Much stronger second version of Timespace video document. Compliments to the team.
Let me share basic points about video documentation that I think are important for all Synthesis work.
(0) Action is better this time. But in general please do NOT merely face the scrim -- think a bit about physical action and inter subjective relational action, before going on stage. Pay attention and relate to each other, not to screen. In future shoots with time, plan to bring people of different ages and sexes to visit and try out the environment. ( build and use a sc local friends list )
(1) Music
Never add music in post.
No post-production music is better in long run bc music or narrative added as overlay in post, blocks other commentary for contexts over the coming decades that you can never anticipate. (Or it would need to be scripted and rehearsed for specific audience like a SIGGRAPH jury, which is a whole other order of work than simply documenting one instrument.). And most 'popular' music will go stale and sound silly in a very short time. (Fashion obsoletes by design.) Avoid stock music. (Re-read Peter Brook about the Deadly Theatre.)
More 'diagetic' sound
One should always be able to run video thru actual sc. sound synth from video output. Compromise would be run your edited video thru some of Julian's instruments.
(2) _After_ front camera segments, it would be good to edit in the top camera segments, which hint at the potential of sc system's multi-perspective system. Also this way there's only one Timespace video in our Vimeo.
(3) And as appropriate, basic copyright / URL in black final segment "Synthesis 2017 | synthesiscenter.net"
(4) All videos should have in Vimeo's text caption the names of people involved in media coding, shoot & post; date, location, as well as "Synthesis 2017 | synthesiscenter.net"
(5) It was smart to use overhead theatrical lights ( and with warm tone! ). In general, experiment with the lighting array to optimize results for POV. In this case, it may have been better to dim the row of lights closest to the scrim. Not only would that lessen spill onto the scrim, possibly strengthening its image, this would sculpt space so that bodies would move in and out of visibility and create a zone of action within which the instrument takes effect.
In all responsive video work in real space, always consider design the physical lighting. Physical lighting and proper camera lensing, exposure, focus, framing eliminates many weaknesses that can't be easily fixed in post, and make possible many powerful effects.
Analog conditioning is part of your media instrument and at least as important as the coding.
Much stronger results -- compliments to the team.