Un-Synchronized Orchestra | Japan Philharmonic Orchestra

About the Work The “Yoichi Ochiai x Japan Philharmonic Project” started in 2018 with the theme of ‘rebuilding an orchestra with technology.’ WOW also participated in the ‘____ Orchestra,’ in other words, the ‘Un-Synchronized Orchestra’ as a ‘video instrumentalist’ this…

Un-Synchronized Orchestra | Japan Philharmonic Orchestra

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About the Work
The “Yoichi Ochiai x Japan Philharmonic Project” started in 2018 with the theme of ‘rebuilding an orchestra with technology.’ WOW also participated in the ‘____ Orchestra,’ in other words, the ‘Un-Synchronized Orchestra’ as a ‘video instrumentalist’ this year.

In contrast to the past two years of trying to make a place where you can experience a new attraction and value of the orchestra, this year, we were searching for ways the orchestra should be during the coronavirus. In addition to theater performances that had audiences in attendance with restrictions being set, online broadcasting was also done, with the aim of allowing you to be able to experience new attractions from two perspectives.

In theater performances, innovative music that has opened up an era in history and video images were projected on the screen. With online broadcasting, it gave you the actual feeling of being at a concert by using the industry’s highest level of sound quality (AAC-LC384kbps) and 2K image quality that includes AR video. We tried to arrange a three-dimensional effect that could only be achieved digitally.

The visual experience of this performance is centered on the AR video of the online broadcast, and images are spread across the theater screen that synchronized, responded, and conflicted with the AR video. Each differed in their own way but were not superior or inferior in the value of the experience we provided. In addition, we aimed for a multiplier effect whereby the performances could be enjoyed from differing perspectives by having the viewers of the theater performances enjoying the online performances that were re-broadcast at a later date. We tried to get you to discover new value in each, by aiming for visual effects that bring you closer to a view of the music world from two differing perspectives.

The concert that was originally planned with the title ‘____ Orchestra’ that was used up until the performance ended up being canceled due to the coronavirus, and so from there, we searched for a new concert, and in a state of trial and error, each viewer was trying to think long and hard about the words to put into the blank of the title. Just before the end of the performance, the word ‘____ ‘ was revealed, and a new music concert was born that sought out the way a music concert should be done during coronavirus, known as ‘Un-Synchronized Orchestra.’

作品について
「テクノロジーでオーケストラを再構築する」をテーマに、2018年から始動した「落合陽一×日本フィルプロジェクト」。WOWは今年も「映像の奏者」として、「__する音楽会」もとい「双生する音楽会」に参加した。

オーケストラの新たな魅力と価値が体験できる場を試みてきた過去2年に対し、今年はコロナ禍におけるオーケストラのあり方を模索。制限を設けつつも観客を入れた劇場公演に加え、オンライン配信も行い、二つの視点で新しい魅力を体験できる公演を目指した。劇場公演では、空間に多角的に響き渡る時代を切り開いた革新的な音楽とプロジェクターに投影される映像奏者を、オンライン配信では業界最高水準の音質(AAC-LC384kbps)、AR映像を含む2K画質によるコンサートの臨場感、デジタルだからこそ実現できた立体感のある演出を試みた。

本公演の視覚体験は、オンライン配信のAR映像を軸とし、劇場のスクリーンにはAR映像に同調・呼応・相反した映像が展開。それぞれ異なるが優劣のない体験価値を提供した。また、劇場公演の鑑賞者が後日再配信されたオンライン公演も鑑賞することで、公演の追体験を異なる視点で楽しめる相乗効果を図った。楽曲を紐解いていく中で見出したヒントを視覚化する上で、既存のARらしさやステージ上の映像演出らしさにとらわれず、「映像の奏者」として二つの異なる視点で音楽の世界観に寄り添う視覚効果を狙い、それぞれに新たな価値を見出してもらえるよう努めた。

公演前まで用いていたタイトル「__する音楽会」には、当初計画していた音楽会が新型コロナウイルスによって白紙となった様子、そしてそこから新しい演奏会を模索し、試行錯誤する様子を込め、鑑賞者それぞれがタイトルの空白に入る言葉に考えを巡らせるようにしていた。公演終了間際、「__」にあたる言葉が公開され、「双生する音楽会」として、コロナ禍における音楽会のあり方を模索した音楽会が新たに誕生した。

Staff
Organizer:Japan Philharmonic Orchestra
Director:Yoichi Ochiai
Conductor:Hikaru Ebihara
Light:Kazuhiro Naruse

Creative Director : Kosuke Oho
Director : Tatsuki Kondo
Technical Director : Shunsaku Ishinabe
Programmer : Yuta Nakano, Keita Abe
Visual Designer : Hironobu Sone, Takafumi Matsunaga, Tomoko Ishii
PR : Michiru Sasaki
Producer : Go Hagiwara

Camera Crew : Imura Office
Equipment Cooperation : Prism, Astro Design

Support : Emohaus Inc.

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