World Play Design

May 3

A good introduction is to imagine this: people in the audience, whether at home or at the live broadcast, can control though motion and eye tracking what channel to watch.
Sometimes the channel is taken over by visual inserts. Some inserts fall into 3-d, some into 2-d, one is a Scoreboard (which also on stage).
The people in the audience can watch the visual inserts on their smart phones or in green room. Or a screen nearby.
The order in which this audience is to appear is already determined...so there are  a few waiting for the present players to die.

The technology is then streaming multiple channels...though there could be more for another class of inserts, those three listed all run constantly, but are quite frequently not the programming.

On stage is another group of cameras, and each of these are added to the three other inserts...perhaps leading to two on the GM, one on each of the four PLAYERS, the Die roll stream and then the 3-d and 2-dd, and lastly Scoreboard, leading to 10 channels.

Percentage wise, the GM might get the most camera time...so I am thinking of adding a NPC channel, with three more actors playing the NPC's (pre-rehearsed but also having to improv scenes). This would be special make up effects and voice talent. It would be an incidental but very dramatic and powerful channel, wherein, the role playing by the characters would be enhanced.

So, this 11 channels. Most frequent being some average between the four players...this representing perhaps in totality 75% of the show. Next, the GM (with two camera angles) 15%, the NPC channel 5%, the Scoreboard 3%, the Dice Channel 3%, 3-d animation 3%, and 2-d animation 1%, or the least amount!

Into this scheme you can project modalities around which to switch camera...mostly by soundtrack similar to what Google+ does with its Video Chat. but then it is a stage show so that the players will wait for the stop and go of the show that has always been a part of the process. More so even including commercial breaks.

The extrapolation of this I would like to project here is the person who is paralyzed yet can select channels psychically. This has been demonstrated, and the technology is for sale in children "brainy" toy catalogs.

There could be an added channel, wherein, the Players would probably enjoy a digression to direct actors. This might be a single or double use token, like in WhoWantsToBeAMilloinaire. This token then is played and the Player can direct an actor who will perform specific actions, such as drawing a sword and attacking.
These physical actors would perform fight scenes or whatever else the players direct them to do. It can be an entire scene, it can be one Players and no other expending their Acting tokens.
They could direct a stunt person in another room in a inertial capture suit to execute the actions they are imagining their character should be doing in the Role Playing World.

So this as another insert, which can be included in the final streaming.

There is a process of building this up, live to tape. Its a simple path in rehearsal for the difference between the live show and the live to tape show is minimal. What is served in reverse is that doing a Live Show is nearly doing a Live to tape show...in fact, merely a few staged inserts and a second or third day of the show done in a studio that mimics the backdrop and lighting.
So that the tape works with the Live Show, such things as teh Scoreboard being constructed live, the 2-d inserts pre-made, the 3-d inserts pre made (but only as predictable and brief cut scenes).
The die rolling will not be pre-made and also constructed live.

Later the die rolling might have to be faked. There is this time you see during animation production where the Live to Tape show can be amended.
Not that the Live Show, the mere live to tape show, is any weaker...it just will not feature 3-d animation.

So a 3-d animated version will create another version which is like a Extended Cut of Jackson's, except, this additional material will very much enlarge the scope and require probably some alteration of events...making it diverge from the Live, but not in so significant a way that the show need alter the "Matrix Module".


April 18
In the view of multiple problems requiring diverse material manipulations, including clerical, artistic, social, promotional.
Within that seems the artistic has the majority of problems.

So, within the artistic are constructing a trailer, constructing the intro (both animation), organizing scenarios, scripting, acting.

Within those, which have their subdivisions of focus on material (for instance, the constructing is meant to imply video editing, which includes sound and special effects, including the use of 3-d effects and 2-d effects).

Acting seems the most efficient in terms of producing results.
Although, writing this blog to track this activity is essential.

But in regards to Acting, it is:

Used to recruit, practice voices and walks (the physical properties of different characters...including special make up effects).

Because special make up effects are limited in material, voices and action have to develop around the resources of those costumes and wigs and prosthetics...that go into the panoply of possible monstrous characters (or NPC's) from sci-fi and fantasy and history.

So, the use of settings then becomes the reflection from the NPC, which means that the sets, illustration and maps must be drawn up for the Tesseract Characters:

Resources are: Goblin (Krog), Demon (Lucifer or Satan or Mephisto), Hippie (Duderonymous: blong wig), Rad (red beard and red wig), Benji (Afro).

Each of these have voices to be determined by access to the accent database.

Practice of these voices must be scheduled. Walks and voice work must be recorded.

The material to be used for voice work is previous scripts.

The "Looks" must be sketched. Mixamo is not totally necessary to use but fuse is a good sketch instrument.

So, everyday, for two hours, Voice and Movement on vid, and Sketch on laptop.