This document discusses the planning and considerations for a live performance and projection mapping project about World War 1. It addresses integrating archive imagery and film clips to support the live performance in a sensitive way that is respectful, thoughtful, and connected to the history while also being engaging. It also mentions collaborating with various creative roles to achieve the goals of making the projections realistic but not theatrical, capturing both the highs and lows of the war, and leaving the audience with a memorable experience.

1. Hello Hallo Hi!

9. World War 1 Fast & Furious
Live
to

25. Influences

45. Find a way that’s
achievable for you

51. Why am I here ?

66. Passchendaele

69. Project
considerations
Project
considerations

70. The constant connection between the live performance
and projection
Break away from normal building projection style
and attitude
Be sympathetic and engaging to both the audience at
the event and those watching the live broadcast
Realism of the history, not theatre
Highs and lows, large and small
Project
considerations
Project
considerations

71. Projection
mapping

72. Projection
mapping
Should be
Sensitive
Touching
Surprising
Beautiful
Respectful
Thought-provoking
Appropriate
Connected
Memorable
Should not be
Gimmicky
Inappropriate
Throw-away
Meaningless

74. Perspective and scale

76. photos/letters/poetry

77. photos/letters/poetry

78. Archive imagery

79. Supporting live performance

80. Supporting live performance

81. Supporting live performance

82. Supporting live performance

110. Fast & Furious
Live

115. Project
considerations
Project
considerations

116. Integration of film clips, moving from real world to the
FF Live world
Realistic or style of the set pieces
Lighting of objects
The Fast and Furious brand
Speed, strength and style
Pulse-pounding and jaw-dropping
Global
Project
considerations
Project
considerations

118. Our route

119. Perspective
issues

120. Perspective
issues

149. Collaboration

150. Content
Designer/Director

151. Choreographer
Hair and
Makeup
Animation
Team
Content
Designer/Director
Prop
Designer

152. Script
Writer
Choreographer
Costume
Designers
Actors/
Artists
Creative
Director
Hair and
Makeup
Show
Producer
Animation
Team
AV
Suppliers
Content
Designer/Director
Sound
Designer
Lighting
Director
Prop
Designer
Artistic
Director
Set
Designer
Stage
Managers
AV
Programmers

153. Script
Writer
Choreographer
Costume
Designers
Actors/
Artists
Creative
Director
Hair and
Makeup
Content
Producer
Show
Producer
Animation
Team
AV
Suppliers
Content
Designer/Director
Technical
Director
Sound
Designer
Lighting
Director
Prop
Designer
Artistic
Director
Set
Designer
Stage
Managers
Show
Caller
AV
Programmers

154. Script
Writer
Choreographer
Costume
Designers
Actors/
Artists
Creative
Director
Hair and
Makeup
Content
Producer
Show
Producer
Animation
Team
AV
Suppliers
Content
Designer/Director
Technical
Director
Sound
Designer
Lighting
Director
Prop
Designer
Artistic
Director
Set
Designer
Stage
Managers
Show
Caller
AV
Programmers

155. Kate Dawkins
Studio

156. Kate Dawkins
Studio
dandelion + burdock

157. Kate Dawkins
Studio
Talented individualsdandelion + burdock

158. Kate Dawkins
Studio
Talented individualsdandelion + burdock
Technology companies

159. Kate Dawkins
Studio
Talented individualsdandelion + burdock
Technology companies Agencies/clients

160. The greatest danger for
most of us is not that our aim
is too high and we miss it.
But that it’s too low and
we reach it.

161. Thank you