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A number of the best Danish and European computer programmers are exploring the vast amount of possibilities in the interactive ArtBox.The ArtBox is a virtual magical ‘theater’ developed by Vision4.A black box in which live performers act inside a universe of projections consisting of free floating digital interactive images on the background, the floor and in the air.In the ArtBox the performing artist can control the virtual universe and the design, programming and movement of the visual material with her movements or sounds, using Vision4’s interactive digital ToolBox. 3D animations are either live generated by the performer or consist of pre produced video material.Participating artists:• Rui (Portugal)• Rikke Benborg• Lars HUG• Arthur Stein• Carl Quist Møller• Jonas Jongejan• Ole Kristensen• Sissel Romme Christensen• Katrine Karlsen• Casper Øbro• Mikael FockDuring the workshop ideas are generated for a number of Artbox theatre-, music- and performance projects for the 2010 season at Copenhagen Music Theatre.Address: Copenhagen Music Theatre, Kronprinsensgade 7, DK 1114 København K.
The Puccini opera ”Tosca” was chosen for the fifth anniversary (August 2008) of the Swedish opera house Opera På Skäret at Kopparberg near Örebro. The house is a spacious old sawmill with marvellous acoustics, warm and detailed, thus fully comparable with the Drottningholm Court Theatre or even the Festspielhaus in Bayreuth. The ten scheduled performances were practically sold out well in advance.VISION4 designed and produced the 3D video for this production featuring leading singers Gitta-Maria Sjöberg, Sandra Lopez, Stuart Neill, Petrus Schroderus, Peter Kajlinger, Ronny Johansen, as well as Bergslagen’s Music Dramatic Chorus and The Swedish Chamber Orchestra, Örebro directed by Tobias Ringborg.Excerpt from ’Seen and Heard International’ Opera Review by Göran Forsling:”......Another novelty, and this is nothing less than a world premiere when it comes to opera production, is the introduction of 3D staging. This is a technique to make animations, film footage and pictures to ‘hang’ in the air on the stage and interact with artists as well as the sets. The technique was used by Mikael Fock for a theatre production in Copenhagen in 2007 and Sten Niclasson jumped at the idea of employing it for this Tosca. Sometimes there are swarms of pictures in the background to create atmosphere, but the technique is also used to show off stage activities, for instance when Tosca sings outside Scarpia’s window in act II. Instead of just shutting the window, which is the traditional procedure, Scarpia simply turns the picture off with a remote control. Another screen shows a big shark swimming among other fish and we understand the symbol of course. When Scarpia turns this off the screen becomes the fireplace and in this production Tosca doesn’t stab Scarpia, she pushes him into the fire where he burns to Hell. The torture of Cavaradossi is another scene that is horrifyingly illustrated through projections and also the final scene of the opera, where Tosca throws herself over the parapet of Castel San’Angelo and falls towards death: here projections on her body produce the effect of angel wings. Scarpia went to Hell, Tosca, his murderess, goes to Heaven. This is certainly a fascinating technique and it will be interesting to see how it can be further developed.(....).”Co-production with the company Opera På Skäret, Kopparberg, Sweden, August 2008.The photo shows Metropolitan soprano, Sandra López, as Floria.
The secretariat of Damascus Arab Capital of Culture 2008 approached VISION4 in December 2007 and commissioned us to design and execute the official inauguration of Damascus Arab Capital of Culture 2008. The inauguration took place Jan 19 at the Damascus Opera, Dar al-Assad for Culture and Arts. It was a highly ambitious production featuring ancient and modern Arabic texts traversing cultures and religions. The performance became a great success – and resulted in requests for further VISION4 productions in Syria and Egypt. VISION4 staged the Arabic culture in new ways using our state of the art 3D technology. In collaboration with the Syrian artistic director of the Damascus Opera, Nayla Atrash, we created six virtual travels through the ornamentation and calligraphy of the Arabic labyrinth. The audience was carried right into the core of the myth of the Garden of Eden – which is a cross-cultural myth uniting the East and the West.Concept and direction: Mikael Fock Video design: Arthur Steijn Animation and software programming: Jonas JongejanPhotographer: Kræsten KuskProduction management: Suzanne Skadhauge & Andreas SandbergProduction: Vision4
What would happen if a young man became pregnant – by a miracle?Would the Pope, the Mullahs and the biotech industry unite in peace around the child, like the three wise men?Or would they run amuck in a race to be the first to find and get hold of the child?With this challenging point of departure VISION3 has created a political and religious thriller as a comment to the extensive political and religious controversies of our time. The Miracle confronts three of the worlds dominant ideologies: the Christian-Catholic, the Muslim and the Western industrialized/technological.The visual expression is made as a strong 3D universe allowing the physical actors on stage to interact with highly convincing virtual images resulting in a narrative which traditionally is only possible in film.The manuscript is made by playwright Kasper Hoff based on idea by Mikael Fock.Opening at Kaleidoskop K2 September 7th 2007.We are planning an American version of the production at The 3 Legged Dog Theater and Media Center in New York with US actors.
In 2007 the art photographers Carlos and Jason Sanchez commissioned VISION4 to create 3D video design for their art installation ”Between Life and Death”.Excerpt from review by Val Lyle of A!Magazine for the Arts, April 4, 2007:”However, the half dozen that were great really knocked my socks off! There was a reason they had to be digital/video. That simple. They fell into two categories: flat screen and projection.For projection, there was a purpose for the projection. The best single piece of art in all of Art Basel Miami Beach was at Scope where a new media-holograph projection/installation titled ”Between Life and Death” by The Sanchez Brothers (Carlos and Jason), as a Special Project presented by Christopher Cutts Gallery of Toronto, Canada, wowed intimate audiences with a 3.5-minute loop tape that could change your life. A violently crashed passenger bus had a mini-theater built into the rear. Figures projected were eerily translucent with the wreckage of the inner bus showing through. I won't give the details away in case you ever get to see it, but you leave feeling pretty good about dying, if you can believe that!”
“True Love Is Yet to Come” is best described as a live music hologram or as meditations on loneliness, masculinity and popular songs. The production was made in November 2005 in collaboration with video artist Jesper Just and coproduced with Performa 05, New York.The work includes the young actor Johannes Lilleore, who is present in virtual form. The same goes for the Finnish male screaming choir. They are joined by the Danish actor Baard Owe.Making emotionally resonant use of the music of the Ink Spots, a high-speed plunge through a forest and the antique carousel from the Tivoli Gardens in Copenhagen, the 30-minute work is a dreamlike tale of spurned love. Set up at the intimate, beautifully proportioned stage at the Stephan Weiss Studio in Greenwich Village which together with the technological innovation rendered the production “a haunting expressiveness” (New York Times).“True Love is Yet to Come” was supported by the Danish Arts Council, Performa 05 and fashion designer Donna Karan.
VISION3 will send you to a new reality with the Third Tango. Created by Carl Quist Møller, Michael Fock and Rikke Juellund with music by Tango Orkestret, the performance merges theatre, dance, music and storytelling with live animations. You are carried on the wings of the wildest new 3D technology through the Argentina of tango far into the storyteller’s mind as if you are on a magnificent journey to the demons of dreams.The performers: Carl Quist Møller, Tango Orkestret, et al.Manuscript, staging and visual design: Carl Quist Møller, Mikael Fock & Rikke JuellundDen Tredje Tango - Svalegangen 2007
From Patriarch to PartnerThe task set by LO’s managementWe have a new set of values. It is described in a report, it has been agreed on an extraordinary general conference, but one thing describing the values, quite another is implementing the values.What do the new values really mean to us?VISION’4s solutionVISION4 created a total staging of Falkonercenteret under the theme “From Patriarch to Partner.” Interactive spaces of experience, clever exhibitions and the great multimedia show which in a witty and modern manner translated the new values of LO into a modern fable mixing fiction with performers from real life.PostludeThe day after the first regular conference day, 17 of 22 speakers took their outset in the performance.Fact SheetClient: LOTask: Staging of LO’s ordinary conference and production of a theatre performance Time: October 2003Venue: FalkonerscenenParticipants: 2200Performers: Jytte Abildstrøm, Henrik Lykkegård, Anne Grethe Bjarup Riis, Janni FaurschouMusicians: Arne Wurgler, Benny Holst, Jan Rørdam, Globetrotters, Daimi and 17 red ladies, De Græd, Kathrine Ring, Poul Erik ChristensenProduction crew: 55 peopleTechnical aids: Light, sound, video projectors, Watch Out, large screens with direct transmissionSuppliers: Falkonerscenen, KM animation, Comtech, DVC, Comics, Total Produktion, Birch Hansen Dekoration, Advice, Lynx
A visually overwhelming theatre adaptation of Hans Christian Andersen’s fairytale “The Tin Soldier” for the entire family. For the first time in Denmark, a performance using new projection technology where three-dimensional pictures and animations mingle with the performers on stage. With Waage Sandøe.Produced through the theatre organization Andersen Maskinen, now VISION3, in collaboration with HCA 2005.
VISION3 is a classical non profit theatre company producing theatre in a modern artistic visual form combining live theatre, dance, opera, music and storytelling with the latest 3D interactive projection design. VISION3 is continuously developing the 3D Eyeliner projection system and has made several productions renowned for their boundary pushing aestetics.In particular:‘The Steadfast Tin Soldier’ (based on fairy tale by HC Andersen) Odense, 2002‘The Third Tango’ (drama featuring storytelling and live tango music) Copenhagen 2005, Aarhus 2007‘The Miracle’ (Political/religious thriller) Copenhagen, 2007VISION3 parallels VISION4 which is our commercial entity holding the Eyeliner technology license as well as producing performances, conceptual work and visual staging for corporations and organizations.
From accountant to mountain climber in Deloitte Explorer.The task set by Deloitte:We have achieved new values that need to be implemented right to the very core of the organization.The organization cannot unfold its strategies by way of the values until the values are not merely empty words but make sense to every single employee.Vision4’s solution:We chose to write Deloitte into a mountain climber universe with their base in a base camp far up on the mountain.Here all the Deloittes met in order to draw a new map of their world.To Deloitte as well as to others, the world changes rapidly, the markets develop swiftly, and even now new, different and still unknown services and products are demanded. The known paths are downtrodden and worn out. New paths and solutions need to be discovered. Not only new competences are needed in order to meet these demands, but also talent. In cooperation with Deloitte’s management, we created a story, staged the organization and travelled together to the North, South, East and the West in order for every employee to draw their own map of their world.Also see the articles about the events in Deloitte’s Newsletter.Fact SheetClient: DeloitteTask: Stage a Deloitte day and produce a theatre performanceTime: August 2004Venue: Odense Congress CenterParticipants: 1800Performers: Deloitte’s managementMusicians: Gregers, ZididadaProduction crew: 45 peopleTechnical aids: Light, sound, video projectors, smoke and wind machines, cinema, large screen transmissionSuppliers: ETP, Totalproduktion, Production Company, Media-x services, Seelite, Scanprops, Colour Studio
Thrane & Thrane’s task for Vision4:We are the leading company on the market; things are going well. Now we have to file our annual report, but we also have to communicate a management reshuffle. Everybody will be there, employees as well as stock-exchange analysts. How do we tell the world that the founder and icon of the organization, Lars Thrane, is leaving the position as general manager but will continue as strategic and innovative force? And that that is an advantage?Vision4’s solution:We chose to make the employees witnesses by focusing on the organization’s values and strong history which Lars Thrane communicates on a daily basis.We translated this history and the company’s culture into a character and a universe: the anthropologist’s and the explorer’s curious universe.We unfolded the story about the hunt for the unique Thrane & Thrane tribe in an installation in the company’s courtyard. The anthropologist, an actor, used all his skills to gather information and tracks that could break the tribe’s code to success.In such a show, it is suddenly no longer enough with good numbers on the bottom line; the experience account also needs to be in order. The success of Thrane and Thrane’s is to a large extent about their remarkable ability to invent new instruments for drawing maps of the world.Fact SheetClient: Thrane & ThraneTask: Staging of a change of managerTime: June 2003Venue: Thrane & Thrane, LyngbyParticipants: 400 Performers: Lars Thrane (General manager), Henrik Lunte (General manager), Christian MosbækProduction crew: 15 peopleTechnical aids: Light, sound, video projectorsSuppliers: ETP, Totalproduktion
The oldest story told with the newest 3D technology.Pfizer’s task for Vision4:How can vi turn an ordinary medical conference into a great and unforgettable experience?Vision4’s solution:Taking the point of departure in “the natural story” about medical conferences and their predictability, we chose the most traditional starting point one could imagine. A classic 70’s surgery was the set design from whence a list of well-known speakers were to speak. But from the very beginning something went “wrong.” When the pathologist showed the CAT scan of Gravballemanden, this very bog corpse steps out of the scanner in 3D and appears 1:1 as a live 3D phantom among speakers and audience. During the rest of the conference, Gravballemanden stood as an anchor in the past with both virtual legs far into the future, guiding the entire conference with his appearance and his questions through the most ethical questions of medical science. An ordinary medical conference was now transformed into a visionary, modern story communicated through our new 3D projection technology.The conference was made in collaboration with “Welcome.”Fact SheetClient: PfizerTask: Staging of medical conferenceTime: October 2002Venue: Denmarks’ Radio, ÅrhusParticipants: 400Performers: speakers and doctorsMusicians: GregersTechnical aids: Light, sound, video projectors, overheads, 3D animations on eyelinerSuppliers: DR rovinsafdeling, Radarfilm, Musion, AV centeret
Equipment SpecsThe Eyeliner™ system incorporates some very simple video principles and all equipment used is readily available in all rental markets.The primary components of a Eyeliner™ set up are:A video projector, preferably with an HD card/minimum native resolution of 1280 x 1024 and brightness of min.5000 lumens. For smaller cabinet installations, a high quality TFT Plasma or LCD screen can also be used.A hard-disc player with HD graphics card, or for smaller installations, a DVD player.A Eyeliner™ FoilA front projection screen surface of equal size to the Eyeliner Foil (not necessary when TFT or LCD screens are usedOther items that are regularly used are:A short throw lensSubjects are filmed in HDTV and broadcast on to the foil through HDTV projection systems, driven by HD MPeg2 digital hard disk players, or uncompressed full HDTV video/Beta-Cam players.The set up is erected in either a bespoke cabinet or a self contained four legged ground support. Alternatively, the foil can be stretched into a truss framework and flown from its own hanging points.In either configuration, Eyeliner™ allows for a full working stage or set to be constructed behind the foil. In so doing live actors or performers, as well as virtual images are able to interact with other projected images in such a way that it appears to the watching audience that all of the objects they are seeing are on the stage.It is therefore quite conceivable to have a live performer sing a duet with a “virtual” partner, a cartoon character or even his/her projected double.All of the images used on an Eyeliner™ system are 3-dimensional images, but projected as two-dimensional images (2D/3D) into a 3D stage set. The mind of the audience creates the 3D illusion. This means that production costs are minimal, needing only single camera lens for filming and single projector for the playback – hence the phrase, GOGGLE FREE 3D.Advantages of the systemEyeliner™ makes a number of discrete improvements on existing Pepper’s Ghost technology.1) ScaleA typical piece of Eyeliner™ Foil is a maximum of 4.1 m high in a continuous roll up to several hundred metres in length.A thinner, 8m high foil can also be used for larger installations.In instances where even taller images are required sections of the 4m foil can be installed in a “portrait format” where each section is a maximum of 14m high by 4m wide, giving images approximately 11m high. Individual sections of foil are then overlapped and cut to fit leaving 1mm seams, which are barely visible from viewing distances over 7m.Any one of the above set-ups will allow a user of Eyeliner™ System to create the largest floating images ever seen in the world.2) Clarity of imageEyeliner™ foil is less than 100 microns thick yet retains its durable characteristics once installed. Because the foil is so thin there is no drop shadow created when objects are projected onto it, as there would be if a system was using glass or Perspex. Foil allows greater amounts of projected light through as well.In simple terms this means that the medium creates crisper, sharper and consequently more realistic representations of the object or person being projected on to the system than any other medium.3) Foil can be cutUnlike glass, Eyeliner™ Foil can be cut even when it has been fully installed. This means that doorways and holes for props to protrude through the foil can be easily rigged up.This opens up lots of creative avenues for stage designers and choreographers to explore when using the Eyeliner™ in conjunction with their other show plans.4) TransportationQuite apart from the obvious health and safety issues concerned there are more practical issues to think of such gaining access to some venues through small doorways and rigging/lifting issues once on site.There are no such limitations with Eyeliner™ Foil which is transported in 4m long pipes that can be easily carried by a couple of crew.5) SafetyImagine the horrendous practical issues that would have to be considered if you were transporting large sheets of glass from venue to venue.Eyeliner™ Foil cannot shatter and poses no danger to crew installing it or working along side it.Furthermore Eyeliner™ Foil can be installed into moving scenery without fear of it breaking as it is moved. This means that it is a very straightforward process to fly the system in and out of stages as required.Eyeliner™ Foil is certified fireproof to grade B1.6) Rigging timeIt is possible to rig foil (assuming that the truss box has already been rigged) in no more than a couple of hours.The rigging process is very straight-forward and Eyeliner™ installers can work alongside other technical crew.Once installed the process of tensioning the foil literally takes a few minutes of adjustment.Practical Considerations When Using Eyeliner™Like everything, there are certain factors that need to be considered when using Eyeliner. The list below, whilst not exhaustive, highlights some of the instances where using Eyeliner™ may not be practical.Environmental1) WindEvent works has undertaken numerous outdoor jobs already but there is always the chance that wind will blow onto the foil and affect the projected image. (If the wind is anything more than light, the foil may bow like a sail causing the projected image appears to ‘bounce’ up and down on stage).The only way to alleviate this problem is to build a wind-break around the installation. This has been done in two venues that were actually on the coast (one on the Arabian Sea and one on the Mediterranean). Both events were not affected by the wind.2) Strong daylightThis issue is pertinent in any situations where projectors are being used as a source of video. Despite manufacturers having made great strides in the last couple of years with the brightness of their projectors (at the time of writing Barco are about to launch a 27,000 lumen projector) there will never be anything available that will be able to compete with natural daylight.In circumstances of strong natural daylight the options are either to create a controlled light environment or use Eyeliner™ with LED walls although this will create a more pixelated image than using a LCD, DLP or TFT based projector.SpaceIt’s important to remember that you need to allow for an area in front of the stage where the white reflective screen is positioned in the projection pit. (Imagine a moat without water, if you will).You should allow a space of at least the height of the foil divided by a figure of 1.4142 (this is the perceived vertical height of the foil when set at a 45°). The width of the projection pit area should match the width of the proposed foil.As an example, a 4m high foil that is 10m wide would require a 2.82m by 10m space for the projection pit.Stage DepthIn addition to leaving space for the projection pit one needs to leave an area behind the foil in order to add depth to the illusion. A minimum depth of 3m should be allowed.In practice this means that the footprint of a Eyeliner™ installation will be at least 7-10m deep.This can have implications, particularly in a retail application.Key Eyeliner™ Applications:The most compelling images appearing on Eyeliner™ include real-time projection of celebrity characters, 3D animations and large-scale CGI or HD renderings of components such as mobile phones, vehicles and consumer products.Entertainment:Hotel FoyersTheatrical showsMuseum showMusic ConcertsNight clubs/ravesArt Galleries/displayCommercial:Advertising/RetailProduct LaunchesTrade show displaysFashion ShowsVirtual VIPsEducation:ConferencesTraining ForumsContent Development
Through VISION4’s partnership with The 3-Legged Dog Media and Theater Group (3LD) an Eyeliner Technology Showroom has been established in New York. Since 2006 VISION4 has structured an artistic and technological partnership with the 3LD which is a non-profit theater and media group sharing VISION4’s focus on large scale experimental artwork.3LD are working out of a 1200 square meter state of the art, art & technology center two blocks below Ground Zero in Manhattan.
MIKAEL WILHJELM FOCK is concept developer, script writer and producer. He works in film, TV and theatre, with big national events and with value based staging for the business community. Mikael Fock is also a frequent lecturer, teacher and consultant in the business community.Big national productions:Script for and production of the official opening of the Storebælt Bridge. A/S Storebælt, Arte, TV2 & DR (idea, script and direction).Script for and production of the opening of the terminal in Copenhagen Airport. A/S Øresund, Arte & DR (idea and direction).Script and production of the opening of the Øresund Bridge 2000. Idea, script and direction.The bridge opening included:6 hours of live transmission with pre-produced:Music video. “Svantes sidste sang.”Documentary and historic montageTheatre and dance performance at Lernacken, ”The show of a bridge” with 100 people symphonic orchestra, 60 dancers and actors as well as film and large screen production.Productions for the business community and organizations:LO conference opening performance 2000: “Welfare editors on overtime”PriceWaterhouseCoopers. Value based production and dramatization of partners’ conference.Conference for Pfizer: Dramatization and production of medical conference for Pfizer. Dramatic use of 3D and virtual reality in order to create coherence in an academic conference. SAS management workshop. Value based storytelling.LO conference opening 2004. Staging of LO’s new set of values by way of exhibitions, graphic design and theatre performance in Falkonercenteret, Copenhagen.DesignSport. Idea, developed and staged for Denmark’s School of Design 2003 with special focus on challenging seven large companies on their values.“Kunstsport / Artsport”. 300 artists from Copenhagen and Århus fight on stories and values for 24 hours. Later also carried out between Århus and Leningrad.WOCO. Idea development and workshop about ”The meeting in the future”. Øksnehallen, Copenhagen.Thrane & Thrane: Value based staging of the company in preparation for change in management at the time of the annual financial report.AstraZeneca: Staging of the entire company and workshop for all employees in preparation for the implementation of new business goals.TDC total take off 04: Total staging of TDC Totalløsning. 7000 employees in Odense Airport.Deloitte: Staging of Deloitte – management as well as employeesin connection to the implementation of a new set of values in the company. (See the website)Algabello: ”HC & HC.” Performance for 200 allergy researchers where hans Christian Andersen and HC Ørsted discuss the mutual inspiration between science and art.Theatre productions 4 productions for Solvognen2 musicals for Bellevue TheatreÅrhus Theatre, Det Ny Teater, Rialto, Det Danske Teater,“The Master and Margarita” in own adaptation and production in Ridehuset in Århus and Kanonhallen in Copenhagen.3 theatre productions for Riddersalen. Among others, “Skærmydsler” which received the critics’ award “teaterpokalen” for the best show in 2003.60th anniversary of DR RadioUnderholdningsOrkestret.Odense Teaterhus. 3D virtual theatre: “The Steadfast Tin Soldier” for Andersen Maskinen.Cirkusbygningen: “Journey to Now”, a philosophical show about the great questions in life.Regional performances for Jellinge and Frederikssund.2 radio montages for Denmark’s Radio:Film & TV: (development and direction)“I Fremmed Havn” Film. Columbus film. Delta Bio.DR TV drama productions:“Albatros” - “Møde i Natten” - “Ved Havet” - “Alibiet” TV crime story - “Ingen Dans på Roser” - “Det Nye Job” - “Afpresningen” - “Skyggen i Tind”.TV- satire on DR - TV: “SATIRICA” and 24 x “TV-ANSJOSEN” .8x “Kys Øen” DR TV-UHA Saturday entertainment (idea and direction)Mikael Fock was born in 1954. He has the basic degree in the humanities from Roskilde University Center (RUC).Educated at Filmskolen in direction, editing, dramaturgy etc.Has studied communication at RUC and Theatre Science at Copenhagen University.Has been on three expeditions to South American Indian tribes and has hitchhiked through West Africa for a year.Mikael Fock is on the board for Danish Stage directors, on the board for the theatre Fabula and is a part of LO’s culture committee.In 2002, Mikael Fock founded the 3D theatre VISION3 and the production company VISION4 with Rikke Juellund and Peter Løgstrup.
Educated from the Danish National School of Theatre in 1995. Studied two years at the Danish School of Design, graphics major, and one semester at art academy in New York.Designed set and costumes for:The Royal Danish Theatre, The Royal Danish Ballet, The Swedish Royal Dramatic Theatre, Göteborg Opera, Göteborg Stadsteater, Malmö Dramatic Theatre, Malmø Opera and Music Theatre, Norrlandsoperan, The opening performance of Performa 05 in New York, Betty Nansen Theatre, Århus Theatre, Grønnegårdsteatret, Caféteatret, The Danish Theatre, Bellevue Teatret, Teatret Mungo Park, Theatre Kaleidoskop, Theatre Grob, Folketeateret, Bådteatret, Teateret Zeppelin, Det Lille Turnéteater, Bornholmerrevyen, Theatre Sorte Hest, Arte Event, Bech Film, Angel Productions, FBI, Anders Matthesen Productions, Kreutzmann Dance, Micado Danseteater, Nyt Dansk Danseteater, The Danish National Theatre School and the National Theatre School in Stockholm.Connected to the Set Design education at the National School of Theatre, as teacher and professional reference.Interior design for the Royal Danish Ballet Boarding School, Dronning Margrethe Kollegiet in cooperation with Peter Lassen, Montana Furniture.On the board for: Theatre journal Teater 1 and the National Childrens Theatre Corona-LaBalance.Art director on short feature films.Received several scholarship from the Danish National Art foundation. Exhibited at Charlottenborg's fall exhibition in 2003.Former member of The Reimbursement Committee under the Ministry of Culture_and former part of The Committee for Theatre and Dance in the Nordic countries. Former board member of Theatre Plan B.Lived one year in Bolivia, two years in New York.In 2002, Rikke Juellund founded the 3D theatre VISION3 and the production company VISION4 with Peter Løgstrup and Mikael Fock.
Suzanne Skadhauge, partner since 2007, is responsible for the business development, fundraising and project management of the VISION4 Art & Technology Theatre.Since her joining the group in 2004 VISION4 has consolidated its position as an innovative force in the international theatre and performance world. Suzanne has been a driving force in the collaboration with international partners who share VISION4’s passion for artistic and technological development.Suzanne lived in Belgium 1984-86 while studying European and International Law at the European College, Bruges. She also completed a 5 months traineeship at the EC Commission, Legal Service/Free Movement of Goods’ Department preparing lawsuits against member countries breaching the Free Movement of Goods’ Directive. The traineeship led to an Expert Contract with EC Commission GD 11.In preparation for The Directive on Unfair Marketing Practices GD 11 engaged Suzanne to make a comparative study of marketing law and -practices of the then EC member countries.Finally, Suzanne was legal intern (12 months) at the Brussels based UK law firm, Stanbrook & Hooper, specialized in European and International law.Upon her return to Denmark Suzanne joined The Danish Financial Supervisory Authority where she worked for three years with regulation and supervision of banks and other financial institutions. The Authority is an agency under the Ministry of Economics and Business Affairs, but is overseen by independent Councils.Prior to her current position, Suzanne served for a number of years as assistant to the Executive Board of Unibank A/S, now Nordea A/S. She oversaw strategic projects and was responsible for management information vis á vis the international units of the bank. She lived in Hong Kong while handling the bank's acquisition of a Hong Kong bank and subsidiary.Suzanne earned a Master Degree in Law at the Copenhagen University, Denmark. In the 1990’ies Suzanne spent part of her sparetime as assistant teacher and musician at the Ballet School of Søstrene Johnsen in Skovshoved, DK.Since the late 1980’es Suzanne has been a dedicated volunteer helping refugees and single mothers achieve a stable life.
Born in 1964.TheaterproducerIn the beginning of the 90's a participant in the start-up of Kanonhallen which created a rallying point for the most experimental theatre in Denmark. After 7 years in Kanonhallen, he worked as a freelance production manager at various theatres and events in Denmark, e.g. Dansescenen, Kaleidoskop, Københavns Internationale Teater, Øresund Bridge opening, OperaNord2, Grønnegårdsteatret, Hotel Pro Forma and Dr. Dante. From 1997 - 2004 Løgstrup has been employed as teacher at the National School of Theatre. The teaching dealt with idea generation, project management, communication and conflict resolution. Løgstrup has since 2004 been employed as producer at the Danish Royal Theatre.In 2002, Peter Løgstrup founded the 3D theatre VISION3 and the production company VISION4 with Rikke Juellund and Mikael Fock. Løgstrup has a degree in innovation from Niels Brock Business College, a degree in conflict resolution from the Danish Center for Conflict Resolution and has furthermore participated in a series of theatrical courses as well as travelled and lived in Asia for 1½ years.
TOSCA, SWEDEN 2008:(Co-production with Opera på Skäret)MusicWeb International Worldwide Concert and Opera Reviews:“”....Another novelty, and this is nothing less than a world premiere when it comes to opera production, is the introduction of 3D staging. This is a technique to make animations, film footage and pictures to ‘hang’ in the air on the stage and interact with artists as well as the sets (…) This is certainly a fascinating technique and it will be interesting to see how it can be further developed.”
Information, Anne Middelboe Christensen, September 11th 2007:“The miracle has happened. Because the theatre season has been inaugurated by playwright Kasper Hoff's 'The Miracle' in a brilliant Mikael Fock fusion of actors and video... a roaring opening of the season...”
New York Times, Steven McElroy, April 2nd 2007:“…..With Eyeliner, the unwieldy glass pane is replaced with a lighter, nearly invisible screen invented by Uwe Maass, the managing director of Event Works, a company in Dubai. Another company, Vision4, from Denmark, holds the licensing rights for New York. (…..)…..We believe that new ground will be found in the symbiosis between art and technology,” Mikael Fock, the director of Vision4, wrote in an e-mail message. “That is why we are enthusiastic to collaborate with the 3-Legged Dog, who share the very same aspirations.” Vision4 will even bring two productions of their own to the 3LD space next year in what is intended to be a continuing partnership between the two companies……Only now are the possibilities for live theater beginning to be explored.”Live Design magazine, Jake Pinholster, May 3, 2007:There’s been some attention in the New York theatre news recently about Eyeliner, a 3D projection system being utilized in 3 Legged Dog’s (3LD) production of Losing Something. Live Design covered its application at the Grammys to allow Madonna to perform alongside the Gorillaz, (LD, April 2006). Eyeliner also has a brief video/write up of Madonna's performance online. Several weeks ago, I had the opportunity to take a walk-through of the system with 3LD’s director Kevin Cunningham and Mikael Fock from Vision.4, the Danish firm that holds the rights to implementation of the system.The system doesn’t suffer upon closer examination. The effects are consistent across perspectives, and the perception of depth is amazing. During my visit, Fock talked of multiple system applications creating the possibilities of near-infinite depth.Needless to say, as a designer I am absolutely ecstatic about this technologically sophisticated version of an old Victorian magic trick. What an elegant method of solving the old problem of how to create a virtual reality-type experience without the limiting and alienating use of goggles. A stretched mirror-like film has opened up new horizons in the projection designer’s art.The system isn’t without its limitations: the geometry of projector, film, and observer must be carefully planned, and the image suffers slightly from the imperfections of the projectors currently available (in terms of contrast ratio and video black). The use of high-end, high-resolution LED displays might lessen some of those effects. But with experimentation and further elegant applications of fairly simple concepts, I’m sure Vision.4 and the Eyeliner system will bring a new magic to the stage experience.
Between Life and Death:“….To properly achieve our desired effect we have worked closely with Vision4, a production company from Denmark who work specifically with this type of 3-Dimensional video projection. This is the first time in the world that this process has been used in this kind of non-traditional setting.”
Jyllands Posten, Henrik Lyding, March 4th 2005:”…..It is delightful when the man is doubled, when objects rush around us, and the dress dances a tango on its own, or when the man hovers in the empty space.”
New York Times, Roberta Smith, November 4th 2005“To see and hear it on its intimate, beautifully proportioned stage at the Stephan Weiss Studio in Greenwich Village is to experience technological innovation at the service of a haunting expressiveness.”
