CRAFT BREATHTAKING AUDIOVISUAL EFFECTS IN REAL TIME

    Isadora 3, a user-friendly platform that responds and evolves with your creativity.

    Isadora 3, a user-friendly platform that responds and evolves with your creativity.
    Isadora 3, a user-friendly platform that responds and evolves with your creativity.

    Isadora 3, a user-friendly platform that responds and evolves with your creativity.

    Isadora Werkstatt 2019

    August 14th to 17th 2019

    UFERSTUDIOS
    Uferstraße 8 or Badstr. 41a
    13357 Berlin

    You can download our program and purchase tickets.

    Jump into the pool! Join us as we splash out with the launch of Isadora 3 and take deep dives into projection mapping, animation, motion tracking, and interfacing with third-party software and hardware. Our main swim instructor, Isadora creator Mark Coniglio, will guide you through the brand-new features in Isadora 3, and we’ll take a behind-the-scenes look at inspiring projects created by Isadora experts. As always, there will be an introductory course for Isadora beginners and advanced courses on working with Arduino, body tracking, live video capture, 360-degree video, and how to use MIDI Show Control, ArtNet, and DMX.

    We offer more swimming lanes, too! We’ve focused and expanded the schedule to offer more opportunities for learning and exchange with the TroikaTronix Team and the Isadora Community. The Creative Space has scaled up with more activities so everyone, including our experts, can mingle and explore the possibilities of your projects. Don’t worry about getting into every course you want. You can still learn and grow with our Creative Space, where we’ve provided a playground of equipment, access to the TroikaTronix Team, and more.

    Finally, we’ll top off four days of creativity with the Isadora Werkstatt Showcase, where innovative works-in-progress made during the workshops will be featured and experiments from the Creative Space can be shared with the community!

    August 14th to 17th

    August 14th to 17th

    August 14th to 17th 2019

    UFERSTUDIOS
    Uferstraße 8 or Badstr. 41a
    13357 Berlin

    You can download our program and purchase tickets.

    Jump into the pool! Join us as we splash out with the launch of Isadora 3 and take deep dives into projection mapping, animation, motion tracking, and interfacing with third-party software and hardware. Our main swim instructor, Isadora creator Mark Coniglio, will guide you through the brand-new features in Isadora 3, and we’ll take a behind-the-scenes look at inspiring projects created by Isadora experts. As always, there will be an introductory course for Isadora beginners and advanced courses on working with Arduino, body tracking, live video capture, 360-degree video, and how to use MIDI Show Control, ArtNet, and DMX.

    We offer more swimming lanes, too! We’ve focused and expanded the schedule to offer more opportunities for learning and exchange with the TroikaTronix Team and the Isadora Community. The Creative Space has scaled up with more activities so everyone, including our experts, can mingle and explore the possibilities of your projects. Don’t worry about getting into every course you want. You can still learn and grow with our Creative Space, where we’ve provided a playground of equipment, access to the TroikaTronix Team, and more.

    Finally, we’ll top off four days of creativity with the Isadora Werkstatt Showcase, where innovative works-in-progress made during the workshops will be featured and experiments from the Creative Space can be shared with the community!

    OUT-OF-THE-BOX FUNCTIONALITY, OUTSIDE-THE-BOX CREATIVITY

    Isadora lets your imagination run wild.

    Whether you are an artist, a designer, a technician or a student, and you need to weave together video, audio and other media, ISADORA is ready to serve your creative impulses. Our software combines the video and audio processing engine of a media server with a hyper-flexible visual programming environment to create an incredibly versatile media playback platform.

    Isadora lets your imagination run wild.

    Isadora lets your imagination run wild.

    Isadora lets your imagination run wild.

    Whether you are an artist, a designer, a technician or a student, and you need to weave together video, audio and other media, ISADORA is ready to serve your creative impulses. Our software combines the video and audio processing engine of a media server with a hyper-flexible visual programming environment to create an incredibly versatile media playback platform.

    ISADORA FOR THEATRE

    Fast and reliable media playback for theater productions or rehearsal spaces.

    Isadora provides a cost-effective and easy-to-program solution for fast media playback and cueing. It can also be easily interfaced to work with other software media tools. If you want to find out more about Isadora’s extensive range of features and how they can be tailored to serve you, please contact us.

    Fast and reliable media playback for theater productions or rehearsal spaces.

    Fast and reliable media playback for theater productions or rehearsal spaces.

    Fast and reliable media playback for theater productions or rehearsal spaces.

    Isadora provides a cost-effective and easy-to-program solution for fast media playback and cueing. It can also be easily interfaced to work with other software media tools. If you want to find out more about Isadora’s extensive range of features and how they can be tailored to serve you, please contact us.

    ISADORA FOR EDUCATION

    Now more affordable than ever with our 50% academic discount.

    Isadora is one of the most flexible and easy-to-use programs for creating interactive digital performances. Contact us about our special rates for volume licensing. More than 100 universities have chosen to teach the fundamentals of Isadora, as it lays fertile ground for anyone wanting to grow as a multimedia/interactive designer or artist.

    Now more affordable than ever with our 50% academic discount.

    Now more affordable than ever with our 50% academic discount.

    Now more affordable than ever with our 50% academic discount.

    Isadora is one of the most flexible and easy-to-use programs for creating interactive digital performances. Contact us about our special rates for volume licensing. More than 100 universities have chosen to teach the fundamentals of Isadora, as it lays fertile ground for anyone wanting to grow as a multimedia/interactive designer or artist.

    ISADORA FOR ARTISTS

    Top artists use Isadora to create compelling live performances and interactive installations.

    Creators of all kinds — performance artists, designers, audio-visual techs, VJs — are able to craft unique environments, improvise and produce experimental experiences through the immersive, reactive system Isadora provides.

    Top artists use Isadora to create compelling live performances and interactive installations.

    Top artists use Isadora to create compelling live performances and interactive installations.

    Top artists use Isadora to create compelling live performances and interactive installations.

    Creators of all kinds — performance artists, designers, audio-visual techs, VJs — are able to craft unique environments, improvise and produce experimental experiences through the immersive, reactive system Isadora provides.

    • MORITZ MAJCE + SANDRA MAN: Choros

      Excavating the past to learn for the present — an idea that has, so far, sparked a six-part series project by Moritz Majce and Sandra Man. Visiting Greece, the Berlin-based artists hit upon the idea of choros – Greek for “dancing place.” It denotes both the locale and the people who are dancing there.

      “While they are dancing, they are connecting to the space, out in nature,” explains Majce. “It’s more like a ritual because you are part of what’s going on.”

      In ancient Greek theatre there was often a circular space between the stage and audience, the orchestra. It’s where the chorus is placed.

      “We looked at the very beginnings of art and thought about what framework was set there that is still active now” said Majce. “Art has to be in contact with what’s going on in the present. So, we did something that is inspired by the past but included themes of nature and technology.”

      Choros was borne of that concept — utilizing the circle, environment and melding performers with audience at times. The project is what they call a ‘space choreography,’ a moving installation in which the audience is a participant. The works are also examining what it means to be a spectator. Majce and Man seek to have the audience follow their own paths rather than have the performers guide them.

      It’s been a leap for Majce, who comes from fine art world and spent only a year with Isadora to learn how to use live video and sound for exhibits and performances. He found it easy to work with and is pleased with the results.

      Choros has expanded into six parts, which Majce describes here.

      Excavating the past to learn for the present — an idea that has, so far, sparked a six-part series project by Moritz Majce and Sandra Man. Visiting Greece, the Berlin-based artists hit upon the idea of choros – Greek for “dancing place.” It denotes both the locale and the people who are dancing there. “While they are dancing, they are connecting to the space, out in nature,” explains Majce. “It’s more like a ritual because you are part of what’s going on.” In ancient Greek theatre there was often a circular space between the stage and audience, the orchestra. It’s where the chorus is placed. “We looked at the very beginnings of art and thought about what framework was set there that is still active now” said Majce. “Art has to be in contact with what’s going on in the present. So, we did something that is inspired by the past but included themes of nature and technology.” Choros was borne of that concept — utilizing the circle, environment and melding performers with audience at times. The project is what they call a ‘space choreography,’ a moving installation in which the audience is a participant. The works are also examining what it means to be a spectator. Majce and Man seek to have the audience follow their own paths rather than have the performers guide them. It’s been a leap for Majce, who comes from fine art world and spent only a year with Isadora to learn how to use live video and sound for exhibits and performances. He found it easy to work with and is pleased with the results. Choros has expanded into six parts, which Majce describes here.
      Excavating the past to learn for the present — an idea that has, so far, sparked a six-part series project by Moritz Majce and Sandra Man. Visiting Greece, the Berlin-based artists hit upon the idea of choros – Greek for “dancing place.” It denotes both the locale and the people who are dancing there. “While they are dancing, they are connecting to the space, out in nature,” explains Majce. “It’s more like a ritual because you are part of what’s going on.” In ancient Greek theatre there was often a circular space between the stage and audience, the orchestra. It’s where the chorus is placed. “We looked at the very beginnings of art and thought about what framework was set there that is still active now” said Majce. “Art has to be in contact with what’s going on in the present. So, we did something that is inspired by the past but included themes of nature and technology.” Choros was borne of that concept — utilizing the circle, environment and melding performers with audience at times. The project is what they call a ‘space choreography,’ a moving installation in which the audience is a participant. The works are also examining what it means to be a spectator. Majce and Man seek to have the audience follow their own paths rather than have the performers guide them. It’s been a leap for Majce, who comes from fine art world and spent only a year with Isadora to learn how to use live video and sound for exhibits and performances. He found it easy to work with and is pleased with the results. Choros has expanded into six parts, which Majce describes here.

      Excavating the past to learn for the present — an idea that has, so far, sparked a six-part series project by Moritz Majce and Sandra Man. Visiting Greece, the Berlin-based artists hit upon the idea of choros – Greek for “dancing place.” It denotes both the locale and the people who are dancing there.

      “While they are dancing, they are connecting to the space, out in nature,” explains Majce. “It’s more like a ritual because you are part of what’s going on.”

      In ancient Greek theatre there was often a circular space between the stage and audience, the orchestra. It’s where the chorus is placed.

      “We looked at the very beginnings of art and thought about what framework was set there that is still active now” said Majce. “Art has to be in contact with what’s going on in the present. So, we did something that is inspired by the past but included themes of nature and technology.”

      Choros was borne of that concept — utilizing the circle, environment and melding performers with audience at times. The project is what they call a ‘space choreography,’ a moving installation in which the audience is a participant. The works are also examining what it means to be a spectator. Majce and Man seek to have the audience follow their own paths rather than have the performers guide them.

      It’s been a leap for Majce, who comes from fine art world and spent only a year with Isadora to learn how to use live video and sound for exhibits and performances. He found it easy to work with and is pleased with the results.

      Choros has expanded into six parts, which Majce describes here.

    • MORITZ MAJCE + SANDRA MAN: Choros

      CHOROS I: Ufer Studios, Berlin. We worked with a group of 6 to 8 people using circular moving patterns and texts provided by Sandra. We had the old Greek meter of rhyming with the choir moving and also turning around – we worked on the relationship between movement and the lyrics of the rhymes blending breathing and the movement of the body and text. Sandra and I explored an old way of dealing with language and relationships within a group. We also experimented with mini round stages.

      CHOROS I: Ufer Studios, Berlin. We worked with a group of 6 to 8 people using circular moving patterns and texts provided by Sandra. We had the old Greek meter of rhyming with the choir moving and also turning around – we worked on the relationship between movement and the lyrics of the rhymes blending breathing and the movement of the body and text. Sandra and I explored an old way of dealing with language and relationships within a group. We also experimented with mini round stages.
      CHOROS I: Ufer Studios, Berlin. We worked with a group of 6 to 8 people using circular moving patterns and texts provided by Sandra. We had the old Greek meter of rhyming with the choir moving and also turning around – we worked on the relationship between movement and the lyrics of the rhymes blending breathing and the movement of the body and text. Sandra and I explored an old way of dealing with language and relationships within a group. We also experimented with mini round stages.

      CHOROS I: Ufer Studios, Berlin. We worked with a group of 6 to 8 people using circular moving patterns and texts provided by Sandra. We had the old Greek meter of rhyming with the choir moving and also turning around – we worked on the relationship between movement and the lyrics of the rhymes blending breathing and the movement of the body and text. Sandra and I explored an old way of dealing with language and relationships within a group. We also experimented with mini round stages.

    • MORITZ MAJCE + SANDRA MAN: Choros

      CHOROS II: Kunstfabrik am Flutgraben, Berlin. A followup to the first Choros. We still used rhymes, this time we blended in singing and the focus was the chorus as the agent creating a space for the audience. It’s like a moving installation made of dancers in which the spectators can walk in to and the installation reacts to them. Think of a group of wild animals where they are aware of you without doing any extra “performing” for you, and you can just be with them.

      CHOROS II: Kunstfabrik am Flutgraben, Berlin. A followup to the first Choros. We still used rhymes, this time we blended in singing and the focus was the chorus as the agent creating a space for the audience. It’s like a moving installation made of dancers in which the spectators can walk in to and the installation reacts to them. Think of a group of wild animals where they are aware of you without doing any extra “performing” for you, and you can just be with them.
      CHOROS II: Kunstfabrik am Flutgraben, Berlin. A followup to the first Choros. We still used rhymes, this time we blended in singing and the focus was the chorus as the agent creating a space for the audience. It’s like a moving installation made of dancers in which the spectators can walk in to and the installation reacts to them. Think of a group of wild animals where they are aware of you without doing any extra “performing” for you, and you can just be with them.

      CHOROS II: Kunstfabrik am Flutgraben, Berlin. A followup to the first Choros. We still used rhymes, this time we blended in singing and the focus was the chorus as the agent creating a space for the audience. It’s like a moving installation made of dancers in which the spectators can walk in to and the installation reacts to them. Think of a group of wild animals where they are aware of you without doing any extra “performing” for you, and you can just be with them.

    • MORITZ MAJCE + SANDRA MAN: Choros

      CHOROS III: The mountains of Austria. We took one dancer and made videos of the dancer in the landscape. It’s about how the landscape makes the body move. If you’re there for some time, you generate movement out of the location — you’re receiving from the environment. At one point, the dancer was stamping a small circle for hours in the grass. This was a two-month project and we made a multi-video and multi-audio-channel installation in a gallery, Kunstraum Lakeside, where it was a chorus of videos, not a chorus of people.

      CHOROS III: The mountains of Austria. We took one dancer and made videos of the dancer in the landscape. It’s about how the landscape makes the body move. If you’re there for some time, you generate movement out of the location — you’re receiving from the environment. At one point, the dancer was stamping a small circle for hours in the grass. This was a two-month project and we made a multi-video and multi-audio-channel installation in a gallery, Kunstraum Lakeside, where it was a chorus of videos, not a chorus of people.
      CHOROS III: The mountains of Austria. We took one dancer and made videos of the dancer in the landscape. It’s about how the landscape makes the body move. If you’re there for some time, you generate movement out of the location — you’re receiving from the environment. At one point, the dancer was stamping a small circle for hours in the grass. This was a two-month project and we made a multi-video and multi-audio-channel installation in a gallery, Kunstraum Lakeside, where it was a chorus of videos, not a chorus of people.

      CHOROS III: The mountains of Austria. We took one dancer and made videos of the dancer in the landscape. It’s about how the landscape makes the body move. If you’re there for some time, you generate movement out of the location — you’re receiving from the environment. At one point, the dancer was stamping a small circle for hours in the grass. This was a two-month project and we made a multi-video and multi-audio-channel installation in a gallery, Kunstraum Lakeside, where it was a chorus of videos, not a chorus of people.

    • MORITZ MAJCE + SANDRA MAN: Choros

      CHOROS IV: Hungarian Culture Institute, Berlin. We did a show for their Montag Modus performance series that included a four-screen installation with two performers speaking live, one in German and one in English. We re-arranged video material from the previous Choros chapters. The idea was to have different languages on stage speaking at the same time as the videos were running. The live performers were choreographed by the movement of the images. Sometimes, they would talk one after the other and at times, simultaneously.

      CHOROS IV: Hungarian Culture Institute, Berlin. We did a show for their Montag Modus performance series that included a four-screen installation with two performers speaking live, one in German and one in English. We re-arranged video material from the previous Choros chapters. The idea was to have different languages on stage speaking at the same time as the videos were running. The live performers were choreographed by the movement of the images. Sometimes, they would talk one after the other and at times, simultaneously.
      CHOROS IV: Hungarian Culture Institute, Berlin. We did a show for their Montag Modus performance series that included a four-screen installation with two performers speaking live, one in German and one in English. We re-arranged video material from the previous Choros chapters. The idea was to have different languages on stage speaking at the same time as the videos were running. The live performers were choreographed by the movement of the images. Sometimes, they would talk one after the other and at times, simultaneously.

      CHOROS IV: Hungarian Culture Institute, Berlin. We did a show for their Montag Modus performance series that included a four-screen installation with two performers speaking live, one in German and one in English. We re-arranged video material from the previous Choros chapters. The idea was to have different languages on stage speaking at the same time as the videos were running. The live performers were choreographed by the movement of the images. Sometimes, they would talk one after the other and at times, simultaneously.

    • MORITZ MAJCE + SANDRA MAN: Choros

      CHOROS V: WUK performing arts, Vienna. We were in a theatre space and we had six trampolines, a circular tower made from wood, four huge projection screens and a hexagon made of real grass where the performers would do a round dance and the grass would decay and smell as it was dying over the duration of the performance. The performers were on all the sites. The videos were produced with the dancers in one of the biggest former coal mining areas in Germany called Lausitz. It’s a devastated space and has giant construction equipment still sitting there. It’s one of the biggest terraforming sites now. There are trees re-planted there and artificial lakes. Metaphorically, it’s an in-between place – it’s nature that’s been built by human technology.

      CHOROS V: WUK performing arts, Vienna. We were in a theatre space and we had six trampolines, a circular tower made from wood, four huge projection screens and a hexagon made of real grass where the performers would do a round dance and the grass would decay and smell as it was dying over the duration of the performance. The performers were on all the sites. The videos were produced with the dancers in one of the biggest former coal mining areas in Germany called Lausitz. It’s a devastated space and has giant construction equipment still sitting there. It’s one of the biggest terraforming sites now. There are trees re-planted there and artificial lakes. Metaphorically, it’s an in-between place – it’s nature that’s been built by human technology.
      CHOROS V: WUK performing arts, Vienna. We were in a theatre space and we had six trampolines, a circular tower made from wood, four huge projection screens and a hexagon made of real grass where the performers would do a round dance and the grass would decay and smell as it was dying over the duration of the performance. The performers were on all the sites. The videos were produced with the dancers in one of the biggest former coal mining areas in Germany called Lausitz. It’s a devastated space and has giant construction equipment still sitting there. It’s one of the biggest terraforming sites now. There are trees re-planted there and artificial lakes. Metaphorically, it’s an in-between place – it’s nature that’s been built by human technology.

      CHOROS V: WUK performing arts, Vienna. We were in a theatre space and we had six trampolines, a circular tower made from wood, four huge projection screens and a hexagon made of real grass where the performers would do a round dance and the grass would decay and smell as it was dying over the duration of the performance. The performers were on all the sites. The videos were produced with the dancers in one of the biggest former coal mining areas in Germany called Lausitz. It’s a devastated space and has giant construction equipment still sitting there. It’s one of the biggest terraforming sites now. There are trees re-planted there and artificial lakes. Metaphorically, it’s an in-between place – it’s nature that’s been built by human technology.

    • MORITZ MAJCE + SANDRA MAN: Choros

      CHOROS VI: District, Berlin. This is more like an installation where everything is going on at the same time. You can go to the video installation or the tower or have a look at the looping performances. There are displays on the tower and the choir performs throughout. It’s a continuum with no beginning or end. It’s not dependent on the audience to watch them. You can just watch and leave. Each night, we had a talk on the grass hexagon. We had a philosopher, a curator and a somatic trainer who did spectator training. It’s about the individual spectator and learning how to move their body as a different way of experiencing something in this space. We are exploring the idea of participation and also refraining from guiding the audience through a performance.

      Text by June Chua
      [Interview conducted in November 2018]

      CHOROS VI: District, Berlin. This is more like an installation where everything is going on at the same time. You can go to the video installation or the tower or have a look at the looping performances. There are displays on the tower and the choir performs throughout. It’s a continuum with no beginning or end. It’s not dependent on the audience to watch them. You can just watch and leave. Each night, we had a talk on the grass hexagon. We had a philosopher, a curator and a somatic trainer who did spectator training. It’s about the individual spectator and learning how to move their body as a different way of experiencing something in this space. We are exploring the idea of participation and also refraining from guiding the audience through a performance. Text by June Chua
      [Interview conducted in November 2018]
      CHOROS VI: District, Berlin. This is more like an installation where everything is going on at the same time. You can go to the video installation or the tower or have a look at the looping performances. There are displays on the tower and the choir performs throughout. It’s a continuum with no beginning or end. It’s not dependent on the audience to watch them. You can just watch and leave. Each night, we had a talk on the grass hexagon. We had a philosopher, a curator and a somatic trainer who did spectator training. It’s about the individual spectator and learning how to move their body as a different way of experiencing something in this space. We are exploring the idea of participation and also refraining from guiding the audience through a performance. Text by June Chua
      [Interview conducted in November 2018]

      CHOROS VI: District, Berlin. This is more like an installation where everything is going on at the same time. You can go to the video installation or the tower or have a look at the looping performances. There are displays on the tower and the choir performs throughout. It’s a continuum with no beginning or end. It’s not dependent on the audience to watch them. You can just watch and leave. Each night, we had a talk on the grass hexagon. We had a philosopher, a curator and a somatic trainer who did spectator training. It’s about the individual spectator and learning how to move their body as a different way of experiencing something in this space. We are exploring the idea of participation and also refraining from guiding the audience through a performance.

      Text by June Chua
      [Interview conducted in November 2018]

    • Jake Witlen

      As head of video for three years at the Schaubühne, one of Germany’s preeminent theaters, Jake Witlen’s mantra is, “Workflow. Workflow. Workflow.” The venue premiers about 15 shows per year, on top of 52 existing shows in repertoire, and tours shows approximately 160 days per year visiting about 30 countries. 85% of all productions integrate video and thus Isadora, ten of which are premiers, many of which push the limits of video onstage. A show opening this April called, Borgen, created and directed by Nicolas Stemann, uses Isadora to operate a concept among seven projectors, three cameras, two iPhones, and subtitles. The Schaubühne is well-equipped, but given the scale and number of shows it produces, resources are limited. A lot of logistics go into preparing a show; simply knowing what piece of equipment is available and when can be a puzzle. If a show is going to China for example, Jake can lose gear for three to five months. But he enjoys the challenge: “The fun part is figuring out your game.”

      As head of video for three years at the Schaubühne, one of Germany’s preeminent theaters, Jake Witlen’s mantra is, “Workflow. Workflow. Workflow.” The venue premiers about 15 shows per year, on top of 52 existing shows in repertoire, and tours shows approximately 160 days per year visiting about 30 countries. 85% of all productions integrate video and thus Isadora, ten of which are premiers, many of which push the limits of video onstage. A show opening this April called, Borgen, created and directed by Nicolas Stemann, uses Isadora to operate a concept among seven projectors, three cameras, two iPhones, and subtitles. The Schaubühne is well-equipped, but given the scale and number of shows it produces, resources are limited. A lot of logistics go into preparing a show; simply knowing what piece of equipment is available and when can be a puzzle. If a show is going to China for example, Jake can lose gear for three to five months. But he enjoys the challenge: “The fun part is figuring out your game.”
      As head of video for three years at the Schaubühne, one of Germany’s preeminent theaters, Jake Witlen’s mantra is, “Workflow. Workflow. Workflow.” The venue premiers about 15 shows per year, on top of 52 existing shows in repertoire, and tours shows approximately 160 days per year visiting about 30 countries. 85% of all productions integrate video and thus Isadora, ten of which are premiers, many of which push the limits of video onstage. A show opening this April called, Borgen, created and directed by Nicolas Stemann, uses Isadora to operate a concept among seven projectors, three cameras, two iPhones, and subtitles. The Schaubühne is well-equipped, but given the scale and number of shows it produces, resources are limited. A lot of logistics go into preparing a show; simply knowing what piece of equipment is available and when can be a puzzle. If a show is going to China for example, Jake can lose gear for three to five months. But he enjoys the challenge: “The fun part is figuring out your game.”

      As head of video for three years at the Schaubühne, one of Germany’s preeminent theaters, Jake Witlen’s mantra is, “Workflow. Workflow. Workflow.” The venue premiers about 15 shows per year, on top of 52 existing shows in repertoire, and tours shows approximately 160 days per year visiting about 30 countries. 85% of all productions integrate video and thus Isadora, ten of which are premiers, many of which push the limits of video onstage. A show opening this April called, Borgen, created and directed by Nicolas Stemann, uses Isadora to operate a concept among seven projectors, three cameras, two iPhones, and subtitles. The Schaubühne is well-equipped, but given the scale and number of shows it produces, resources are limited. A lot of logistics go into preparing a show; simply knowing what piece of equipment is available and when can be a puzzle. If a show is going to China for example, Jake can lose gear for three to five months. But he enjoys the challenge: “The fun part is figuring out your game.”

    • Jake Witlen

      Jake’s responsible for coming up with a plan to ensure that every show runs smoothly and is reproducible. Reproducible means being able to load in, calibrate, and fine tune in a new space in just under two days before opening. He directs a small team of three to program Isadora and execute designs, a team that is typically split between two shows at a time. To be clear, Jake isn’t designing the show himself but instead tackling the trickier and more nuanced challenge of building someone else’s design. Every director who comes through the Schaubühne brings their own designer, and that designer has their own unique vision, communication style, and set of expectations. Jake has chosen Isadora for the Schaubühne because the software can meet the demands of every designer and calibrate quickly. “It’s flexible. For any single problem, Isadora offers 800 solutions. It totally beats the giant servers, which are really just playback machines.”

      Jake’s responsible for coming up with a plan to ensure that every show runs smoothly and is reproducible. Reproducible means being able to load in, calibrate, and fine tune in a new space in just under two days before opening. He directs a small team of three to program Isadora and execute designs, a team that is typically split between two shows at a time. To be clear, Jake isn’t designing the show himself but instead tackling the trickier and more nuanced challenge of building someone else’s design. Every director who comes through the Schaubühne brings their own designer, and that designer has their own unique vision, communication style, and set of expectations. Jake has chosen Isadora for the Schaubühne because the software can meet the demands of every designer and calibrate quickly. “It’s flexible. For any single problem, Isadora offers 800 solutions. It totally beats the giant servers, which are really just playback machines.”
      Jake’s responsible for coming up with a plan to ensure that every show runs smoothly and is reproducible. Reproducible means being able to load in, calibrate, and fine tune in a new space in just under two days before opening. He directs a small team of three to program Isadora and execute designs, a team that is typically split between two shows at a time. To be clear, Jake isn’t designing the show himself but instead tackling the trickier and more nuanced challenge of building someone else’s design. Every director who comes through the Schaubühne brings their own designer, and that designer has their own unique vision, communication style, and set of expectations. Jake has chosen Isadora for the Schaubühne because the software can meet the demands of every designer and calibrate quickly. “It’s flexible. For any single problem, Isadora offers 800 solutions. It totally beats the giant servers, which are really just playback machines.”

      Jake’s responsible for coming up with a plan to ensure that every show runs smoothly and is reproducible. Reproducible means being able to load in, calibrate, and fine tune in a new space in just under two days before opening. He directs a small team of three to program Isadora and execute designs, a team that is typically split between two shows at a time. To be clear, Jake isn’t designing the show himself but instead tackling the trickier and more nuanced challenge of building someone else’s design. Every director who comes through the Schaubühne brings their own designer, and that designer has their own unique vision, communication style, and set of expectations. Jake has chosen Isadora for the Schaubühne because the software can meet the demands of every designer and calibrate quickly. “It’s flexible. For any single problem, Isadora offers 800 solutions. It totally beats the giant servers, which are really just playback machines.”

    • Jake Witlen

      But sitting down with the director and video designer early in production is essential. Jake negotiates every last detail of the video concept – what is possible based on resources, time, and scale and what the workflow will be. Jake’s team then collaborates in programming the show and builds an Isadora file together. “Anyone could be programming a patch at any given time.” Order is key, but order is easy with Isadora. In fact, it’s so easy, Jake is able to teach the program to the designer’s assistants, so they’re up and running and trying out patches in the space in a matter of hours. Despite Jake’s long history with Isadora, both as director and designer, its myriad solutions never cease to astound him. Because his team is sharing patches, he learns something new from his collaborators almost every show, something that he’s never even thought possible. Isadora can realize “whatever [they] need to do – the blank page is infinite.”

      But sitting down with the director and video designer early in production is essential. Jake negotiates every last detail of the video concept – what is possible based on resources, time, and scale and what the workflow will be. Jake’s team then collaborates in programming the show and builds an Isadora file together. “Anyone could be programming a patch at any given time.” Order is key, but order is easy with Isadora. In fact, it’s so easy, Jake is able to teach the program to the designer’s assistants, so they’re up and running and trying out patches in the space in a matter of hours. Despite Jake’s long history with Isadora, both as director and designer, its myriad solutions never cease to astound him. Because his team is sharing patches, he learns something new from his collaborators almost every show, something that he’s never even thought possible. Isadora can realize “whatever [they] need to do – the blank page is infinite.”
      But sitting down with the director and video designer early in production is essential. Jake negotiates every last detail of the video concept – what is possible based on resources, time, and scale and what the workflow will be. Jake’s team then collaborates in programming the show and builds an Isadora file together. “Anyone could be programming a patch at any given time.” Order is key, but order is easy with Isadora. In fact, it’s so easy, Jake is able to teach the program to the designer’s assistants, so they’re up and running and trying out patches in the space in a matter of hours. Despite Jake’s long history with Isadora, both as director and designer, its myriad solutions never cease to astound him. Because his team is sharing patches, he learns something new from his collaborators almost every show, something that he’s never even thought possible. Isadora can realize “whatever [they] need to do – the blank page is infinite.”

      But sitting down with the director and video designer early in production is essential. Jake negotiates every last detail of the video concept – what is possible based on resources, time, and scale and what the workflow will be. Jake’s team then collaborates in programming the show and builds an Isadora file together. “Anyone could be programming a patch at any given time.” Order is key, but order is easy with Isadora. In fact, it’s so easy, Jake is able to teach the program to the designer’s assistants, so they’re up and running and trying out patches in the space in a matter of hours. Despite Jake’s long history with Isadora, both as director and designer, its myriad solutions never cease to astound him. Because his team is sharing patches, he learns something new from his collaborators almost every show, something that he’s never even thought possible. Isadora can realize “whatever [they] need to do – the blank page is infinite.”

    • Jake Witlen

      Isadora’s creative potential is attributed to how it’s developed as a piece of software. The program’s creator, Mark Conilgio, is “coming at it from a creative standpoint, asking the question: what do I want out of it? And you can clearly see how he’s influenced by users all over the world.” Jake is active on the TroikaTronix forum and is keenly aware of Isadora’s constant evolution. “You read a question, and four days later you have an update. Mark’s already taken a user’s question and built the answer. When you need something, he’ll be there.”

      Isadora’s creative potential is attributed to how it’s developed as a piece of software. The program’s creator, Mark Conilgio, is “coming at it from a creative standpoint, asking the question: what do I want out of it? And you can clearly see how he’s influenced by users all over the world.” Jake is active on the TroikaTronix forum and is keenly aware of Isadora’s constant evolution. “You read a question, and four days later you have an update. Mark’s already taken a user’s question and built the answer. When you need something, he’ll be there.”
      Isadora’s creative potential is attributed to how it’s developed as a piece of software. The program’s creator, Mark Conilgio, is “coming at it from a creative standpoint, asking the question: what do I want out of it? And you can clearly see how he’s influenced by users all over the world.” Jake is active on the TroikaTronix forum and is keenly aware of Isadora’s constant evolution. “You read a question, and four days later you have an update. Mark’s already taken a user’s question and built the answer. When you need something, he’ll be there.”

      Isadora’s creative potential is attributed to how it’s developed as a piece of software. The program’s creator, Mark Conilgio, is “coming at it from a creative standpoint, asking the question: what do I want out of it? And you can clearly see how he’s influenced by users all over the world.” Jake is active on the TroikaTronix forum and is keenly aware of Isadora’s constant evolution. “You read a question, and four days later you have an update. Mark’s already taken a user’s question and built the answer. When you need something, he’ll be there.”

    • Jake Witlen

      On top of Isadora’s proven power and Mark’s responsiveness, Jake chooses Isadora because of its reliability. He describes a critical divide between the video department and other departments in the theater that is not exclusive to the Schaubühne. “Video is the evil stepchild in theater.” Troubleshooting might be clear for lighting and sound departments – turn it on and off, unplug and plug, check the cable, check the lamp, but “that’s not part of the game of video design – which doesn’t work for centuries-old departments.” Notable directors, such as Peter Stein, Robert Wilson, Thomas Ostermeier, Falk Richter, Katie Mitchell, Simon McBurney, and Milo Rau have secured the Schaubühne worldwide fame and respect over the last 50 years. So there’s little room for error in designing and running a show, regardless of how misunderstood the technology. With the help of Isadora, Jake is able to achieve sterling precision, professionalism, and organization.

      Head of the Video Department at the Schaubühne Berlin, Germany
      Isadora user: 11 years
      Patching Style: OCD perfect, especially for shared files

      Fotos: (c) Arno Declair
      Disconnected Child. Director: Falk Richter. Video Design: Christopher Kondek
      Richard III. Director Thomas Ostermeier. Video Design: Sébastien Dupouey
      Fear. Director: Falk Richter. Video Design: Bjørn Melhus

      Text by Catherine Duquette
      [Interview conducted in 2015/16]

      On top of Isadora’s proven power and Mark’s responsiveness, Jake chooses Isadora because of its reliability. He describes a critical divide between the video department and other departments in the theater that is not exclusive to the Schaubühne. “Video is the evil stepchild in theater.” Troubleshooting might be clear for lighting and sound departments – turn it on and off, unplug and plug, check the cable, check the lamp, but “that’s not part of the game of video design – which doesn’t work for centuries-old departments.” Notable directors, such as Peter Stein, Robert Wilson, Thomas Ostermeier, Falk Richter, Katie Mitchell, Simon McBurney, and Milo Rau have secured the Schaubühne worldwide fame and respect over the last 50 years. So there’s little room for error in designing and running a show, regardless of how misunderstood the technology. With the help of Isadora, Jake is able to achieve sterling precision, professionalism, and organization. Head of the Video Department at the Schaubühne Berlin, Germany
      Isadora user: 11 years
      Patching Style: OCD perfect, especially for shared files Fotos: (c) Arno Declair
      Disconnected Child. Director: Falk Richter. Video Design: Christopher Kondek
      Richard III. Director Thomas Ostermeier. Video Design: Sébastien Dupouey
      Fear. Director: Falk Richter. Video Design: Bjørn Melhus Text by Catherine Duquette
      [Interview conducted in 2015/16]
      On top of Isadora’s proven power and Mark’s responsiveness, Jake chooses Isadora because of its reliability. He describes a critical divide between the video department and other departments in the theater that is not exclusive to the Schaubühne. “Video is the evil stepchild in theater.” Troubleshooting might be clear for lighting and sound departments – turn it on and off, unplug and plug, check the cable, check the lamp, but “that’s not part of the game of video design – which doesn’t work for centuries-old departments.” Notable directors, such as Peter Stein, Robert Wilson, Thomas Ostermeier, Falk Richter, Katie Mitchell, Simon McBurney, and Milo Rau have secured the Schaubühne worldwide fame and respect over the last 50 years. So there’s little room for error in designing and running a show, regardless of how misunderstood the technology. With the help of Isadora, Jake is able to achieve sterling precision, professionalism, and organization. Head of the Video Department at the Schaubühne Berlin, Germany
      Isadora user: 11 years
      Patching Style: OCD perfect, especially for shared files Fotos: (c) Arno Declair
      Disconnected Child. Director: Falk Richter. Video Design: Christopher Kondek
      Richard III. Director Thomas Ostermeier. Video Design: Sébastien Dupouey
      Fear. Director: Falk Richter. Video Design: Bjørn Melhus Text by Catherine Duquette
      [Interview conducted in 2015/16]

      On top of Isadora’s proven power and Mark’s responsiveness, Jake chooses Isadora because of its reliability. He describes a critical divide between the video department and other departments in the theater that is not exclusive to the Schaubühne. “Video is the evil stepchild in theater.” Troubleshooting might be clear for lighting and sound departments – turn it on and off, unplug and plug, check the cable, check the lamp, but “that’s not part of the game of video design – which doesn’t work for centuries-old departments.” Notable directors, such as Peter Stein, Robert Wilson, Thomas Ostermeier, Falk Richter, Katie Mitchell, Simon McBurney, and Milo Rau have secured the Schaubühne worldwide fame and respect over the last 50 years. So there’s little room for error in designing and running a show, regardless of how misunderstood the technology. With the help of Isadora, Jake is able to achieve sterling precision, professionalism, and organization.

      Head of the Video Department at the Schaubühne Berlin, Germany
      Isadora user: 11 years
      Patching Style: OCD perfect, especially for shared files

      Fotos: (c) Arno Declair
      Disconnected Child. Director: Falk Richter. Video Design: Christopher Kondek
      Richard III. Director Thomas Ostermeier. Video Design: Sébastien Dupouey
      Fear. Director: Falk Richter. Video Design: Bjørn Melhus

      Text by Catherine Duquette
      [Interview conducted in 2015/16]

    • Dan Shorten

      “People can listen to a piece of music and tell you instantly if they like it or not, and they feel confident in saying so.” Award-winning video designer, Dan Shorten, wants his audience to be able do the same. Working under the moniker, Anomic Multimedia, he uses Isadora’s projection mapper for large-scale outdoor events and five-star touring productions, including the five-day Glastonbury Festival of performing arts and most recently, Shakespeare400, a series of public performances around London celebrating the 400-year legacy of The Bard. Running systems that can use up to 19 projectors, he transforms the facades of buildings and spaces into living entities and animated environments. An impressive 150,000 people a week can experience his work – that’s 8,000 pairs of eyes a night. With these kinds of numbers, success comes down to accessibility, as the larger the public, the wider range of responses. Some people might be attracted to the meaning, others the magic, and a few, the mechanics behind the mastery. But it’s this open invitation, one that trusts the audience’s sensibilities, that is part and parcel to Dan’s ethos of good art.

      It’s also the reason why Dan has chosen Isadora as his primary control for video design. It’s “fast, logical and has a simple layout.” But it’s not as limited as even more widely known plug and play gadgets. “With Isadora, you have to ask questions: What do I want to do? How do I do it? What’s the outcome? How does this actor affect this actor?” Isadora is an open invitation, one that trusts the designer’s sensibilities. Dan admits to having been a skeptic at first – to having made the mistake of thinking Isadora was too open and therefore too complicated for what he wanted to do – which was to project some video and images on stage. But after sitting in on an Isadora workshop as a teacher, Dan realized the software not only offered cleaner solutions – such as using a mouse to move things around on screen instead of rendering things out in the studio and then fitting them to the space using a projector alone – it offered more solutions, which spurred his creativity.

      Alongside his design work, Dan teaches at the prestigious Guildhall School Music and Drama, which recently launched a BA degree focused on video mapping in 2015. Most of Dan’s students land design gigs at high level, West End theaters upon graduation, and he uses Isadora to prime them. Isadora teaches his students how to think about video and how to create without running up against complexities in the design of the software itself. Dan owes this to Isadora being an artist-driven software. In fact, Isadora’s creator, Mark Coniglio worked closely with Dan in developing the software’s projection mapping tool before it was released so that it could meet his and other video mappers’ needs in building content.

      Despite the scale of his projects, Dan strives for simplicity in both form and process, falling back on his first love of making music and music’s ability to invite an audience to render its own opinion, confidently. Dan embraces the fact that he can make his audience’s jaw drop with his video designs, but there’s a long road between learning a tool and being an artist with a tool. “If you can do something simple, do something simple.” New technology can dazzle, and who doesn’t want to be dazzled? A little rock and roll can inject a lot of energy into life. But there’s a delicate balance between the rockstar and the artist, the artist and the elitist. The benefit of Isadora is that it teaches you how to be an artist, or at least a better artist, while learning the tool. Isadora is Dan’s toolbox and a completely integrated part of his creative thinking.

      Profession: Video Designer // Lecturer at the Guildhall School of Music and Drama
      Location: London, England
      Isadora user: 13 years
      Lines: Start straight at right angles but end up as spaghetti

      Text by Catherine Duquette
      [Interview conducted in 2015/16]

      “People can listen to a piece of music and tell you instantly if they like it or not, and they feel confident in saying so.” Award-winning video designer, Dan Shorten, wants his audience to be able do the same. Working under the moniker, Anomic Multimedia, he uses Isadora’s projection mapper for large-scale outdoor events and five-star touring productions, including the five-day Glastonbury Festival of performing arts and most recently, Shakespeare400, a series of public performances around London celebrating the 400-year legacy of The Bard. Running systems that can use up to 19 projectors, he transforms the facades of buildings and spaces into living entities and animated environments. An impressive 150,000 people a week can experience his work – that’s 8,000 pairs of eyes a night. With these kinds of numbers, success comes down to accessibility, as the larger the public, the wider range of responses. Some people might be attracted to the meaning, others the magic, and a few, the mechanics behind the mastery. But it’s this open invitation, one that trusts the audience’s sensibilities, that is part and parcel to Dan’s ethos of good art. It’s also the reason why Dan has chosen Isadora as his primary control for video design. It’s “fast, logical and has a simple layout.” But it’s not as limited as even more widely known plug and play gadgets. “With Isadora, you have to ask questions: What do I want to do? How do I do it? What’s the outcome? How does this actor affect this actor?” Isadora is an open invitation, one that trusts the designer’s sensibilities. Dan admits to having been a skeptic at first – to having made the mistake of thinking Isadora was too open and therefore too complicated for what he wanted to do – which was to project some video and images on stage. But after sitting in on an Isadora workshop as a teacher, Dan realized the software not only offered cleaner solutions – such as using a mouse to move things around on screen instead of rendering things out in the studio and then fitting them to the space using a projector alone – it offered more solutions, which spurred his creativity. Alongside his design work, Dan teaches at the prestigious Guildhall School Music and Drama, which recently launched a BA degree focused on video mapping in 2015. Most of Dan’s students land design gigs at high level, West End theaters upon graduation, and he uses Isadora to prime them. Isadora teaches his students how to think about video and how to create without running up against complexities in the design of the software itself. Dan owes this to Isadora being an artist-driven software. In fact, Isadora’s creator, Mark Coniglio worked closely with Dan in developing the software’s projection mapping tool before it was released so that it could meet his and other video mappers’ needs in building content. Despite the scale of his projects, Dan strives for simplicity in both form and process, falling back on his first love of making music and music’s ability to invite an audience to render its own opinion, confidently. Dan embraces the fact that he can make his audience’s jaw drop with his video designs, but there’s a long road between learning a tool and being an artist with a tool. “If you can do something simple, do something simple.” New technology can dazzle, and who doesn’t want to be dazzled? A little rock and roll can inject a lot of energy into life. But there’s a delicate balance between the rockstar and the artist, the artist and the elitist. The benefit of Isadora is that it teaches you how to be an artist, or at least a better artist, while learning the tool. Isadora is Dan’s toolbox and a completely integrated part of his creative thinking. Profession: Video Designer // Lecturer at the Guildhall School of Music and Drama
      Location: London, England
      Isadora user: 13 years
      Lines: Start straight at right angles but end up as spaghetti Text by Catherine Duquette
      [Interview conducted in 2015/16]
      “People can listen to a piece of music and tell you instantly if they like it or not, and they feel confident in saying so.” Award-winning video designer, Dan Shorten, wants his audience to be able do the same. Working under the moniker, Anomic Multimedia, he uses Isadora’s projection mapper for large-scale outdoor events and five-star touring productions, including the five-day Glastonbury Festival of performing arts and most recently, Shakespeare400, a series of public performances around London celebrating the 400-year legacy of The Bard. Running systems that can use up to 19 projectors, he transforms the facades of buildings and spaces into living entities and animated environments. An impressive 150,000 people a week can experience his work – that’s 8,000 pairs of eyes a night. With these kinds of numbers, success comes down to accessibility, as the larger the public, the wider range of responses. Some people might be attracted to the meaning, others the magic, and a few, the mechanics behind the mastery. But it’s this open invitation, one that trusts the audience’s sensibilities, that is part and parcel to Dan’s ethos of good art. It’s also the reason why Dan has chosen Isadora as his primary control for video design. It’s “fast, logical and has a simple layout.” But it’s not as limited as even more widely known plug and play gadgets. “With Isadora, you have to ask questions: What do I want to do? How do I do it? What’s the outcome? How does this actor affect this actor?” Isadora is an open invitation, one that trusts the designer’s sensibilities. Dan admits to having been a skeptic at first – to having made the mistake of thinking Isadora was too open and therefore too complicated for what he wanted to do – which was to project some video and images on stage. But after sitting in on an Isadora workshop as a teacher, Dan realized the software not only offered cleaner solutions – such as using a mouse to move things around on screen instead of rendering things out in the studio and then fitting them to the space using a projector alone – it offered more solutions, which spurred his creativity. Alongside his design work, Dan teaches at the prestigious Guildhall School Music and Drama, which recently launched a BA degree focused on video mapping in 2015. Most of Dan’s students land design gigs at high level, West End theaters upon graduation, and he uses Isadora to prime them. Isadora teaches his students how to think about video and how to create without running up against complexities in the design of the software itself. Dan owes this to Isadora being an artist-driven software. In fact, Isadora’s creator, Mark Coniglio worked closely with Dan in developing the software’s projection mapping tool before it was released so that it could meet his and other video mappers’ needs in building content. Despite the scale of his projects, Dan strives for simplicity in both form and process, falling back on his first love of making music and music’s ability to invite an audience to render its own opinion, confidently. Dan embraces the fact that he can make his audience’s jaw drop with his video designs, but there’s a long road between learning a tool and being an artist with a tool. “If you can do something simple, do something simple.” New technology can dazzle, and who doesn’t want to be dazzled? A little rock and roll can inject a lot of energy into life. But there’s a delicate balance between the rockstar and the artist, the artist and the elitist. The benefit of Isadora is that it teaches you how to be an artist, or at least a better artist, while learning the tool. Isadora is Dan’s toolbox and a completely integrated part of his creative thinking. Profession: Video Designer // Lecturer at the Guildhall School of Music and Drama
      Location: London, England
      Isadora user: 13 years
      Lines: Start straight at right angles but end up as spaghetti Text by Catherine Duquette
      [Interview conducted in 2015/16]

      “People can listen to a piece of music and tell you instantly if they like it or not, and they feel confident in saying so.” Award-winning video designer, Dan Shorten, wants his audience to be able do the same. Working under the moniker, Anomic Multimedia, he uses Isadora’s projection mapper for large-scale outdoor events and five-star touring productions, including the five-day Glastonbury Festival of performing arts and most recently, Shakespeare400, a series of public performances around London celebrating the 400-year legacy of The Bard. Running systems that can use up to 19 projectors, he transforms the facades of buildings and spaces into living entities and animated environments. An impressive 150,000 people a week can experience his work – that’s 8,000 pairs of eyes a night. With these kinds of numbers, success comes down to accessibility, as the larger the public, the wider range of responses. Some people might be attracted to the meaning, others the magic, and a few, the mechanics behind the mastery. But it’s this open invitation, one that trusts the audience’s sensibilities, that is part and parcel to Dan’s ethos of good art.

      It’s also the reason why Dan has chosen Isadora as his primary control for video design. It’s “fast, logical and has a simple layout.” But it’s not as limited as even more widely known plug and play gadgets. “With Isadora, you have to ask questions: What do I want to do? How do I do it? What’s the outcome? How does this actor affect this actor?” Isadora is an open invitation, one that trusts the designer’s sensibilities. Dan admits to having been a skeptic at first – to having made the mistake of thinking Isadora was too open and therefore too complicated for what he wanted to do – which was to project some video and images on stage. But after sitting in on an Isadora workshop as a teacher, Dan realized the software not only offered cleaner solutions – such as using a mouse to move things around on screen instead of rendering things out in the studio and then fitting them to the space using a projector alone – it offered more solutions, which spurred his creativity.

      Alongside his design work, Dan teaches at the prestigious Guildhall School Music and Drama, which recently launched a BA degree focused on video mapping in 2015. Most of Dan’s students land design gigs at high level, West End theaters upon graduation, and he uses Isadora to prime them. Isadora teaches his students how to think about video and how to create without running up against complexities in the design of the software itself. Dan owes this to Isadora being an artist-driven software. In fact, Isadora’s creator, Mark Coniglio worked closely with Dan in developing the software’s projection mapping tool before it was released so that it could meet his and other video mappers’ needs in building content.

      Despite the scale of his projects, Dan strives for simplicity in both form and process, falling back on his first love of making music and music’s ability to invite an audience to render its own opinion, confidently. Dan embraces the fact that he can make his audience’s jaw drop with his video designs, but there’s a long road between learning a tool and being an artist with a tool. “If you can do something simple, do something simple.” New technology can dazzle, and who doesn’t want to be dazzled? A little rock and roll can inject a lot of energy into life. But there’s a delicate balance between the rockstar and the artist, the artist and the elitist. The benefit of Isadora is that it teaches you how to be an artist, or at least a better artist, while learning the tool. Isadora is Dan’s toolbox and a completely integrated part of his creative thinking.

      Profession: Video Designer // Lecturer at the Guildhall School of Music and Drama
      Location: London, England
      Isadora user: 13 years
      Lines: Start straight at right angles but end up as spaghetti

      Text by Catherine Duquette
      [Interview conducted in 2015/16]

    • David Gumbs

      In 2001, media artist, David Gumbs, saw Isadora for the first time while a student in interactive multimedia at “Les Ateliers, L’ENSCI” in Paris. His eyes widened: Isadora was showing immediate results and instantly “rendering” its users choices. After years of exercising patience with Flash, After Effects, and other animation and video processing software, seeing Isadora was like peeking behind the magician’s curtain. He wanted to know its secrets – he asked the artist who introduced him to Isadora to teach him the software. The artist said, “no.” David was angry at first, but he soon realized this “no” would come to define his artistic career.

      In 2001, media artist, David Gumbs, saw Isadora for the first time while a student in interactive multimedia at “Les Ateliers, L’ENSCI” in Paris. His eyes widened: Isadora was showing immediate results and instantly “rendering” its users choices. After years of exercising patience with Flash, After Effects, and other animation and video processing software, seeing Isadora was like peeking behind the magician’s curtain. He wanted to know its secrets – he asked the artist who introduced him to Isadora to teach him the software. The artist said, “no.” David was angry at first, but he soon realized this “no” would come to define his artistic career.
      In 2001, media artist, David Gumbs, saw Isadora for the first time while a student in interactive multimedia at “Les Ateliers, L’ENSCI” in Paris. His eyes widened: Isadora was showing immediate results and instantly “rendering” its users choices. After years of exercising patience with Flash, After Effects, and other animation and video processing software, seeing Isadora was like peeking behind the magician’s curtain. He wanted to know its secrets – he asked the artist who introduced him to Isadora to teach him the software. The artist said, “no.” David was angry at first, but he soon realized this “no” would come to define his artistic career.

      In 2001, media artist, David Gumbs, saw Isadora for the first time while a student in interactive multimedia at “Les Ateliers, L’ENSCI” in Paris. His eyes widened: Isadora was showing immediate results and instantly “rendering” its users choices. After years of exercising patience with Flash, After Effects, and other animation and video processing software, seeing Isadora was like peeking behind the magician’s curtain. He wanted to know its secrets – he asked the artist who introduced him to Isadora to teach him the software. The artist said, “no.” David was angry at first, but he soon realized this “no” would come to define his artistic career.

    • David Gumbs

      Over the course of 15 years, David figured out how Isadora could work for him, developing a distinct process and voice as a result. He found the program easy to learn, despite loathing coding, as it complemented his more organic disposition to making work, the interactivity between artist and tool being one of Isadora’s most compelling attributes. His process is all about “searching but staying open to what happens, even though [he] might deviate from [his] original idea.” He’s always preferred visual art and more tactile mediums – painting, photography, drawing. But making a living in these disciplines is challenging at best. His original turn to video was merely an attempt to learn skills that would allow him to support himself financially while making art in other mediums. Isadora conveniently bridges two minds and two worlds.

      Over the course of 15 years, David figured out how Isadora could work for him, developing a distinct process and voice as a result. He found the program easy to learn, despite loathing coding, as it complemented his more organic disposition to making work, the interactivity between artist and tool being one of Isadora’s most compelling attributes. His process is all about “searching but staying open to what happens, even though [he] might deviate from [his] original idea.” He’s always preferred visual art and more tactile mediums – painting, photography, drawing. But making a living in these disciplines is challenging at best. His original turn to video was merely an attempt to learn skills that would allow him to support himself financially while making art in other mediums. Isadora conveniently bridges two minds and two worlds.
      Over the course of 15 years, David figured out how Isadora could work for him, developing a distinct process and voice as a result. He found the program easy to learn, despite loathing coding, as it complemented his more organic disposition to making work, the interactivity between artist and tool being one of Isadora’s most compelling attributes. His process is all about “searching but staying open to what happens, even though [he] might deviate from [his] original idea.” He’s always preferred visual art and more tactile mediums – painting, photography, drawing. But making a living in these disciplines is challenging at best. His original turn to video was merely an attempt to learn skills that would allow him to support himself financially while making art in other mediums. Isadora conveniently bridges two minds and two worlds.

      Over the course of 15 years, David figured out how Isadora could work for him, developing a distinct process and voice as a result. He found the program easy to learn, despite loathing coding, as it complemented his more organic disposition to making work, the interactivity between artist and tool being one of Isadora’s most compelling attributes. His process is all about “searching but staying open to what happens, even though [he] might deviate from [his] original idea.” He’s always preferred visual art and more tactile mediums – painting, photography, drawing. But making a living in these disciplines is challenging at best. His original turn to video was merely an attempt to learn skills that would allow him to support himself financially while making art in other mediums. Isadora conveniently bridges two minds and two worlds.

    • David Gumbs

      David’s video work explores a tension between the organic and the digital, which reflects his own tension between his Caribbean identity and forging a career defined by technology. Even while a student in Paris, he missed the nature of the French West Indies, its “trees curved by the ocean wind and broken down walls lacerated by salt from the sea.” The concrete and the vertical trees of Europe simply didn’t inspire him. He uses Isadora to manipulate his drawings and photographs that typically depict natural objects, such as seashells, flowers, and his favorite – anthropomorphic trees, and builds interactive video installations for both audience and dancer.
      The video artist’s most innovative application of Isadora however is his light work as part of his “Perception Offscreen” series. He digitally engraves Rorschach-like impressions created in Isadora onto large sheets of acrylic or glass, which are lit by white LED lights. The sculptures challenge the viewer to find the “nature within” and to illuminate “parts of their psychology that they don’t normally see”. In April and May of this year, David plans to push this digital sculpture work even further while in residency in Beijing. He will be molding his creations in Isadora into three-dimensional objects. He wants to generate digital art that people not only experience but also possess.

      David’s video work explores a tension between the organic and the digital, which reflects his own tension between his Caribbean identity and forging a career defined by technology. Even while a student in Paris, he missed the nature of the French West Indies, its “trees curved by the ocean wind and broken down walls lacerated by salt from the sea.” The concrete and the vertical trees of Europe simply didn’t inspire him. He uses Isadora to manipulate his drawings and photographs that typically depict natural objects, such as seashells, flowers, and his favorite – anthropomorphic trees, and builds interactive video installations for both audience and dancer.
      The video artist’s most innovative application of Isadora however is his light work as part of his “Perception Offscreen” series. He digitally engraves Rorschach-like impressions created in Isadora onto large sheets of acrylic or glass, which are lit by white LED lights. The sculptures challenge the viewer to find the “nature within” and to illuminate “parts of their psychology that they don’t normally see”. In April and May of this year, David plans to push this digital sculpture work even further while in residency in Beijing. He will be molding his creations in Isadora into three-dimensional objects. He wants to generate digital art that people not only experience but also possess.
      David’s video work explores a tension between the organic and the digital, which reflects his own tension between his Caribbean identity and forging a career defined by technology. Even while a student in Paris, he missed the nature of the French West Indies, its “trees curved by the ocean wind and broken down walls lacerated by salt from the sea.” The concrete and the vertical trees of Europe simply didn’t inspire him. He uses Isadora to manipulate his drawings and photographs that typically depict natural objects, such as seashells, flowers, and his favorite – anthropomorphic trees, and builds interactive video installations for both audience and dancer.
      The video artist’s most innovative application of Isadora however is his light work as part of his “Perception Offscreen” series. He digitally engraves Rorschach-like impressions created in Isadora onto large sheets of acrylic or glass, which are lit by white LED lights. The sculptures challenge the viewer to find the “nature within” and to illuminate “parts of their psychology that they don’t normally see”. In April and May of this year, David plans to push this digital sculpture work even further while in residency in Beijing. He will be molding his creations in Isadora into three-dimensional objects. He wants to generate digital art that people not only experience but also possess.

      David’s video work explores a tension between the organic and the digital, which reflects his own tension between his Caribbean identity and forging a career defined by technology. Even while a student in Paris, he missed the nature of the French West Indies, its “trees curved by the ocean wind and broken down walls lacerated by salt from the sea.” The concrete and the vertical trees of Europe simply didn’t inspire him. He uses Isadora to manipulate his drawings and photographs that typically depict natural objects, such as seashells, flowers, and his favorite – anthropomorphic trees, and builds interactive video installations for both audience and dancer.
      The video artist’s most innovative application of Isadora however is his light work as part of his “Perception Offscreen” series. He digitally engraves Rorschach-like impressions created in Isadora onto large sheets of acrylic or glass, which are lit by white LED lights. The sculptures challenge the viewer to find the “nature within” and to illuminate “parts of their psychology that they don’t normally see”. In April and May of this year, David plans to push this digital sculpture work even further while in residency in Beijing. He will be molding his creations in Isadora into three-dimensional objects. He wants to generate digital art that people not only experience but also possess.

    • David Gumbs

      Video art is relatively new to the Caribbean, and on his island of Saint-Martin, colleagues have gone so far as to say video art is “repelling”. That said, David has been able come up with solutions in Isadora time and time again to make his community think otherwise, to counter their “no”. David attributes his success in part to the Isadora community, both on and offline. It’s “very welcoming, very open.” He’s on the TroikaTronix forum at least once a week, sharing and receiving knowledge. An infinite number of “hidden treasures” exist within Isadora, “really simple things the community can teach you.” David’s persistence has made an impact. Since 2009, Gumbs has taught multimedia and motion design at the Visual Arts School in Fort-de-France, Martinique. There, he teaches his students Isadora, giving them the benefit of direct guidance that he was originally denied. But this guidance comes with a caveat: He advises his students to “go outside on the streets, in the nature” to gather source material to put into Isadora. It’s “a powerful tool, but it’s just like a paint brush – and you need to find your paint.”

      Profession: Visual Media Artist
      Located:Fort-de-France, Martinique
      Using Isadora: about 15 years
      Lines: Web of creative genius, i.e. an absolute mess

      Text by Catherine Duquette
      [Interview conducted in 2015/16]

      Video art is relatively new to the Caribbean, and on his island of Saint-Martin, colleagues have gone so far as to say video art is “repelling”. That said, David has been able come up with solutions in Isadora time and time again to make his community think otherwise, to counter their “no”. David attributes his success in part to the Isadora community, both on and offline. It’s “very welcoming, very open.” He’s on the TroikaTronix forum at least once a week, sharing and receiving knowledge. An infinite number of “hidden treasures” exist within Isadora, “really simple things the community can teach you.” David’s persistence has made an impact. Since 2009, Gumbs has taught multimedia and motion design at the Visual Arts School in Fort-de-France, Martinique. There, he teaches his students Isadora, giving them the benefit of direct guidance that he was originally denied. But this guidance comes with a caveat: He advises his students to “go outside on the streets, in the nature” to gather source material to put into Isadora. It’s “a powerful tool, but it’s just like a paint brush – and you need to find your paint.” Profession: Visual Media Artist
      Located:Fort-de-France, Martinique
      Using Isadora: about 15 years
      Lines: Web of creative genius, i.e. an absolute mess Text by Catherine Duquette
      [Interview conducted in 2015/16]
      Video art is relatively new to the Caribbean, and on his island of Saint-Martin, colleagues have gone so far as to say video art is “repelling”. That said, David has been able come up with solutions in Isadora time and time again to make his community think otherwise, to counter their “no”. David attributes his success in part to the Isadora community, both on and offline. It’s “very welcoming, very open.” He’s on the TroikaTronix forum at least once a week, sharing and receiving knowledge. An infinite number of “hidden treasures” exist within Isadora, “really simple things the community can teach you.” David’s persistence has made an impact. Since 2009, Gumbs has taught multimedia and motion design at the Visual Arts School in Fort-de-France, Martinique. There, he teaches his students Isadora, giving them the benefit of direct guidance that he was originally denied. But this guidance comes with a caveat: He advises his students to “go outside on the streets, in the nature” to gather source material to put into Isadora. It’s “a powerful tool, but it’s just like a paint brush – and you need to find your paint.” Profession: Visual Media Artist
      Located:Fort-de-France, Martinique
      Using Isadora: about 15 years
      Lines: Web of creative genius, i.e. an absolute mess Text by Catherine Duquette
      [Interview conducted in 2015/16]

      Video art is relatively new to the Caribbean, and on his island of Saint-Martin, colleagues have gone so far as to say video art is “repelling”. That said, David has been able come up with solutions in Isadora time and time again to make his community think otherwise, to counter their “no”. David attributes his success in part to the Isadora community, both on and offline. It’s “very welcoming, very open.” He’s on the TroikaTronix forum at least once a week, sharing and receiving knowledge. An infinite number of “hidden treasures” exist within Isadora, “really simple things the community can teach you.” David’s persistence has made an impact. Since 2009, Gumbs has taught multimedia and motion design at the Visual Arts School in Fort-de-France, Martinique. There, he teaches his students Isadora, giving them the benefit of direct guidance that he was originally denied. But this guidance comes with a caveat: He advises his students to “go outside on the streets, in the nature” to gather source material to put into Isadora. It’s “a powerful tool, but it’s just like a paint brush – and you need to find your paint.”

      Profession: Visual Media Artist
      Located:Fort-de-France, Martinique
      Using Isadora: about 15 years
      Lines: Web of creative genius, i.e. an absolute mess

      Text by Catherine Duquette
      [Interview conducted in 2015/16]

    • David Gumbs

    • Jared Mezzocchi

      Making video more human is the cornerstone of Jared Mezzocchi’s work, both in product and in process, as video designer, educator, and theater director. Having studied both theater and filmmaking as an undergrad, Jared had always questioned how video and theater mix. He grew curious about how to tell a story as an actor and how to tell a story visually as a filmmaker. The answer to his question was character. Jared regards video as a character, an inspired entity, that “connects itself to the dramaturgy of the piece and propels the story forward in unexpected ways.” It “arrives on its own; it leaves on its own.” In other words, it wants something, the same thing that live theater in its most successful but rarest moments can achieve – a shared psychic experience.

      Making video more human is the cornerstone of Jared Mezzocchi’s work, both in product and in process, as video designer, educator, and theater director. Having studied both theater and filmmaking as an undergrad, Jared had always questioned how video and theater mix. He grew curious about how to tell a story as an actor and how to tell a story visually as a filmmaker. The answer to his question was character. Jared regards video as a character, an inspired entity, that “connects itself to the dramaturgy of the piece and propels the story forward in unexpected ways.” It “arrives on its own; it leaves on its own.” In other words, it wants something, the same thing that live theater in its most successful but rarest moments can achieve – a shared psychic experience.
      Making video more human is the cornerstone of Jared Mezzocchi’s work, both in product and in process, as video designer, educator, and theater director. Having studied both theater and filmmaking as an undergrad, Jared had always questioned how video and theater mix. He grew curious about how to tell a story as an actor and how to tell a story visually as a filmmaker. The answer to his question was character. Jared regards video as a character, an inspired entity, that “connects itself to the dramaturgy of the piece and propels the story forward in unexpected ways.” It “arrives on its own; it leaves on its own.” In other words, it wants something, the same thing that live theater in its most successful but rarest moments can achieve – a shared psychic experience.

      Making video more human is the cornerstone of Jared Mezzocchi’s work, both in product and in process, as video designer, educator, and theater director. Having studied both theater and filmmaking as an undergrad, Jared had always questioned how video and theater mix. He grew curious about how to tell a story as an actor and how to tell a story visually as a filmmaker. The answer to his question was character. Jared regards video as a character, an inspired entity, that “connects itself to the dramaturgy of the piece and propels the story forward in unexpected ways.” It “arrives on its own; it leaves on its own.” In other words, it wants something, the same thing that live theater in its most successful but rarest moments can achieve – a shared psychic experience.

    • Jared Mezzocchi

      Theater has been built and budgeted the same way for hundreds of years, so a relatively new piece of technology such as video could jeopardize its integrity. “It can either squelch the existing magic or enhance it.” While theater directors want to experiment with video, they still have a difficult time understanding it. However, Jared believes “Isadora makes video/media accessible to most theatres in the U.S.” He designs video for regional theater, including Woolly Mammoth in D.C., Milwaukee Rep, South Coast Rep, Cleveland Playhouse, and Manhattan Theater Company, while pushing the limits of video design for more experimental companies such as New York City’s 3-Legged Dog, Big Art Group, New Georges and HERE Arts Center. Regional theater requires that Jared generates content in the space and quickly – typically with only a few days of tech. In that short time, Jared finds himself not only designing but also teaching the room about his process, so that the director can come to trust the technology. Isadora helps bring people together, builds trust, and makes the process more human.

      Theater has been built and budgeted the same way for hundreds of years, so a relatively new piece of technology such as video could jeopardize its integrity. “It can either squelch the existing magic or enhance it.” While theater directors want to experiment with video, they still have a difficult time understanding it. However, Jared believes “Isadora makes video/media accessible to most theatres in the U.S.” He designs video for regional theater, including Woolly Mammoth in D.C., Milwaukee Rep, South Coast Rep, Cleveland Playhouse, and Manhattan Theater Company, while pushing the limits of video design for more experimental companies such as New York City’s 3-Legged Dog, Big Art Group, New Georges and HERE Arts Center. Regional theater requires that Jared generates content in the space and quickly – typically with only a few days of tech. In that short time, Jared finds himself not only designing but also teaching the room about his process, so that the director can come to trust the technology. Isadora helps bring people together, builds trust, and makes the process more human.
      Theater has been built and budgeted the same way for hundreds of years, so a relatively new piece of technology such as video could jeopardize its integrity. “It can either squelch the existing magic or enhance it.” While theater directors want to experiment with video, they still have a difficult time understanding it. However, Jared believes “Isadora makes video/media accessible to most theatres in the U.S.” He designs video for regional theater, including Woolly Mammoth in D.C., Milwaukee Rep, South Coast Rep, Cleveland Playhouse, and Manhattan Theater Company, while pushing the limits of video design for more experimental companies such as New York City’s 3-Legged Dog, Big Art Group, New Georges and HERE Arts Center. Regional theater requires that Jared generates content in the space and quickly – typically with only a few days of tech. In that short time, Jared finds himself not only designing but also teaching the room about his process, so that the director can come to trust the technology. Isadora helps bring people together, builds trust, and makes the process more human.

      Theater has been built and budgeted the same way for hundreds of years, so a relatively new piece of technology such as video could jeopardize its integrity. “It can either squelch the existing magic or enhance it.” While theater directors want to experiment with video, they still have a difficult time understanding it. However, Jared believes “Isadora makes video/media accessible to most theatres in the U.S.” He designs video for regional theater, including Woolly Mammoth in D.C., Milwaukee Rep, South Coast Rep, Cleveland Playhouse, and Manhattan Theater Company, while pushing the limits of video design for more experimental companies such as New York City’s 3-Legged Dog, Big Art Group, New Georges and HERE Arts Center. Regional theater requires that Jared generates content in the space and quickly – typically with only a few days of tech. In that short time, Jared finds himself not only designing but also teaching the room about his process, so that the director can come to trust the technology. Isadora helps bring people together, builds trust, and makes the process more human.

    • Jared Mezzocchi

      If the time constraints of regional theater can inspire creativity, then the flexibility and reliability of Isadora can ensure that this creativity thrives in the space. For the last eight years, Jared has also been directing at Andy’s Summer Playhouse, a summer youth theater in southern New Hampshire or as Jared describes, “a multimedia incubator for kids”. This summer, he has taken over as Producing Artistic Director of the Playhouse, where he works with 25 to 30 kids per production, between 8 and 18 years old, to stage 3-4 brand new multimedia pieces every summer. The kids perform and operate the show with Isadora, which they find easy to learn, in part, because it operates sequentially like the cues in theater. In 2012, they staged The BFG, the play based on Roald Dahl’s beloved novel by the same name. Jared wanted to project several images in glass jars onstage, but it wasn’t working – the images were indecipherable and clearly digital. But when one of the kids accidentally shifted their jar out of position, something better than originally intended happened: the image fell off of the frosted portion of the jar and the interior began to glow with the image passing through the glass and landing within. Because of Isadora’s flexibility, Jared was able to program “the mistake” instantly. If he had needed to leave the space, he wouldn’t have been able to duplicate it.

      If the time constraints of regional theater can inspire creativity, then the flexibility and reliability of Isadora can ensure that this creativity thrives in the space. For the last eight years, Jared has also been directing at Andy’s Summer Playhouse, a summer youth theater in southern New Hampshire or as Jared describes, “a multimedia incubator for kids”. This summer, he has taken over as Producing Artistic Director of the Playhouse, where he works with 25 to 30 kids per production, between 8 and 18 years old, to stage 3-4 brand new multimedia pieces every summer. The kids perform and operate the show with Isadora, which they find easy to learn, in part, because it operates sequentially like the cues in theater. In 2012, they staged The BFG, the play based on Roald Dahl’s beloved novel by the same name. Jared wanted to project several images in glass jars onstage, but it wasn’t working – the images were indecipherable and clearly digital. But when one of the kids accidentally shifted their jar out of position, something better than originally intended happened: the image fell off of the frosted portion of the jar and the interior began to glow with the image passing through the glass and landing within. Because of Isadora’s flexibility, Jared was able to program “the mistake” instantly. If he had needed to leave the space, he wouldn’t have been able to duplicate it.
      If the time constraints of regional theater can inspire creativity, then the flexibility and reliability of Isadora can ensure that this creativity thrives in the space. For the last eight years, Jared has also been directing at Andy’s Summer Playhouse, a summer youth theater in southern New Hampshire or as Jared describes, “a multimedia incubator for kids”. This summer, he has taken over as Producing Artistic Director of the Playhouse, where he works with 25 to 30 kids per production, between 8 and 18 years old, to stage 3-4 brand new multimedia pieces every summer. The kids perform and operate the show with Isadora, which they find easy to learn, in part, because it operates sequentially like the cues in theater. In 2012, they staged The BFG, the play based on Roald Dahl’s beloved novel by the same name. Jared wanted to project several images in glass jars onstage, but it wasn’t working – the images were indecipherable and clearly digital. But when one of the kids accidentally shifted their jar out of position, something better than originally intended happened: the image fell off of the frosted portion of the jar and the interior began to glow with the image passing through the glass and landing within. Because of Isadora’s flexibility, Jared was able to program “the mistake” instantly. If he had needed to leave the space, he wouldn’t have been able to duplicate it.

      If the time constraints of regional theater can inspire creativity, then the flexibility and reliability of Isadora can ensure that this creativity thrives in the space. For the last eight years, Jared has also been directing at Andy’s Summer Playhouse, a summer youth theater in southern New Hampshire or as Jared describes, “a multimedia incubator for kids”. This summer, he has taken over as Producing Artistic Director of the Playhouse, where he works with 25 to 30 kids per production, between 8 and 18 years old, to stage 3-4 brand new multimedia pieces every summer. The kids perform and operate the show with Isadora, which they find easy to learn, in part, because it operates sequentially like the cues in theater. In 2012, they staged The BFG, the play based on Roald Dahl’s beloved novel by the same name. Jared wanted to project several images in glass jars onstage, but it wasn’t working – the images were indecipherable and clearly digital. But when one of the kids accidentally shifted their jar out of position, something better than originally intended happened: the image fell off of the frosted portion of the jar and the interior began to glow with the image passing through the glass and landing within. Because of Isadora’s flexibility, Jared was able to program “the mistake” instantly. If he had needed to leave the space, he wouldn’t have been able to duplicate it.

    • Jared Mezzocchi

      Jared credits his career to Isadora. The program has given him “the permission to have a voice in his field,” a voice that has earned him the Princess Grace Award in 2012 as well as the prestige of having been the first projection designer to be honored with this national theater award. In addition to his regional theater design, Jared leads the projection design track in the MFA Design program at University of Maryland. He strongly emphasizes his curriculum towards Isadora. “The way that Isadora forces you to think about video design in flexible and organic ways is a great curriculum.” Instead of hiding behind the computer, feeling like they’re simply tinkering with code, Isadora moves designers’ eyes “away from the monitor and onto the stage.” The design can live organically and move fluidly in the space, so everyone in the theater can enjoy a shared experience.

      Profession: Multimedia Director and Designer for Regional Theater // Professor at the University of Maryland
      Location: Washington, D.C.
      Isadora User: 7 years
      Lines: Cobweb of lines, despite what he teaches
      Patching Style: Cobweb of lines, despite what he teaches
      Photos by (c) Michael Portrie, (c) Sibyl Wickersheimer and (c) Stan Barough

      Text by Catherine Duquette
      [Interview conducted in 2015/16]

      Jared credits his career to Isadora. The program has given him “the permission to have a voice in his field,” a voice that has earned him the Princess Grace Award in 2012 as well as the prestige of having been the first projection designer to be honored with this national theater award. In addition to his regional theater design, Jared leads the projection design track in the MFA Design program at University of Maryland. He strongly emphasizes his curriculum towards Isadora. “The way that Isadora forces you to think about video design in flexible and organic ways is a great curriculum.” Instead of hiding behind the computer, feeling like they’re simply tinkering with code, Isadora moves designers’ eyes “away from the monitor and onto the stage.” The design can live organically and move fluidly in the space, so everyone in the theater can enjoy a shared experience. Profession: Multimedia Director and Designer for Regional Theater // Professor at the University of Maryland
      Location: Washington, D.C.
      Isadora User: 7 years
      Lines: Cobweb of lines, despite what he teaches
      Patching Style: Cobweb of lines, despite what he teaches
      Photos by (c) Michael Portrie, (c) Sibyl Wickersheimer and (c) Stan Barough Text by Catherine Duquette
      [Interview conducted in 2015/16]
      Jared credits his career to Isadora. The program has given him “the permission to have a voice in his field,” a voice that has earned him the Princess Grace Award in 2012 as well as the prestige of having been the first projection designer to be honored with this national theater award. In addition to his regional theater design, Jared leads the projection design track in the MFA Design program at University of Maryland. He strongly emphasizes his curriculum towards Isadora. “The way that Isadora forces you to think about video design in flexible and organic ways is a great curriculum.” Instead of hiding behind the computer, feeling like they’re simply tinkering with code, Isadora moves designers’ eyes “away from the monitor and onto the stage.” The design can live organically and move fluidly in the space, so everyone in the theater can enjoy a shared experience. Profession: Multimedia Director and Designer for Regional Theater // Professor at the University of Maryland
      Location: Washington, D.C.
      Isadora User: 7 years
      Lines: Cobweb of lines, despite what he teaches
      Patching Style: Cobweb of lines, despite what he teaches
      Photos by (c) Michael Portrie, (c) Sibyl Wickersheimer and (c) Stan Barough Text by Catherine Duquette
      [Interview conducted in 2015/16]

      Jared credits his career to Isadora. The program has given him “the permission to have a voice in his field,” a voice that has earned him the Princess Grace Award in 2012 as well as the prestige of having been the first projection designer to be honored with this national theater award. In addition to his regional theater design, Jared leads the projection design track in the MFA Design program at University of Maryland. He strongly emphasizes his curriculum towards Isadora. “The way that Isadora forces you to think about video design in flexible and organic ways is a great curriculum.” Instead of hiding behind the computer, feeling like they’re simply tinkering with code, Isadora moves designers’ eyes “away from the monitor and onto the stage.” The design can live organically and move fluidly in the space, so everyone in the theater can enjoy a shared experience.

      Profession: Multimedia Director and Designer for Regional Theater // Professor at the University of Maryland
      Location: Washington, D.C.
      Isadora User: 7 years
      Lines: Cobweb of lines, despite what he teaches
      Patching Style: Cobweb of lines, despite what he teaches
      Photos by (c) Michael Portrie, (c) Sibyl Wickersheimer and (c) Stan Barough

      Text by Catherine Duquette
      [Interview conducted in 2015/16]

    • Jared Mezzocchi

Isadora Features

SPECIFICATIONS

  • Up to 8 channels of HD Video Playback
  • Multiple Channels of 4K Video
  • Unlimited Video Layers
  • Midi Timecode Support
  • Integrated Projection Mapping Tool
  • Output to 16 Displays
  • Up to 4 Live Camera Feeds
  • Native Blackmagic Video Input and Output support
  • Fast, GPU-based Video Effects including FreeFrameGL
  • Custom Effects via OpenGL Shader Language (GLSL)
  • Syphon, Spout, and NDI Integration
  • Professional Video Codec Support including HAP

WORKFLOW + INTERACTIVITY

  • Real-Time Control
  • Intuitive User Interface
  • Drag & Drop Media for Rapid Prototyping
  • Input and Output of OSC, Midi, Serial, TCP/IP, PJLink, and more
  • Node-Based Programming Offers Deep Customization
  • Powerful Scene-Based Structure
  • Low-Latency Response to Real-Time Input
  • Built-In Video Tracking Support
  • Arduino I/O via Built-In Serial Input/Output
  • Javascript Language Support
  • Integrated Input from Kinect 1, Kinect 2, Orbbec, and other Depth Cameras