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<channel>
	<title>Jack Phelan - Video Designer &#38; Filmmaker</title>
	<link>https://jackphelan.xyz</link>
	<description>Jack Phelan - Video Designer &#38; Filmmaker</description>
	<pubDate>Tue, 06 Jan 2026 13:02:15 +0000</pubDate>
	<generator>https://jackphelan.xyz</generator>
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	<item>
		<title>Main</title>
				
		<link>https://jackphelan.xyz/Main</link>

		<pubDate>Wed, 11 Oct 2017 16:28:06 +0000</pubDate>

		<dc:creator>Jack Phelan - Video Designer &#38; Filmmaker</dc:creator>

		<guid isPermaLink="true">https://jackphelan.xyz/Main</guid>

		<description>

JACK PHELAN



FilmmakerVideo Artist

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;



</description>
		
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	<item>
		<title>Six Sides Sawn</title>
				
		<link>https://jackphelan.xyz/Six-Sides-Sawn</link>

		<pubDate>Tue, 06 Jan 2026 13:02:15 +0000</pubDate>

		<dc:creator>Jack Phelan - Video Designer &#38; Filmmaker</dc:creator>

		<guid isPermaLink="true">https://jackphelan.xyz/Six-Sides-Sawn</guid>

		<description>
	kilkenny Arts Festival
2024

Six Sides Sawn&#38;nbsp;
ANIMATION
PROJECTION MAPPING


Having had a blast making Light Up The Castle for Kilkenny Arts Festival in 2023, I was absolutely thrilled when Olga and Marjie asked if I’d like to come back to work on 2024’s edition. This is the definition of a no-brainer.Some time after the 2023 festival, I had an idea that involved making it appear that Kilkenny Castle is being re-built using a jigsaw. That’s what I ended up doing, plus two other full sequences.The Irish Times wrote a lovely preview of it in The Ticket


&#60;img width="3407" height="2102" width_o="3407" height_o="2102" data-src="https://freight.cargo.site/t/original/i/605a772ea782ebabb92ff4fabcc0aeba8a00ec4874b29c5f4bcb438287c8035c/SSS-Ticket-double.jpg" data-mid="242504263" border="0"  src="https://freight.cargo.site/w/1000/i/605a772ea782ebabb92ff4fabcc0aeba8a00ec4874b29c5f4bcb438287c8035c/SSS-Ticket-double.jpg" /&#62;
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Here is a low quality (my fault) recording of one of the performances. A low quality live recording is still better than sharing the original material, because at least it gives a sense of scale - Kilkenny Castle’s Rose garden facade is over 50m wide, so definitely the largest image I’ve projected to date. Also, camera’s are still not as good as our eyeballs at capturing something like this, but anyway, herewith


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Making It
The idea was to ‘rebuild’ the Kilkenny Castle out of jigsaw pieces, and then animate those pieces to tell a grand story using medieval illustrations. To do this, we needed to make the jigsaw using a carefully calibrated and tone graded image, that lined up perfectly with the physical castle when projected.An additional challenge was to make the jigsaw pieces fit tightly enough to minimise gaps, but not so tight as for it to be difficult to assemble on camera.
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&#38;nbsp;
This took quite a bit of experimenting and testing. First challenge was that the size I settled on required printing the image in three sections - getting these three images to print with near-identical tone was surprisingly difficult. Next was adhering the image to the 4mm board so that it absolutely wouldn’t peel during multiple assembly attempts. Protecting the print from the laser cutter was also big challenge - we ended up using a combination of a matte glaze and multipass cutting with a lower power laser setting.
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/dbc9e3d38ad115361d811fd441a4af9a04f7acd65a011ac8195222bc86e39a28/sss_laser_cut_jigsaw_02.jpg" data-mid="242504261" border="0"  src="https://freight.cargo.site/w/1000/i/dbc9e3d38ad115361d811fd441a4af9a04f7acd65a011ac8195222bc86e39a28/sss_laser_cut_jigsaw_02.jpg" /&#62;Above: mismatched prints, eventually fixed. You can see how tightly fitting the pieces are.
Animating the jigsawThe initial assembly of the jigsaw you see in the video, is done almost entirely with my hands. Erin helps to place a couple of pieces in my hands in a couple of places. To make this work, I carefully mapped out an assembly sequence, so that later, I could composite shots in such a way that it seemed like lots was happening in parallel. This meant that all the moves needed to be carefully planned to not intersect. This turned out to be a huge editing compositing task that required lots of subtle retiming and garbage matting to make it all work. In a few places there are ugly jigsaw wobbles if you don’t look at the hands - but it’s not bad!
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&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/8b501e23a492139e83b8a8edafc0d30786077e53b0376155d753af14c8e839c8/sss_hands.jpg" data-mid="242504257" border="0"  src="https://freight.cargo.site/w/1000/i/8b501e23a492139e83b8a8edafc0d30786077e53b0376155d753af14c8e839c8/sss_hands.jpg" /&#62;The bling of my court jester slash medieval magician type character.

As is often the case with these weird projects, I needed to come up with some creative technical solutions for how to actually film the thing. To avoid having a printed template under the jigsaw (as a reference for me to line up the pieces) I instead made a transparent guide image with numbered pieces, and used Dragonframe stop motion software to overlay that on the live image from the camera. This way, I could watch a monitor and place pieces in exactly the right place. Each physical piece had a number written on the back, so I just needed to follow the script. It took a lot of practice and many takes!Screen-printing and Black 2.0
“Why, pray tell” I hear you cry, did you need screen-printing in all this? It turned out to be the ideal way to create A1-sized template of the castle outline, which I had also used for 2023’s project. Screen-printing through an extra-fine screen let me print black on matte black - so the printed lines didn’t show up in the footage, and green-on-green so both background and guidelines keyed out. Finally, for the jigsaw, the matte black card stock I was using for the background wasn’t black enough - and was reflecting some light from my lighting setup. Black 2.0 to the rescue - check out the image below - Black 2.0 (centre rectangular area) with the unpainted ‘black’ card stock visible in the perimeter.&#38;nbsp;

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	<item>
		<title>July</title>
				
		<link>https://jackphelan.xyz/July</link>

		<pubDate>Tue, 04 Feb 2025 19:51:59 +0000</pubDate>

		<dc:creator>Jack Phelan - Video Designer &#38; Filmmaker</dc:creator>

		<guid isPermaLink="true">https://jackphelan.xyz/July</guid>

		<description>
	Donnacha Dennehy
July Music Video


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I’ve been dying to properly share this music video I made for Donnacha Dennehy’s divine piece of music, July. This all came together so smoothly and easily - shot in 1 day, and serendipitously - I bumped into the one and only&#38;nbsp;Camille O’Sullivan at the opening of SAFE HOUSE and asked if she’d be interested. She said yes. She’s the best.&#38;nbsp;A few weeks previously, I’d met the new owners of Coolattin house and they kindly gave permission to shoot in the house. 
I went to the Abbey Theatre costume stores and hired a single dress - which fit Camille and the house perfectly. 
Post-production took a week or so. Match-moved in Syntheyes, organic growth all done in Blender, compositing in Resolve and Fusion. Shot on Blackmagic 6k, with an Instagram 360 as piggy-back ‘witness-cam’, all on a DJI RS2 Pro.
Please check out Donnacha’s full album - Land of Winter - that July is from, and also, Hugh O’Connor’s stunning video for another track, November.

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&#38;nbsp;
Creative TeamJuly composed by Donnacha Dennehy
Performer - Camille O’SullivanDirector - Jack Phelan&#38;nbsp;

Drone operator -&#38;nbsp;Edwin at Airdancer
Art direction - Erin Hermosa
Movement consultant - Emma Martin
Costume, A cam, edit, 3D modeling, post-production - me
</description>
		
	</item>
		
		
	<item>
		<title>SAFE HOUSE</title>
				
		<link>https://jackphelan.xyz/SAFE-HOUSE</link>

		<pubDate>Mon, 03 Feb 2025 19:38:11 +0000</pubDate>

		<dc:creator>Jack Phelan - Video Designer &#38; Filmmaker</dc:creator>

		<guid isPermaLink="true">https://jackphelan.xyz/SAFE-HOUSE</guid>

		<description>
	Abbey Theatre
SAFE HOUSE by Enda Walsh



︎We’re bringing SAFE HOUSE to NYC. 15th of February to &#38;nbsp;2nd of March 2025 at St. Anne’s Warehouse.&#38;nbsp;︎
★★★★★ The GuardianSafe House, a new collaboration between writer-director Enda Walsh and composer Anna Mullarkey, is a dazzling achievement. In the form of a song cycle, with one live performer on stage, the experience is one of sensory envelopment through film imagery, orchestral composition, rippling sound design and Kate Gilmore’s stunning performance. Following his opera trilogy with composer Donnacha Dennehy and his Lazarus musical with David Bowie, Walsh continues to explore original ways of bringing text and music together, working with his frequent collaborators, lighting designer Adam Silverman and videographer Jack Phelan.
full Guardian review
★★★★ Financial Times&#38;nbsp;

&#60;img width="1738" height="987" width_o="1738" height_o="987" data-src="https://freight.cargo.site/t/original/i/bf0709556b30adc3486a9ab15e52bb0098bc7e7c27f2d27f46d0a49ec98cbb9b/safe_house_01.png" data-mid="225986934" border="0"  src="https://freight.cargo.site/w/1000/i/bf0709556b30adc3486a9ab15e52bb0098bc7e7c27f2d27f46d0a49ec98cbb9b/safe_house_01.png" /&#62;
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Creative TeamWritten &#38;amp; Directed by Enda Walsh
Composer - Anna Mullarkey


Produced by The Abbey Theatre
Producer &#38;nbsp;- Craig Flaherty
Set and Costume design - Katie Davenport
Lighting Designer - Adam Silverman
Video Designer - Jack Phelan


Much more on this soon.</description>
		
	</item>
		
		
	<item>
		<title>Salt of The Earth</title>
				
		<link>https://jackphelan.xyz/Salt-of-The-Earth</link>

		<pubDate>Sun, 04 Feb 2024 17:55:44 +0000</pubDate>

		<dc:creator>Jack Phelan - Video Designer &#38; Filmmaker</dc:creator>

		<guid isPermaLink="true">https://jackphelan.xyz/Salt-of-The-Earth</guid>

		<description>
	Sophie Hunter Studio
Salt of The Earth Installation Theatre



A reimagining of the story of Lot’s Wife and a love letter to the Salt Marshes of the world. A new performance and installation created by Artist &#38;amp; Director&#38;nbsp;Sophie Hunter, premiering in Venice in September 2024.
Salt of The Earth is a performance installation and artistic reflection on what it means to actively bear witness to our climate emergency. Through a radical reimagining of the tale of Lot’s Wife, Salt of The Earth explores one powerful act of resistance: a woman’s refusal to look away from the destruction of her world. Set amongst salt marshes, at its core, Salt of The Earth is a love letter to the Salt Marshes of the world.Above from the production website 
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/dfc0740997265e70ce4219736229705c4eddd865f09c79de3e34e836376f4326/Salt_of_The_Earth_DSCF4194.jpg" data-mid="225946325" border="0"  src="https://freight.cargo.site/w/1000/i/dfc0740997265e70ce4219736229705c4eddd865f09c79de3e34e836376f4326/Salt_of_The_Earth_DSCF4194.jpg" /&#62;Olwen Fouéré performing in Venice
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Short clip from a rehearsal session to give a sense of the piece.

Where to begin with this one?! First off, this happened in 2024, and I’m only adding a proper entry here in January 2026. While that’s normal for a lazy-ass bastard like me, in this particular case, I owed it to both the production and my website to update this sooner, why come? Because this is the first time - that I’m aware of - that a project found me through my website only. No word of mouth, no recommendations or introductions, which is almost always the case in the small world of performance design.&#38;nbsp;Designer Sam Wyer explained to me over a tasty beverage one day, that he Googled a very specific search string and my work for Enda Walsh’s version of Bluebeard’s Castle was a top result - work I’m very proud of.
I’m including this little detail mostly to celebrate and remind my future self, that all that hassle involved with having and maintaining a website is worth it, because without it, I might not have been part of this truly incredible project.Creative TeamCreated by Sophie HunterWritten by Megan HunterMovement by Imogen KnightProduction Design by Samuel Wyerwith Custumes by Simone RochaVideo Design &#38;amp; Cinematography by Jack PhelanLighting Design by Jack KnowlesScore by Isobel Waller-BridgeSound Design by Peter RiceMusic Direction by Rory StormProduced by Clementine SeelyAssistant Producer Ellen Pearson

Projection Chief Mick MurrayFull team on official website.Do tell
Long story short, we turned this old salt warehouse in Venice...

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Into this...
&#38;nbsp;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/97c85a3e5174dff32af8062fa334c4210376e861ab7cfd9219a528e7a004ffbb/IMG_0983.jpeg" data-mid="242554082" border="0"  src="https://freight.cargo.site/w/1000/i/97c85a3e5174dff32af8062fa334c4210376e861ab7cfd9219a528e7a004ffbb/IMG_0983.jpeg" /&#62;
and these amazing people performed in / on it...
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Making of
Quick whistlestop tour of the making of this projectUK Salt marsh field-trips


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Rehearsals in London

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Design and projection tests


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Filming in the Venice Lagoon


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Working in and transforming the space

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Performances
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Finally, a clip that gives a better sense of the video projections.

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</description>
		
	</item>
		
		
	<item>
		<title>Mero</title>
				
		<link>https://jackphelan.xyz/Mero</link>

		<pubDate>Mon, 16 Sep 2024 10:10:12 +0000</pubDate>

		<dc:creator>Jack Phelan - Video Designer &#38; Filmmaker</dc:creator>

		<guid isPermaLink="true">https://jackphelan.xyz/Mero</guid>

		<description>
	Fictions Picture Co.
Mero Animated Short Film
︎Where to see it:
Dublin International Film Festival 2025

Berlin Short Film Festival 2025
Animation Dingle 2025
︎I’m delighted to be one of DIFF’s nominees for their 2025 Discovery Award - see programme for the other nominees and more info.
A short animated film I co-wrote and directed, based on the poem ‘Amphibians’ by Lauren Coe, and featuring the voice of Charlie Murphy.Mero makes her way into the city by train. It feels like this might be her first time out in some time. She ducks into her favourite café where a mug of coffee and an encounter with a kindred spirit put her at ease.



Mero was produced by Claire Lennon though our fledgling studio Fictions Picture Company. It was produced though the funding and guidance of Screen Ireland and RTÉ animation programme Frameworks, and premiered at Galway International Film Fleadh in July 2024.



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Cast and crew

Voice of Mero - Charlie Murphy
Screenplay co-written by Lauren Coe and Jack Phelan
Directed by Jack Phelan
Produced by Claire LennonArt Director - Erin Hermosa
Sound &#38;amp; Composition - Kevin Gleeson
3D animator - Ciara Croke
2D animator - Rachel Fitzgerald
Storyboard artist - Sarah Benson
Concept Artists - Sarah Walsh, Alan Lambert
Cloth sim - Alan Power
Sound recordist - Jack Baxter
Executive producer for Screen Ireland - Emma Scott
Executive producer for RTÉ - Pauline MacNamara
Short Co-codinator for Screen Ireland - Gill McGregor
Marketing Executive for Screen Ireland - Mags O’Sullivan
Digital Marketing &#38;amp; Communications Co-ordinator - Callie HardySpecial thanks to Darragh O’Connell, Teemu Auersalo, Nicky Gogan, Leanne Sullivan, Blender Foundation</description>
		
	</item>
		
		
	<item>
		<title>Vanya</title>
				
		<link>https://jackphelan.xyz/Vanya-1</link>

		<pubDate>Mon, 26 Aug 2024 16:27:15 +0000</pubDate>

		<dc:creator>Jack Phelan - Video Designer &#38; Filmmaker</dc:creator>

		<guid isPermaLink="true">https://jackphelan.xyz/Vanya-1</guid>

		<description>
	Wessex Grove
VANYA Projection Design



︎VANYA starring Andrew Scott will run in NYC’s Lucille Lortel Theatre for 8 weeks. Previews begin 11th March 2025︎


A new production of Chekov’s Uncle Vanya by Simon Stephens, directed by Sam Yates, and starring Andrew Scott, co-created and designed by Rosanna Vize.

My role: Video Designer

&#60;img width="2557" height="1705" width_o="2557" height_o="1705" data-src="https://freight.cargo.site/t/original/i/be07d223dc768259b20f6e73b34e2482eadb821c634307acd24cf8e62c0dcb08/vanya_03.jpg" data-mid="216987186" border="0"  src="https://freight.cargo.site/w/1000/i/be07d223dc768259b20f6e73b34e2482eadb821c634307acd24cf8e62c0dcb08/vanya_03.jpg" /&#62;Andrew Scott playing one of all parts. photo by Marc Brenner.For full production credits and photos see VANYA official website.

VANYA was filmed and will be in select cinemas worldwide via NT Live from February 22nd.

Director Sam and designer Rosie and I had worked together on Incantata. That piece began with a small live camera idea that ended up becoming a large role for video design. VANYA was starting from a similar place, so to be on the safe side, we assumed my role might be a large one. This time it wasn’t! But very glad we were prepared, and there is a small projected sequence right in the middle that is just right for the piece, and that we’re all proud of so happy days.


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&#60;img width="2000" height="2667" width_o="2000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/b19ccc3dc3465be1f56cbbd3dd48ac737ab6a667afd278891e3c5946a3a16ec8/vanya_bts_03.jpg" data-mid="216987191" border="0"  src="https://freight.cargo.site/w/1000/i/b19ccc3dc3465be1f56cbbd3dd48ac737ab6a667afd278891e3c5946a3a16ec8/vanya_bts_03.jpg" /&#62;
&#60;img width="2100" height="2800" width_o="2100" height_o="2800" data-src="https://freight.cargo.site/t/original/i/6010ac03b91d4f265c40f324fddb9275b934844924eeb177d1f903985a131f9d/vanya_bts_04.jpg" data-mid="216987190" border="0"  src="https://freight.cargo.site/w/1000/i/6010ac03b91d4f265c40f324fddb9275b934844924eeb177d1f903985a131f9d/vanya_bts_04.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>In Good Hands</title>
				
		<link>https://jackphelan.xyz/In-Good-Hands</link>

		<pubDate>Mon, 05 Feb 2024 20:12:07 +0000</pubDate>

		<dc:creator>Jack Phelan - Video Designer &#38; Filmmaker</dc:creator>

		<guid isPermaLink="true">https://jackphelan.xyz/In-Good-Hands</guid>

		<description>
	kilkenny Arts Festival

In Good Hands&#38;nbsp;
ANIMATION
PROJECTION MAPPING


In 2023 Kilkenny Arts Festival asked me if I would be interested in creating the film for that years Light Up The Castle event - a free, all ages outdoor event that takes place once darkness falls. I stupidly turned it down. Then I thought about it properly, and called the festival’s brilliant Marjie and Aidan back immediately and begged them to ignore my previous answer.

Then I had the BEST time making a fun, weird film about an artist’s battle between analogue and digital ways of making stuff. See some clips below - which can never do justice to something that was made to be seen on a huge scale with lots of people - but hopefully it’ll give you a sense of it.





I couldn’t have made this film without the support of Fictions producer (and co-founder) Claire Lennon, Art Director Erin Hermosa, festival producer Marjie Kaley, festival production manager Aidan Wallce, EventCo’s Tom Rohan.


Making It
It’s worth sharing some slides from the proposal I put to Kilkenny Arts Festival, as it gives a good feel for the inspiration for the film and help make sense of the process photos down below.&#38;nbsp;


&#60;img width="1752" height="1239" width_o="1752" height_o="1239" data-src="https://freight.cargo.site/t/original/i/32325232e81f058ac3ba58265b83d416415c9e6d145458e3e4f8e6db85d6250b/In_Good_Hands_deck_01.jpg" data-mid="203993375" border="0"  src="https://freight.cargo.site/w/1000/i/32325232e81f058ac3ba58265b83d416415c9e6d145458e3e4f8e6db85d6250b/In_Good_Hands_deck_01.jpg" /&#62;
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&#60;img width="1752" height="1239" width_o="1752" height_o="1239" data-src="https://freight.cargo.site/t/original/i/b0208306de3b7bd51e95723efcae60d38079aba148d82662296dae44834dda59/In_Good_Hands_deck_06.jpg" data-mid="203993377" border="0"  src="https://freight.cargo.site/w/1000/i/b0208306de3b7bd51e95723efcae60d38079aba148d82662296dae44834dda59/In_Good_Hands_deck_06.jpg" /&#62;
&#60;img width="1752" height="1239" width_o="1752" height_o="1239" data-src="https://freight.cargo.site/t/original/i/4f317a4e6e4486c18e31ae520c1b67b1616c6cc51fd5f6c03ae73053313b49f7/In_Good_Hands_deck_07.jpg" data-mid="203993376" border="0"  src="https://freight.cargo.site/w/1000/i/4f317a4e6e4486c18e31ae520c1b67b1616c6cc51fd5f6c03ae73053313b49f7/In_Good_Hands_deck_07.jpg" /&#62;

Interestingly, you’ll see much more technology in these process photos than I had intended (based on the proposal) and I ended up feeding that battle into the loose visual narrative of the film itself. While I had wanted to use this project as a break from high-technology and screens etc., I ended up in a nice sort of recalibrated head-space of starting everything practically and then quickly involving or switching to digital processes as long as it felt natural and helpful.

The result is a fairly seamless dance between the hand made and the laser cut, the hand-drawn and the 3D rendered.&#38;nbsp;


&#60;img width="1492" height="1492" width_o="1492" height_o="1492" data-src="https://freight.cargo.site/t/original/i/c23bdd622446835ed5ccd6ac62766811d808e119484daa980696167c2c652ddf/igh_table_1.jpeg" data-mid="203990347" border="0"  src="https://freight.cargo.site/w/1000/i/c23bdd622446835ed5ccd6ac62766811d808e119484daa980696167c2c652ddf/igh_table_1.jpeg" /&#62;
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Collaborators
I developed the overall concept and created four out the five sections, Irish animation duo Matchbox Mountain created the third section, making a lovely visual break from my style, and further grounding the overall piece in a handmade, analogue aesthetic.

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	<item>
		<title>Sparkle</title>
				
		<link>https://jackphelan.xyz/Sparkle</link>

		<pubDate>Sun, 04 Feb 2024 17:57:25 +0000</pubDate>

		<dc:creator>Jack Phelan - Video Designer &#38; Filmmaker</dc:creator>

		<guid isPermaLink="true">https://jackphelan.xyz/Sparkle</guid>

		<description>
	CARRTOONS

Sparkle&#38;nbsp;
MUSIC VIDEO
ANIMATION


As part of a deal to use one of his tracks in another project, CARRTOONS asked me to make a music video for Sparkle. I love barter and I love making music videos so I made this in 24 hours using some new parts and spare parts from In Safe Hands.&#38;nbsp;



The video is simple, combining some rostum shots of my hands on green-screen, two 3D animated butterflies using gorgeous illustrations from a public domain book (will add link here when I dig it out), and a single-shot, all in-camera composition of leaves, flowers and backgrounds. The camera pulls back through a spiral path that spawns the cut-out elements using Blender’s Geometry Nodes.

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	<item>
		<title>This is Definitely Real</title>
				
		<link>https://jackphelan.xyz/This-is-Definitely-Real</link>

		<pubDate>Tue, 06 Feb 2024 14:12:08 +0000</pubDate>

		<dc:creator>Jack Phelan - Video Designer &#38; Filmmaker</dc:creator>

		<guid isPermaLink="true">https://jackphelan.xyz/This-is-Definitely-Real</guid>

		<description>
	Prague Quadrennial 2023

This is Definitely Real&#38;nbsp;
SHORT FILM


A weird short film created by myself and the fantastic Bryan Quinn, who not only managed to flub the single four-word line he had, but managed to make it better by doing so. Some people. 

Produced in just 24 hours by Fictions Picture Company and Once Off Productions as part of Ireland's exhibition at The Prague Quadrennial of Performance Design and Space 2023. 

Ireland’s exhibition for 2023, &#38;nbsp;curated Tom Creed and produced by ISPD and Once Off Productions, created a very handsome publication and a film, of which This is Definitely Real was one of multiple contributions to the overall project by participating designers.


&#60;img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7011b73121613d3b4953a530eaf137d00c0219b377abdc0163f851138a7b5460/pq23_01.jpeg" data-mid="204001718" border="0"  src="https://freight.cargo.site/w/1000/i/7011b73121613d3b4953a530eaf137d00c0219b377abdc0163f851138a7b5460/pq23_01.jpeg" /&#62;
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&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/aba377f905a7c5dc50ea80103937752202f8cc85e3b48f6ec23196be22d8306f/pq23_04.jpeg" data-mid="204001719" border="0"  src="https://freight.cargo.site/w/1000/i/aba377f905a7c5dc50ea80103937752202f8cc85e3b48f6ec23196be22d8306f/pq23_04.jpeg" /&#62;

The other participating designers were&#38;nbsp;Ciaran Bagnall, Lian Bell, Katie Davenport, Mel Mercier, Rob Moloney, Eimer Murphy and Sinéad Wallace. The full film including their pieces can be seen on ISPDs website.

The film is made with a single photo of the empty stage of The Axis theatre in Ballymun, some self-recorded material of Bryan against a green sheet in his kitchen, some free stock clips and sounds, and it looks exactly how you’d imagine. I love it.




I definitely wasn’t expecting any press mentions for such a small experiment but The Guardian said:

“Like the UK exhibit, Ireland’s is intended to be a laboratory. The discussion is intercut with filmed performances: Jack Phelan’s This Is Definitely Real celebrates theatre’s USP of liveness then morphs into a meditation on the threat to actors’ livelihoods posed by AI.”I often have no idea what I just made or why, so always appreciate a succint summary of what it might have been. Someone else mentioned it but now I can’t find it.
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