Title | CEBIT 2017 OPENING CEREMONY | JAPAN SHOW ACT |
Brand | JAPANESE GOVERNMENT |
Product / Service | CEBIT 2017 |
Category | D03. Live Events |
Entrant | DENTSU INC. Tokyo, JAPAN |
Idea Creation | DENTSU INC. Tokyo, JAPAN |
Production | DENTSU TEC Tokyo, JAPAN |
Production 2 | RHIZOMATIKS Tokyo, JAPAN |
Production 3 | DENTSU CREATIVE X INC. Tokyo, JAPAN |
Name | Company | Position |
---|---|---|
Mirai Moriyama | Freelance | Perfomer |
NON, Saya Shinohara, Erisa Wakisaka, Kaori Yasukawa | ELEVENPLAY | Perfomer |
MIKIKO | ELEVENPLAY | Live Action Director, Choreographer |
Kaoru Sugano | DENTSU INC. (Dentsu Lab Tokyo) | Creative Director |
Sotaro Yasumochi | DENTSU INC. (Dentsu Lab Tokyo) | Copy Writer, Planner |
Nadya Kirillova | DENTSU INC. (Dentsu Lab Tokyo) | Concept Supervisor |
Hikaru Ikeuchi, Kohei Ai | DENTSU INC.DENTSU INC. (Dentsu Lab Tokyo), DENTSU TEC INC.DENTSU INC. (Dentsu Lab Tokyo) | Chief Creative Producer |
Sakiko Yasue, Tomoka Sugai, Jun Kato | ELEVENPLAY, DENTSU INC., DENTSU INC. (Dentsu Lab Tokyo) | Creative Producer |
Masafumi Fujioka | Dentsu Creative X | Producer |
Ryotaro Omori, Wataru Kitamoto, Maho Takada | Dentsu Creative X, DENTSU TEC INC. | Production Manager |
Daito Manabe | Rhizomatiks Research | Chief Technical Director, Programmer, Sound Designer, Record Producer (Performance Parts) |
Motoi Ishibashi | Rhizomatiks Research | Chief Technical Director, Hardware Engineer |
Yuya Hanai, Satoshi Horii, You Tanaka | Rhizomatiks Research | Director, Visual Programmer |
Tomoaki Yanagisawa | Rhizomatiks Research | Interaction Designer, Hardware Engineer |
Yuta Asai | Rhizomatiks Research | Circuit Designer, Device Developer |
Toshitaka Mochizuki, Saki Ishikawa | Rhizomatiks Research | Hardware Designer, Hardware Engineer |
Muryo Homma | Rhizomatiks Research | Videographer, Technical Support |
Shintaro Kamijyo | Rhizomatiks Research | Stage Manager, Technical Support |
Momoko Nishimoto | Rhizomatiks Research | Technical Support |
Hidenori Chiba | Rhizomatiks Research | Technical Producer |
ALVA NOTO “Carsten Nicolai aka Alva Noto”, Keigo Oyamada (Cornelius), evala, SEI | Freelance | Music |
Hiromichi Ochiai, Toshihiko Sakurai | FACETASM, Freelance | Costume Design (Mirai Moriyama) |
Yaepon | Freelance | Costume Design (ELEVENPLAY) |
Yo Takano | Freelance | Stage Director |
Yasuhiro Yamaguchi | Tech Nuts | System Director |
Koichiro Tsujikawa | GLASSLOFT inc. | Movie Director |
Yuri Uenishi | DENTSU inc. | Art Director |
Yuri Yoshida | DENTSU inc. | Designer |
Yoshifumi Sadahara | MARK inc. | CG Producer (Opening Movie) |
Munechika Inudo | MARK inc. | CG Director (Opening Movie) |
The 90-second opening movie symbolically portrayed a vision of a future where humanity and technology co-exist in the form of an encounter between a lone man and an imaginary interface. In the live performance, running approximately eight-and-a-half minutes, the physical expression of the performers was combined with productions created with assorted techniques and devices. The show visualized an intimate symbiosis between technology and humans.
1. Direct Conversion of Human Will into Light & Sound; Performers wore independently developed myoelectric sensors on each arm to convert their minute muscle movements into light and sound that was choreographed in real time. 2. Costume Complete Control over Light; Costumes came with flexible organic EL panels. The panels emitted light according to values produced by the myoelectric sensors & the motion capture system. 3 Visualized Human Breathing; Costumes made with wearable body sensors coated with resin via a special processing technique measured biological information in real time during the performance. Portraying the collected data as computer-generated graphics in the video by means of wireless transmission expressed the link between human breathing and technology. 4. Intermingling the Real with the Virtual; Infrared markers attached to objects, performers & small props allowed the motion capture system installed above to measure position & posture to create real-time AR and MR.
Around 2,000 political and business leaders gathered in the venue, including German Chancellor Angela Merkel and Japanese Prime Minister Shinzo Abe, applauded the unique, fantastical performance. All on its own, regardless of what happened at the BtoB tech expo, the performance presented Japan's vision to a wide range of people: the YouTube video of the performance garnered views from over 78,000 people, and it was even picked up by the media and featured on a TV program.
Interestingly, during this opportunity to gain notice as a partner country in one of the world's largest technology expos, performing arts was the means for communicating a vision of the future of technology as imagined by Japan. The performance touted Japan's unique vision of harmony and co-existence between humanity and technology to the global political and business leaders gathered that day at the venue, as well as to those who watched the performance via a live feed.