Projection for Bat Boy The Musical utilizes two six-layer dual output Catalyst Digital Media Servers, controlled by a Hog500 console slaved to the Strand 520 master lighting desk. Video sources are displayed on the Catalyst DL1 moving light projector, two Barco SLM G8 video projectors, and a 50" Plasma Screen fitted to a scenic wall on the onstage 'revolve'. The imagery is used throughout the performance for atmospheric "implication" effects, and for supporting narrative.
Logue produced over 70 effects in total and the show contains approximately 130 video cues. The video operates on two distinct levels - one refers to the world of the Bat Boy himself, which Logue created as a grainy, surreal monochrome video look, complete with distortions and fisheye lens effects. The other represents a genteel, bourgeois lifestyle, using super-saturated colours, and flat looking images.
Onstage, a series of angled surfaces (set design by Madeline Herbert) include uneven layers of corrugated plastic and in the second act, tent fabric that's stretched diagonally across stage in different formations. The Show's off kilter surface projections utilizes precise projector line up, and the Catalyst's versatile keystone correction, image masking and soft edge capabilities were invaluable. The Catalyst DL1 projector is positioned on a front truss and used principally to project onto two screens that move into three different positions up or down a scenic tower/lift shaft.
Video distribution at The Shaftesbury is via Cat 5 Ethernet cable eliminating any conventional problems caused by long cable runs, and serial control from the Catalyst computer is also used to remote control the projector irises. A mini Ethernet system set up between the Macs and the video servers allowed Logue to edit 'live' on his laptop during the technical period, and to upload material immediately.
Logue is already familiar with XL, having worked with them on U2, The Corrs and many other music tours. The Catalyst was the only system flexible enough for Bat Boy The Musical - with the visuals all produced in the very tight time-frame of six weeks. Logue worked on the stills material in PhotoShop and edited the moving images - including specially shot footage from his own DV cam - using Final Cut Pro. He also used Adobe After Effects, and then much of the final working was completed in the Catalyst itself - including the keystone and perspective correction.
(Sarah Rushton-Read)
