AntiVJ Omicron

Projectionmapping is a fickle thing. One day we see clown noses being painted on buildings, the next day it’s interactive cars and trucks. Six-figure budgets aside, it’s mostly just filler. At some point people are numb to it. But some of the great stuff peeks through on occasion and we’re reminded of how truly amazing this weird branch of projection is.

And then you have this. AntiVJ’s Omicron. These guys put such creative thought into their projects that one really wonders where the limit is. They consistently do it with style and panache in a way that pays homage to whatever it is they project on. In Omicron’s case, it’s Hala Stulecia, the massive concrete dome designed by Max Berg in Poland. The cupola, modeled on the Festhalle Frankfurt was made of reinforced concrete, and with an inner diameter of 69 m (226 ft) and 42 m (138 ft) high it was the largest building of its kind at the time of construction. The symmetrical quatrefoil shape with a large circular central space seats 7,000 persons. The dome itself is 23 m (75 ft) high, made of steel and glass. The Jahrhunderthalle became a key reference for the development of reinforced concrete structures in the 20th century. Built between 1911 and 1913, this massive concrete structure was the largest ever built besides the Pantheon. I’m a bit of an architecture nut and concrete buildings are my fave, so seeing this is a treat.


For the technical end, they used four projectors with super wide angle lenses, positioned at 0, 90, 180, and 270 to cover the whole thing. Software for content included Cinema 4D, After Effects, Photoshop, Flash, Illustrator, and Premiere. They’re using a media server for playback as the piece is designed to run…well, forever hopefully.

DIRECTED by Romain Tardy & Thomas Vaquié

ARCHITECTURE by Max Berg (1913)

VISUALS by Romain Tardy, Guillaume Cottet

MUSIC composed by Thomas Vaquié

2D / 3D MAPPING by Joanie Lemercier, Romain Tardy

MANAGEMENT & PRODUCTION Nicolas Boritch

Filmed by Jerome Monnot, Joanie Lemercier, Romain Tardy
Edited by Jerome Monnot. No post production.

From AntiVJ’s website, a more detailed explanation:

A deliberately minimalist visual aesthetic allowed to highlight the very architecture of Hala Stulecia’s dome and re-affirm its place at the core of the piece. Minimalism also appeared to be the most appropriate means of conveying this idea of future at different periods of time (from 20’s/30’s anticipation film to more contemporary productions ). But the use of these references was not simply formal: the vision of futuristic totalitarian societies seemed to echo back real moments in the history of the building, warning us against the dangers of an idealized vision of the future.

Inspiration for the music composed by Thomas for this project was found in both orchestral work, echoing the colossal size of the architecture, and electronic textures, evoking the action of time. The score also tried and recreate a sense of evolution of the materials used for the dome structure, and their sonic aging.

By using references such as Fritz Lang’s Metropolis or the utopian projects of Archigram to confront the different visions of the future at different times, we were interested in trying to create a vision of a future with no precise time reference. A timeless future.

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