Szymon: I’m not sure if you want to hear this, but we’re seeing a return to analog scenography, with LED screens potentially integrated within it. All the augmented reality and virtual reality stuff? I think that’s becoming a thing of the past.
Gwidon: Yes, actually, you’re right. That’s a challenging question for us!
Jakub: It’s not bad, though, because I think content is becoming much more interactive with the whole scene and scenery. That’s the direction I believe everything is heading. Internationally, you see many shows using tracking of kinetic trusses and similar elements, which are integrated with LED screens and their content. I think that’s a really cool direction.
Gwidon: Yes, that’s a really cool way. But I guess those are actually the two main popular directions things are going in.
Jakub: I think they can be merged together.
Szymon: Perhaps we should distinguish between the Polish market and the world market. On the Polish market, we’re finding that big LED screens are becoming boring, and people are tired of them. Meanwhile, globally, you have massive screens, like for Adele’s concerts in Munich last year. But in Poland, we’re increasingly using physical sets, with less content and fewer LED screens. I think we’re getting back to a balance, because for the last few years, it was unbalanced, with too many LED screens.
Gwidon: Yes, every concert was about the visuals and the big LED screens in the back. But in Poland, there’s often no money for developing technologies to do things like in the international market, as Jakub mentioned—reactive content with kinetics and similar elements. There are no budgets for that, even on big tours or festival tours.
Jakub: I think time is what’s missing.
Gwidon: Time and budget, I guess. It’s super time-consuming.
Szymon: We’re ready to implement tracking in our shows, but there hasn’t been an event with the budget and time to actually use LightAct for tracking.
Jakub: So, that’s the issue we’re facing right now. If we have a show with some kind of budget that allows us to use creative stuff like kinetics, we often don’t have the time to actually integrate it with generative content that can use data from any system. That’s the issue. For Męskie Granie, for instance, we get final tracks a week before the festival starts, and we need to produce all the content and program video and lighting in that week. It’s a nightmare.
Gwidon: Yes, it’s really hard stuff to do. So, it’s about the money, about the time.
That’s the Polish market. Welcome.
