Show design and synchronisation

Show design and synchronisation

From music ideation and analysis to effects timing, delay compensation and final on-site tuning

A musical fountain becomes an effective show when the movement of the water, the change of light and the structure of the music find a comprehensible connection. This communication goes beyond turning on equipment at the same time; The show should have a beginning, transition, pause, climax and end.

In the previous discussions, the control architecture and equipment communication were investigated. In this chapter, the main theme is how to transform the technical capacity of the fountain into a coherent visual and auditory experience.

Designing a show has two interconnected parts: the artistic decision about what the audience should see and hear, and the engineering decision about when and how to perform it. Success is achieved when these two parts are together from the beginning.

The examples, times and scenarios in this chapter are educational and hypothetical and are not attributable to actual implementation or a specific product.

28–1. The difference in movement is coordinated with the design of the show

Moving the fountains along with the music is one of the design tools. If the whole show is limited to the same up and down of the fountains, the spatial capacity and authenticity of the fountain will be less used.

In the design of the show, three levels should be checked:

Level of Moment: The timing of a particular change with a beat, emphasis, or silence of the music.

Sentence level: the formation of a multi-second movement corresponding to the musical phrase.

The overall level of the show: the relationship between the beginning, development, climax and end.

One group of nozzles may express short beats and the other group may accompany the melodic phrase with a slow movement. The choice of these roles should be conscious so that the image is not crowded and unfocused.

In the category of GSO urban fountains, musical, moving equipment and packages and control nozzles have been introduced. Display design should start from the actual functionality of the selected collection. Urban fountains and display equipment - GSO ^[193]

28–2. Preparation of artistic and technical description of the show

Before programming, prepare a short but clear description. This document should answer:

• For what audience and in what space is the show performed?

• What is the duration and number of performances?

• From which point does the audience see the show?

• What theme or identity should be remembered?

• What is the role of music, water and light?

• What are the limits of sound, wind, energy and working hours?

• What equipment is actually available?

For example, the description of a hypothetical show could be:

"A short performance for the urban square with the theme of wave formation and expansion; A slow beginning from the center, a gradual movement to both sides of the pond, a common peak and a clear and definite end.

This description guides subsequent decisions. If the theme is based on wave motion, the sequence of nozzles, direction of light movement and musical repetitions can be formed around the same idea.

The output of this stage should include the description of the show, the audience's view plan, and the initial design of several main scenes.

28–3. Music selection and reference file stabilization

The music should fit the duration of the show, the audience, the identity of the venue and the capabilities of the equipment.

A piece that is suitable for independent listening may require editing for a short urban performance. Long intros, unclear transitions, or abrupt endings can make the design difficult.

Before scheduling, the audio reference version must be fixed:

• File name and ID;

• Exact duration;

• Editing version;

• Place of start and end;

• beginning and end silences;

• technical specifications of the file;

• Use license status appropriate to the implementation.

After programming, replacing the file with an apparently similar version can change the synchronization. Even removing part of the initial silence overrides all dependent commands.

Sound editing should also create an acceptable musical ending. Stopping the file at an arbitrary time is not necessarily a good end to the show.

28–4. Analysis of beat, measure and musical sentence

For programming, music must be converted into usable events:

• Main beats;

• Beginning of rates;

• beginning and ending sentences;

• Introduction of a new instrument or section;

• increase or decrease energy;

• important pauses and emphasis;

• Climax and end.

If the speed of the piece is constant and equal to 120 beats per minute and each beat is considered equal to one black note:

$T_{beat}=\frac{60}{BPM}$

$T_{beat}=\frac{60}{120}=0.5s$

In the quadruple rate:

$T_{bar}=4\times 0.5=2s$

So an octave expression:

$T_{phrase}=8\times 2=16s$

This calculation is valid for a hypothetical piece with constant speed. In music with tempo changes, free play, or variable pauses, a tempo map and actual notation of the file must be prepared.

Each beat does not necessarily require a new command. Choosing important emphasis helps the readability of the presentation.

Figure note from the source manuscript

Figure 28-1 instead

Suggested image: View of the timeline of a hypothetical piece with sound waves, beat and measure lines, beginning of sentences and peak location. Under it, a simple design of water scenes should be placed.

Caption: "Musical analysis illuminates temporal structure of performance prior to equipment programming."

28–5. Grouping of equipment and making library of effects

For controllable design, equipment should be grouped based on spatial role and functional capability; For example:

• Central group;

• Left and right rows;

• Inner and outer ring;

• fast nozzles;

• moving nozzles;

• curtain or surface of falling water;

• Brightness of each group.

Prepare a capability sheet for each group:

Then the basic effects are built: wave, chase, symmetry, reciprocation, spread from center, collapse to center and gradual change in height.

The effect library must be saved with the terms of use. An effect that is stable in one pump and valve arrangement may not behave the same in another combination.

28–6. Combination of water and light

In each scene, it should be clear where the audience's attention is directed. Turning on all the lights and activating all the nozzles does not necessarily produce the strongest image.

The main composition tools are:

Symmetry and asymmetry: symmetry can create coherence; Its calculated change creates movement and anticipation.

Density and empty space: the silence of a part of the collection allows another part to be seen.

Height and direction: Differences in height or direction of jets can create depth and movement.

Color and intensity: The color should be related to the structure of the scene and the intensity of the light should make the shape of the water recognizable.

Repetition and Variation: The return of a familiar role, with a distinct change, can maintain the coherence of the show.

Mapping a color to an emotion is not a fixed and universal law. The choice of color should be done with the theme, environment and actual review.

For a short show, you can first choose a few main colors and an accent color, and then measure the necessity of adding other colors.

28–7. Common time reference and the role of timecode

If the audio and display commands are executed based on independent timings, their simultaneous initiation does not necessarily guarantee stable synchronization.

The system must have a specific time reference and behavior for starting, pausing, continuing and terminating. This reference can be the internal time line of an integrated system or the shared time code between several devices.

SMPTE defines timecode as hours, minutes, seconds, and frames. Frame rate and timecode format must be consistent between related components. Concept of timecode - SMPTE ^[194]

For example, at 25 fps:

$T_{frame}=\frac{1}{25}=0.04s$

That is, the time interval of each frame is 40 milliseconds. This number does not prove the complete accuracy of the system; Processing, network and equipment response also have an effect.

Two issues should be considered separately:

• Fixed time difference: measurable and compensated within the range of system facilities;

• Time drift: A change that increases during the performance of the show and requires checking the time reference and playback path.

After jumping to the middle of the show, it should not be assumed that the equipment will be in the right state immediately. The system may require a preparation phase.

28–8. Measurement of real water response

Before delay compensation, it is necessary to define which visual event is the target:

• The first exit of water;

• Reaching the jet to a certain height;

• completion of an arc;

• Reaching the moving nozzle to the target angle;

• Cutting off the visible part of the flow.

These events have different times.

For each group, the test should be performed at several working points: starting from shutdown, increasing altitude, decreasing altitude and stopping. The ascending and descending responses are not necessarily the same.

Video capture at a specified frame rate, along with a command-synchronized timestamp, can aid in measurement. The delay of the recording instrument itself and the method of determining the command moment should also be known.

To understand the physical limitation, consider the ideal motion of a water droplet in a vertical jet, without air resistance:

$t_{apex}=\sqrt{\frac{2H}{g}}$

For a height of 4 meters:

$t_{apex}=\sqrt{\frac{8}{9.81}}\approx 0.90s$

This time is the time for the particle to reach the highest point in the ideal model; The complete delay of the formation of the fountain is not after the command of the pump. Engine response, valve, network and jet failure should be checked separately.

28–9. Computational example of coordination at the spectator location

Suppose an important beat is located at time 20,000 seconds of the audio file and this time is connected to the common reference of the display.

Example assumptions:

• The delay of the sound chain until it leaves the speaker: 45 milliseconds;

• Effective speaker distance to the reference point of the audience: 34.3 meters;

• Assumed speed of sound: 343 meters per second;

• Measured time from water command to target visual event: 420 ms;

• Measured time from light command to target visual change: 25 ms.

Sound release time:

$t_{prop}=\frac{d}{c}$

$t_{prop}=\frac{34.3}{343}=0.100s$

The audience hears the beat at approximately this time:

$t_{heard}=20.000+0.045+0.100=20.145s$

To adapt the water event to this moment:

$t_{watercommand}=20.145-0.420=19.725s$

For light:

$t_{lightcommand}=20.145-0.025=20.120s$

So, in this example:

The light propagation time is assumed to be insignificant in the scale of this project.

This calculation is simple for a reference point and a sound path. In a multi-speaker system, the set delays and the dominant speaker of each zone should be checked. Perceptual harmony will not necessarily be the same in all parts of a large enclosure.

Also, in reactive live performance, the musical event that has not yet occurred is not certain; For example, preemptive compensation depends on a predetermined schedule or appropriate delay solution.

Figure note from the source manuscript

Figure 28-2 instead

Suggested image: example timeline with four signs of water command, file multiplication, light command and the moment of receiving the audience. The path of the speaker to the reference point can also be displayed with a hypothetical distance.

Caption: "Synchronization should be adjusted based on the visible event and sound received at the viewer's location."

28–10. A training scenario of a 96-second show

This scenario has been prepared for a hypothetical piece with a constant speed of 120 beats per minute and a rate of four beats. Each part has 16 seconds, equivalent to eight measures; The whole show consists of 48 measures.

The hypothetical groups are: central nozzles, two rows left and right, fast nozzles and independent lighting groups.

Table times are written in the form of minutes:seconds and represent artistic boundaries on the music timeline. The command time of the equipment is corrected after calibration.

Altitudes, speeds and manner of stopping should be selected from the approved ranges of the equipment.

The pre-show preparation phase and subsequent controlled discharge or stop may be outside of 96 seconds. The duration of the music file is not the same as the total time occupied by the system.

28–11. Previewing and programming scenes

The preview allows you to check the composition and timing relationship before the full performance.

OASE in WEPS software introduces facilities such as scene programming, music synchronization and display adjustment according to the difference in pipe length and height. Show programming with WEPS - OASE ^[195]

Also in Depence, Syncronorm offers a multimedia timeline, fade and delay settings, equipment grouping, and 3D preview. Timeline Programming - Syncronorm ^[196], Fountain Preview - Syncronorm ^[197]

To be used effectively, the model should match the actual project as closely as possible:

• Location and direction of nozzles;

• Effect type;

• Height and viewing angle;

• pump and valve grouping;

• Location of lights;

• Spectator area and architectural elements.

Simulated image is not a confirmation of actual performance. Water pressure, wind, nozzle contamination, ambient reflection and equipment response must be monitored on site.

Figure note from the source manuscript

Figure 28-3 instead

Suggested image: A six-frame storyboard of a 96-second scenario, with a fixed angle of view and the time of each scene. The images should be identified as "conceptual design of the show".

Subtitle: "The storyboard shows the evolution of the image before entering the details of the commands."

28–12. Coordination of sound and light with the urban environment

The performance must be reviewed from the actual location of the audience. The point of view of the designer behind the computer is not the final place of evaluation.

In lighting, the shape of the water, glare, background and the direction of the gaze should be controlled. A very rapid change in color or intensity, if repeated without purpose, can reduce image readability. The lighting of public roads should not be dependent on show blackouts.

In sound, in addition to the quality inside the viewing area, the effect on the surrounding spaces is important. Tools like d&b's NoizCalc are designed to predict system sound emissions and check out-of-audience range. Sound emission prediction - d&b audiotechnik ^[198]

Loudspeaker setup and acoustic limits should be coordinated with the acoustical chapter design. Increasing the volume does not correct lag or poor coverage.

Day and night versions may also need different compositions; The effect that relies on the color of light at night does not have the same effect in daylight.

28–13. Transforming technical limitations into display rules

The artistic program must be implemented within the limits of the equipment. These limits should be turned into controllable rules before generating scenes:

• Minimum and maximum stable command of the pump;

• Allowed rate of command change;

• The time and frequency of operation of the valve;

• nozzle movement range;

• The simultaneous limitation of groups;

• feeding capacity and thermal conditions;

• Permissible conditions of wind and water level.

In a shared network, the opening of one group may change the pressure of another group. Therefore, adjusting each nozzle individually is not enough; Important show combinations should be tested.

For the wind, a version with a lower height or more suitable effects can be prepared. However, simply reducing the percentage command of all pumps may eliminate the shape of some effects.

The limited release must be reviewed as a stand-alone demonstration and all water quality and safety permits will still govern its performance.

28–14. Final adjustment in place

On-site adjustment is best done from part to whole:

1. Verification of health and operating conditions; 2. Adjusting the shape and alignment of the nozzles; 3. Record the time response of each group; 4. Controlling the color and intensity of the lights; 5. Adjusting the sound system and reference points; 6. Performance of short scenes; 7. Modifying the transition between scenes; 8. Full performance from multiple viewing locations.

In its services, Crystal Fountains introduces set-up choreography and on-site programming as part of project realization. Setting up and programming the show - Crystal Fountains ^[199]

Acceptance criteria should be clear in advance: what is the measured event, from which point is it seen, by what method is the time difference measured and what range is accepted?

A fixed time limit is not appropriate for all effects. A short emphasis with a fast valve does not have the same perceptual and technical criterion as the smooth movement of a long jet.

Video recording is useful, but the delay and synchronization of audio and video of the recording device should be checked.

Figure note from the source manuscript

Figure 28-4 instead

Featured Image: A comparison of a scene before and after adjustment, from a fixed angle, with a small graph of target time and measured time. Record wind conditions, water level and display version under the image.

Caption: "The final setting defines the difference between the program, the model, and the actual behavior of the equipment."

28–15. Daily execution schedule and alternative versions

Daily operation should also plan for the interval between shows.

Definable modes include:

• daily calm effect;

• The main show of the musical;

• Short version;

• Appropriate version for limited wind conditions;

• Mode without music at designated hours;

• Occasional program;

• Stop and prepare again.

Each copy must have an ID and a date. The audio file, control program and necessary settings must be related to the same version.

If the execution of the display is stopped due to an error, the continuation policy must be specified: restart from the beginning, enter from a prepared point, or abort the execution. Abruptly continuing from the middle of a scene may not be compatible with the current state of pumps and valves.

In designing the performance list, the preparation time and the working limit of the equipment should also be taken into account. The interval between performances is not simply an artistic decision.

28–16. Delivery documents and display evaluation criteria

The delivery of the show must include the artistic content and technical information necessary to maintain it:

• Artistic description and final scenario;

• Audio reference file and version specifications;

• Table of important scenes and events;

• Grouping of equipment and profiles;

• delay settings and measurement results;

• Time reference and synchronization settings;

• Permissible command ranges;

• Approved alternate versions;

• Project files and backup according to the contract;

• Accepted performance reference video;

• Instructions for stopping, restoring and changing the program.

The final evaluation should cover four issues: artistic coherence, visible concurrency, compliance with technical constraints, and repeatability of execution.

If the display is only suitable for a single run and a specific situation, the tuning job is not yet complete. Accepted implementation must be repeatable and maintainable under defined operating conditions.

In Chapter 29: Management of implementation and quality control of urban fountain projects, conversion of maps and specifications to workshop operations, coordination of fields, equipment supply schedule, inspection points and project delivery steps will be reviewed.