The structures should be designed in a way so as to not create a visual
presence that is purely mechanical. Every structural element must be visually
justified as much as possible. They should be hidden or else decorated to
become a part of the show, and visually appealing in between performances.
Some structural elements can be designed to be deployed as a part of the
show (inflatable screens, etc).
Ideally, the fireworks designer is going to deal with two kinds of spaces.
One is solely for aerial fireworks, usually behind or to
the sides of the staging area. The second is for close proximity devices.
Unless they have their own exclusive structures, the pyrotechnic special
effects will normally be integrated into the image projection surfaces and
or projection unit booths. Pyrotechnic supports below the water is also
a good solution for many shows.
What are the strengths and possibilities of each media and how do they
integrate with pyrotechnics?
-Lighting: Lighting can be used to create atmosphere and a background
wash of colors, and can be present during the entire show. This media has
the least contradiction with other medias. Pyrotechnics and lighting get
along well, they have an easy and harmonious dialogue. The pyrotechnic and
lighting colors interact well together (Ex; blue scenery lighting, then
a red shell explosion and the lighting changes to red. Ex; a pyrotechnic
red strobe with blue lighting makes a blue and red strobe effect).
They must be well synchronized to enhance each other and sequence the color
changes.
-Image projection systems: Film, video, laser, slides, and gobos.
These are the most complex and sensitive elements of a multimedia show.
They carry the major portion of content and meaning. They are the visual
imagery language of the show. In between themselves they can have different
relationships. Stills can create a background. Film or video create realistic
action images and animated characters. Moving images can be super-imposed
on large scale still images. Laser animated characters are usually used
as cartoon or geometric and abstract images. Gobos are used to carry symbolic
concepts, as they are still images that can move across the stage (the moon
rising, a star, a cross, a name).
The pyrotechnic relation between film and projection of images is very difficult
and sensitive. The light of the pyrotechnics will fade out any image if
the screen surface is placed within the illumination area of the pyrotechnics,
which is usually the case. To avoid this, the space must either be very
large, or the effects must be placed at a different angle or above the screens,
or the pyrotechnics can be programmed so as not to coincide with the film.
Water screens and transparent screens are extremely sensitive to pyrotechnic
light. This is a very important factor to consider with the director. The
pyrotechnics combined with the image projection system acts as a punctual
enhancement of the film action. (an explosion, a bang, gas flames, etc.).
This adds a three dimensional look of reality to the film. It takes the
action off of the screen and onto the main stage.
During the creative process it is very important that these effects are
discussed between the image production artists and the pyrotechnic designer.
The timing and sequence of the image and the pyrotechnic effect is critical;
a) If the discussion starts at the beginning of the show design, a balance
can be made between the gaps of the image duration and the insertion of
pyrotechnics ( ie; if a comet is three seconds, leave a three second gap
in the image at this point). This is the most cost effective because existing
product can be used and the film is not wasted by the pyro effect blinding
the image. (Ex; Rainbow fan comets 'raising' the water screens which then
project a rainbow film image.Expo 92, Seville)
b) If the film is already made, the pyro device must be customized to the
gap allowed in the film. It is possible that in this case, some of the images
will be 'blinded' by overlapping with the pyro effect.
Tempo.Sound Track: Music, Sound Effects, Narration . There is rarely
silence during a multimedia show, so the sound track with music, sound effects
or narration acts as a permanent conductor of the show. It marks the rhythm,
the emotion and gives the cue to all the actions of the show. Everything
must be synchronized to the sound track. The same effects can have different
meanings or emotions depending on the sound track behind them.
Music; As with every element, the choice must be made between existing sound
track or a new creation . If using existing music, it is important to select
the music that suits the mood and concept of the show.
When original music is composed for a show, the show storyboard is usually
created first. Next, the composer scripts the music based on the storyboard,
and his visual imagination. Finally the synchronization of the audiovisual
and fireworks program is constructed to the music. Another possibility,
as in film making, is to construct the whole audiovisual show and have the
composer score the music to it.
Whether the music is original or not, I prefer to work based on an accurate
storyboard and timing and get the music and all the media elements constructed
separately first. Once all the elements are constructed, they can be synchronized
and edited digitally. Any changes, with digital editing, are possible at
any moment and the creation process is more fascinating having all the elements
on the table.
Narration; The narration can interpret and influence the thoughts of the
audience and focus them on the meaning of the visuals. Narration is comparable
to Song. The language of the human voice is a very important element, and
can be used artistically integrated with a musical background and with words
that carry an important meaning for what the show is expressing. As short
and concise as possible is a must for the narration, in order not to take
away from the visual experience of the audience.
Evidently, pyrotechnic effects along with narration must be relatively silent
or spaced in time. Songs and words are better understood if the aerial effects
are displayed individually, and in accord with the duration of the musical
phrases.
Combining the Media
The medias must be combined to express the theme as a language
of themselves. A basic example could be:
-The main characters , are made with laser animated image, or film.
Additional characters can be human actors, usually for large scale choreographed
effects.
-The action , carried by the actor is made by pyrotechnics (ex;
shooting an arrow,) and laser beams. Pyrotechnics can enhance moments, or
even become characters (In the 'Jerusalem 3000' show, God was represented
by a 300mm Japanese kamuro shell) .
-Scene changes , can be done with fireworks tableaux, also good
for finales and punctuation.
-The background , or stage on which the actor performs is made
with image projection and lighting which can be changed quickly.
-Pure abstract images , can be done by laser, and gobos.
-The narration , can introduce the audience to the act and situate
them on what will be performed.
-The music , the mood and tempo of the story action is carried
by the music.
Scripting the Show
Research first: For example, in Jerusalem, the story was based
on the Bible. The story focused on King David rise to thrown in Jerusalem,
3000 years ago, creating the capital of the United Kingdom of Israel. We
had to bring our story to a 24:24 minute history. The actual narration was
only 100 seconds (1':40"). The rest had to be conveyed through action
and music. There was extensive research into images of art, architecture,
archeology, versions of the Bible, historical facts and interpretatations.
We had the great help and guidance of Dr.Iacovitch, Professor of Bible Studies
from the University of Jerusalem.
Storyboard: The creative process with the director is very important. The
multimedia show is a synchronized combination of performing visual arts,
so the artists that are involved in each media (AV, actors, pyro, musician,..)
should ideally be involved in the creative process from the beginning. Once
the concept of the show is elaborated, the different artists should meet
with the director together to work on the integration and realization of
the entire show. Here is where the pyrotechnic artist can give his input
on what spaces he needs for launching, what devices he can suggest for effects
and action.
Tools for Scripting the Entire Show
Multimedia is a computer art and science that needs computers as
an integrating platform for putting together and performing the different
medias. There are different ways of scripting a multimedia show. I prefer
to use a multimedia software product " Authoring Tool" that allows
to integrate each media on a different track, and create a digital movie
for the visual storyboard.Visual tracks and audio tracks are used to construct
the show. The basic software necessary to prepare the elements of construction
are: drawing and painting, photographic image treatment,video editor, animation,
sound editor.(Example with Adobe Premiere )
Afterwards, I use spreadsheet-database software to manage the information
of each media. (Example with Excel ).
Integrating Pyrotechnics
Pyrotechnics is the strongest media, as far as visual and emotional
impact. It must be carefully integrated to balance with the other media.
Pyrotechnicians must be careful to take into account that many times, the
pyrotechnics are only enhancements, and must not overpower the other media.
The devices that create these enhancements must meet special specifications
for the show considering light, size, and duration.
Pre and Post Production
There are diverse elements to take into consideration and that should
be on the check list. In order to be brief they are just listed here: Creation
of Product, Structures, Manufacturing, Consistency of the Product, Labeling,
Shipping, Storage, Workshop, Personnel Training, Installation, Daily Operation,
Communications, Safety, Firing System, Options.
Manufacturing
The consistency of the product is very important in case of a daily
show, as the precision must be equal for every performance. Therefore there
are two ways to go. One is to manufacture custom devices and the other is
to find an existing product close to the specification for the effect, in
which case the effect in general must be designed around the existing device.
The product is consumable unlike the other media products which are made
once and permanently. This presents additional and unique problems on long
running shows, such as production, storage, and setting each show for continuous
events.
Rehearsal Time
The process of applying the effects to the script, manufacturing samples,
and rehearsing the effects should ideally allow enough time to afterwards
manufacture the items needed for the final script. The production schedule
should allow enough time for this process. The Pyrotechnicians must insist
on this time factor in the production schedule.
The props and installation are also a time problem. We must insist on an
assigned site exclusively for pyrotechnics. This site must be assigned from
the beginning of the show. Often directors do not seem to realize the precision
needed in setting up fireworks and may change the site many times during
a production.
The configuration of the installation props are what create the location
or trajectory of the visual effect, and all this should be rehearsed for
final effect with the show.
Scripting and Firing
The third aspect of pyrotechnics in multimedia production is the scripting
and synchronization with the other medias. Multimedia is a computer science.
Therefore the ways to synchronize and put all the medias together is through
computerized scripting software and firing system. When scripting the pyro
portion of the show it is necessary to synchronize with the other medias.
The only accurate way is through SMPTE, MSC, PTC or FSK time code and a
software that provides the possibility to mark and replay cues and fire
them electronically. As soon as possible it is important to receive a sound
track with time code. It is necessary to have a script with all pyrotechnic
cues, in and out, and if there are other medias acting at the same time,
these cues must also be known. Once this information is set, the complete
scripting can proceed in order to see how the effects are located with the
rest of the show.
Market of Pyrotechnics and Multimedia
Fireworks remains the most popular outdoor large scale show. It
is the only entertainment art that is capable by itself, without any lights,
laser or even music, to create a show for very large audiences. In the last
few years, there is a growing demand in the event market for Pyromusical
shows , multimedia shows, and pyrotechnic multimedia enhanced shows. Many
event producers call on fireworks companies to integrate fireworks into
their multimedia events.
The main challenge with a multimedia show production is that it is technically
complex and costly. There are not as many opportunities to produce these
shows as we would like, and low budget shows make it very difficult to produce
the desired effects. It is also necessary for the director to know all the
media, and as many of the directors come from a mainly audiovisual background,
the pyrotechnics is often neglected in show design or operations.
Fireworks companies should be insistent that in a multimedia show
the fireworks must be a part of the creative and production process of the
show, because as we all know, the fireworks are still the most important
and high impact part of a multimedia show and require specific operational
intervention. Even if the lights go off, the fireworks can still go on!
If a fireworks company desires to enlarge their service and provide production
service for multimedia shows to their customers, they should consider creating
a temporary and dedicated multimedia production structure in order to carry
the project. Key elements will be a Production Manager, an Artistic Director,
and a Technical-Operations Director, all who have knowledge of the other
media. This structure should be organized ideally as a "round table"
team, representing all the supporting media companies involved in the project.
Establishing a multi- media understanding through dialogue from the beginning
of the project will create the team spirit and symbiosis necessary to provide
the flexible coordination and effective synchronization for everyone involvement
in the show success. This will be more cost worthy, and cut down on changes
as the show progresses, and exploit the possibilities of each media during
the creative process.
SUMMARY
Fireworks companies can take the challenge and use the many possibilities
that the new technologies are offering and produce multimedia shows also.
More and more fireworks companies will be obligated to participate in multimedia
shows as the demand increases. They are going to have to deal with these
technologies and become familiar with this kind of show production. When
a fireworks company is involved in a multimedia production it is very important
to the fireworks community to insist that the fireworks company is actively
involved in the creative and production process from the beginning, and
should be one of the primary contractual issues Fireworks should not be
neglected in the show design, and need to be understood by the production
company.
The presence of the fireworks community is massive. Fireworks people remain
the most widespread large scale outdoor entertainment producers worldwide.
Multimedia shows will never substitute fireworks shows. However as technology
advances, fireworks and multimedia are offering more and more interesting
show possibilities. Hopefully this trend will bring us back to the historical,
artistic style of "intermezzo" shows, combining all the elements,
including fireworks, in a grand spectacular.
REFERENCES
A History Of The Theater.Cambridge 1992.Glynne Wickham.
Biblioteque de L'Opera. Paris.
Biblioteque Nationale.Paris.
Computer Control for Pyrotechnics.Vancouver 1994. Ken Nixon.
English Civic Pageantry.1558-1642. London 1971.David Bergeron.
Fireworks,The Art,Science and Technique.Austin 1988.Takeo Shimizu.
Hanabi, The Fireworks of Japan. Tokyo, 1986. GICC
Harvard Theater Collection,Cambridge,Mass.
Library of performing Arts, New York Public Library .
Places of Performance.Cornell 1989.Marvin Carlson.
Ruggieri 250Ans de Feux D'Artifice.Paris 1988.P.Bracco.E Lebovici.
The Audible Macintosh.David M.Rubin
The Early Public Theater in France.Cambridge,Mass.1960.W.L.Wiley.
The Metropolitan Museum of Art,New York.
Visual Thinking. Berkeley 1969.Rudolf Arheim.
IMAGE & SOUND CREDITS
Expo'92 Seville, Spain.Video:Resorte Comunicacion.
Jerusalem 3000. Israel. Video: Festival of Jerusalem.
"Mirage" La Ronde. Montreal. Video: La Ronde/ GPD.
PRESENTATION CREDITS
Adobe Premiere , Adobe.
Adobe Photoshop , Adobe
Avid Videoshop , Avid.
ClarisDraw Claris.
Epson
Excel 5.O , Microsoft Inc
Power Macintosh 8500, Apple Computer
Pyrodigital Firing Systems
Scantastic ,Second Glance.
SoundEdit 16 , Macromedia.