The production combines the emotion and beauty of WNO soprano Karah Son’s voice with high-quality avatar imagery to envelope viewers in an interactive 3D performance.
David Massey, digital producer at WNO, told Photonics Media that, “Our vision for ‘Magic Butterfly’ was to create a piece of art that would stand or fall by its own artistic merits. We also wanted to create a theatrical experience that would naturally reach, engage and inspire both new and other audiences that might have no experience of opera.”
The team at REWIND shared Massey’s enthusiasm for this unusual VR project.
“From our first meeting, it was very clear that Welsh National Opera was excited about the same thing that we were — recreating traditional operas in ways that weren’t possible on stage,” said Greg Furber, REWIND’s director of VR.
CAMERA was commissioned to capture the soprano’s body movements only, but chose to be a bit more adventurous and capture Son’s face and the distinctive sleeves of her stage costume as well.
Usually a performer must wear head-mounted cameras to capture the face, Martin Parsons, CAMERA’s head of studio, told Photonics Media.
“Wearing such a headcam can inhibit the performance and adds extra overheads to the post processing,” Parsons said. “As REWIND had designed quite a stylized look, we only really needed to capture the broad movements. This was achieved by strategically placing a few relatively large markers on Karah’s face that could be seen by the motion capture cameras used for the body.”
To capture body and face motion data from Son while she performed the aria "Un Bel Di" from Puccini’s opera, the CAMERA team also needed to epitomize the fluttering movement of the sleeves on the avatar’s kimono.
It was not possible for Son to wear her stage costume, Parsons said, as this would have obstructed the cameras’ view of the optical markers.
Fortunately for the team, the stylized look of "Magic Butterfly" meant that they only needed to capture the overall movement of the sleeves. They achieved this by attaching light-reflecting markers to pieces of football goal netting worn by Son in place of sleeves, to mimic the movement of the fabric.
When asked what makes for a successful VR experience, Furber told Photonics Media: “To me, a successful VR experience makes the technology melt away. With ‘Magic Butterfly,’ we wanted to deliver a fully interactive and immersive experience suitable for people of all ages and tech abilities. A successful VR experience should be able to fully immerse the user and allow them to forget they’re wearing a headset. Having some control of the content is important too, as a sense of agency through interaction is what makes the user feel fully transported to our virtual worlds.”
WNO’s Massey said, “One of our aims was to see if audiences could emotionally respond to Karah’s performance as she performs as an avatar. I’d say that the reaction to ‘Magic Butterfly’ has been overwhelmingly positive, with many visitors taking a punt on VR and opera for the first time. This combination of music, drama and animation has been really effective, immersing audiences in the stories and moving some to tears.”
"The Magic Butterfly VR Experience" is free to visitors and will be on display at the following venues in England: Birmingham Hippodrome Square, Hurst Street, Birmingham, Oct. 31-Nov. 4; Albert Dock, Liverpool, Nov. 9-12; and the Victoria and Albert Museum, London, Jan. 19-21, 2018. Total running time is approximately eight minutes for the two VR operas.
For more details visit: https://www.wno.org.uk/event/magic-butterfly-vr-experience.