© Yiyun Kang    since 2008

MAKING the MOVING IMAGE 

I attempted to create a digital work to be projected
ontothisfulldome space, enveloping the observer with a poetic narrative in which images of surface, volume, depth and bodies emerged. 
As a result, my work consisted of two distinctive, yet inter-related, types of moving images: computer-generated animations and real footage of the bodies of contemporary dance performers. 

Digital simulation process © Yiyun Kang

For the digital animation, I used software such as Maya and After Effects. I decided not to import any real footage, but use computer-generated images alone to create an entirely surreal experience, as if the viewers were immersed in a different dimension.  In making moving images, not only my concept but also the scale of the dome (20 metres in diameter and 13 metres in height) was critically important as it provided a completely different viewing experience. The dome was not only a surface for my projection but also a space that had depth and refraction. 
This was the biggest challenge for me because I was unable to fully estimate the distortion of the animation when it was projected onto the massive space. Therefore, I conducted many simulation and calculation procedures in an attempt to achieve my intended result. Thus, throughout the entire development process, the concept, narrative and design aspects of the moving images were inseparable from the environment into which they would be projected. 

Fulldome projection setup / calibration process with Maya software © Yiyun Kang

Animation making process with Maya software © Yiyun Kang

Timelapse video of making Max Mara Coast! Exhibition

HUMAN BODY + CHOREOGRAPHY

 

As noted, “Deep Surface” grew from the initial inspiration of Max Mara’s coat, the space between the fabric and body, surface and volume as well as the depth that connects the two elements. To express this concept, the human performance was a central part of the moving image. For this, I collaborated with Chang Ho Shin, a contemporary dance choreographer, and dancers from the Korea National University of Arts’ Contemporary Dance Department. 
In addition to the performative aspect, the shooting and staging were critical to accomplishing the project because the moving images needed to be projected onto the large-
scalefulldome space, not onto a rectangular-framed flat screen. Thus, all conditions for filming, such as the number of dancers, scale, stage and lighting needed to be carefully arranged so as to eventually convert the footage for fulldome projection. Consequently, Tae Yang Lee, a stage designer, and Hanhee Cho, a camera/light designer, joined the development process. 

Stage setup and Shooting process © Yiyun Kang

Slide Show, Click to enlarge the images

The dancers performed behind a translucent fabric with backlighting, so their movements were seen through the fabric as shadows. According to the space and distance between their bodies and the surface, the images would become blurry or clear, subtle or powerful. The resulting images were very concrete at some points, and then became very abstract, disappearing into the void. 

Behind the scene | Photo by YoungSang Chun

courtesy of Harper's Bazaar Korea

Behind the scene | Photo by YoungSang Chun

courtesy of Harper's Bazaar Korea

Slide Show, Click to enlarge the images

Deep Surface Performance Credit 

Choreography     Chang Ho Shin
Stage design         Taeyang Lee
Camera/Light      Hanhee Cho

Performers
Hyung Gyu Choi/ Min Seon Choi/ Heewon Jeon/ Hyukjun Jeoung/ Ui Heon Jeoung/ Kwan Young Jo/ Do Hun Kim/ Junseok Lee/ Ye Chan Lee/ Yun Ju Lee/ Jeong Un Na/ Seol Yoon Park/So Eon Park 

Staff
Stage design         Tae-hee Lee / Seung-hwan Kim 
Camera/Light      Yeonsoo Kim/ Youngduk Kim 

Still images from the Deep Surface animation © Yiyun Kang