Theatre Design & Technology - Winter 2005 - 48

THE EDITABLE DATA STREAM
At some point in the creation process all design can be embodied as some form of digital media. All digital media
by its very nature exists as an editable data stream (EDS). It is increasingly common to find that one form of EDS
has an editing interface similar to other forms of EDS. Thus, experience in one EDS editor can often transpose
directly to other EDS editors. Even more interesting is the observation that this effect becomes cumulative. As
designers gain experience their learning curve can actually decrease to the point of insignificance. The more software
that is taken into a designer's arsenal the easier it becomes to absorb new software. Some EDS editors even allow for the
parallel processing of multiple layers of both similar and dissimilar data streams. Such layering of EDS can result in a
product with greater artistic depth while the designer retains complete control over all design processing functions.
An interesting side effect of this situation is the tendency to blur the boundaries between different forms of EDS,
and thus between the traditional design disciplines. For example, editing digital sound is similar to editing digital video.
Some aspects of manipulating digital video are similar to the processing of still digital images. Working with digital stills
can provide insights into digital rendering and visualization of traditionally non-digital designs. Working with these two
dimensional images offers a foundation for the processing and rendering of digital three-dimensional models. Once
working with digital models the use of multiple view points is a logical next step. Moving from view point to view point is
the next reasonable progression and a subsequent inclination is to create an animation that progresses through all the
view points employed within the model. Now one has a basis with which to approach editing digital video because there
are similar tools for manipulating still images and moving images within the digital video editor. Thus one now has a
handle on processing video images. Coming full circle, the designer may now find many similarities between digital
video editing and the processes used with digital audio.
This awareness leads to the first axiom of combined media theory.

It is advantageous to combine different media forms and layers of
media processing in design for live performance.

media t ypes and digital editing tools
Software for Combined Media
Development:
Adobe Systems, Inc.
* After Affects-motion graphics and visual effects for film,
video, DVD, and the Web
* Photoshop-two dimensional image creation and
processing
AutoDesk, Inc.
* AutoCAD-a powerful tool for two dimensional drafting
and three dimensional modeling
* 3ds max-3D modeling tool for coloring, shading,
texturing, and rendering CAD files
* Viz-3D modeling, rendering, and presentation software

Microsoft Corp.
* PowerPoint-intended for business presentations, but can be
used as a simple and widely available show control application
* FrontPage-Web site design, authoring, data, and
publishing tools
Sony (applications formerly published by Sonic
Foundry)
* Sound Forge-a mono or stereo audio editor (destructive
editing)
* Acid Pro-music creation tool (non-destructive editing)
* Acid audio loops collections
* Vegas-multi-track video and audio editor (non-destructive
editing)
* Vegas Vision Series digital video loops

Cakewalk, Inc.
* Sonar-composition tool with ability to program MIDI
sequences, record and manipulate digital audio, and
employ looping technology
* Cakewalk audio loops collections
Digital Juice, Inc.
Jumpbacks digital video loops

* DVD Architect-DVD authoring (part of Vegas Production
Suite)
Stage Research, Inc.
* SFX-the lynch-pin of Kent State's work in Combined
Media, this single piece of affordable and intuitive software
brings a wide range of digital media together in the context
of live performance
TD & T

W I N T E R

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2005