In typical, glorious Disney-fied fashion Spaceship Earth, the giant golfball icon of Epcot, was transformed into Mike Wazowski- the one-eyed character from Pixar’s Monsters, Inc. to celebrate the the park’s recent “Monstrous Summer” kickoff. Visual stunts on this scale are nothing new for the Mouse, in fact I’m surprised they haven’t done it on SE before. The projectionmapped “Magic, Memories, and You” show on Cinderella’s castle was their first foray into building-sized mapping and while impressive, was a little slow on the uptake. But like all things Disney, it’s done really well and to an extent that most other entertainment venues can’t come near in terms of quality and execution.
For the Monter Summer kickoff, they used 8 Christie 35k projectors utilizing Twist for the curvature. I won’t make it down there until October so I’ll probably miss it….but maybe they’ll come up with some other theme for the 188-foot perfect projection surface.
Here’s the behind-the-scene:
AntiVJ has once again conquered a major projection mapping on a very unique structure. Paleodictyon is shot onto the curved exterior of architect Shigeru Ban’s the Centre Pompidou Metz, France. “(The piece is) loosely inspired by the work and research of deep-sea expert Peter A. Rona, (and) abolishes notions of scale by contrasting micro-architecture with human construction. Fascinated by the marks left by unknown creatures called Paleodictyon Nodosum, he offers the hypothesis that these hexagonal structures are designed in order to cultivate bacteria. A modern day Captain Nemo, Peter A. Rona wanders relentlessly across the seabed looking to discover (more…)
When I was a kid in the early 80′s, I had the particularly nerdy priviledge of participating in the first Rubik’s Cube-athon at Magic Mountain in California. 2,000 or so fanatics got to compete to see who could solve the cube the fastest and while my sub-one minute time garnered me a T-shirt, I sadly wasn’t even close. Fast forward to today and the cube is being used for far more fascinating devices- as witnessed in the Cube Works Studios Rubik’s Cube walls and murals. I know I know- it’s not digital…it’s not even electronic…but it’s a superb representation (in all it’s analog glory) of exactly what we see when we look at an RGB display. For a little primer, check out the Bayer Filter info….Pointillism is nothing new. Seurat, Signac, and even old Vincent Van Gogh himself were practitioners of the technique- but this…this is just fantastic!
The Cube Works is a Toronto-based art collaborative that specializes in using the ubiquitous cube for stunning, cutting-edge works of art. Smaller pieces have up to 4,000 of them and the record breaking Macau Skyline Mosaic has a whopping 85,794! In the projection and LED world we fret about pixelmapping and overlap of exacting dimensions…imagine having to flip a cube around to juuuuussst the right combination in order to physically replicate a 3×3 pixel grid! INSANE!
London (December 11, 2012) – Electrosonic is pleased to announce its acquisition of Global Immersion, a leader in the design and integration of high performance digital immersive theater attractions. Global Immersion will continue to serve the planetarium, institutional theater and giant screen markets.
The acquisition, completed on December 10, 2012, positions Electrosonic as the only company to offer digital immersive solutions across the theme park, museum, giant screen cinema and planetarium markets.
“This is a significant strategic move for both companies, and I am excited by the prospects presented by the acquisition,” says Jim Bowie, President of Electrosonic Group. “As a single operation, we will service an even broader range of markets, bringing further innovation and an expanded offering to our customers. Our goal to attract and develop the best industry talent has been one of the drivers of the acquisition. Together we will lead by consolidating our strengths and delivering the best visual systems in the world.”
Founded in 2007, Global Immersion is renowned for its work with highly specialized and technically-complex digital immersive theaters. The company has won multiple project and business awards, and has established a solid base of digital immersive theater attractions worldwide. Its project portfolio includes the California Academy of Sciences, Adler Planetarium, Moscow Planetarium, Swedish Museum of Natural History, Peoria Riverfront Museum and Reuben H. Fleet Science Center.
Martin Howe, CEO of Global Immersion comments “I am delighted with this transaction with Electrosonic. It allows us to further expand our activities and develop our product and service offering, opening up new doors and bringing with it many synergies. The planetarium and giant screen markets are undergoing significant change as the digital revolution pace quickens. Electrosonic offers a range of benefits that our customers can immediately enjoy. Its international reach and broad technical expertise and capacity mean that we can more cost-effectively service a wider range of customers in more locations, while building upon our shared reputation for quality, performance and support.”
Here at Projectionfreak, we’re proud to have Electrosoniclamps.com as a sponsor! Check out their website by clicking on their advert over on the right for all your OEM and replacement lamp needs! If you think you might like to jump on the sponsorship bus, get in touch with Projectionfreak- admin(at)projectionfreak.com….
Well….The Venetian. In Las Vegas. But it looks like Venice, right? The Projection Studio is at it again with a winter wonderland being projected onto the facade of the Venetian Hotel in Las Vegas. Ross Ashton is no stranger to giant projection gigs, having accomplished some pretty amazing projects this past year. You can read more about them here or over at the Projection Studio’s website.
London, UK, based The Projection Studio – led by Ross Ashton – has delivered a spectacular and eye-catching new monumental video projection show to help celebrate the ‘Winter In Venice’ Festival at the world famous Venetian resort in Las Vegas.
Ashton has also created a series of works for a permanent video son et lumière extravaganza which was launched in summer and is being show nightly, year round. The colourful, vibrant giant images are projected on to a 25 x 25 metre canvass forming part of the Venetian’s frontage including a full scale replica of the famous Clock Tower from St Mark’s square in Venice. Ashton was initially asked by the Venetian to consult on the technical installation and produce all the projection artwork, after which he tendered and won the project having faced off some serious competition!
The newest ‘Winter In Venice’ video work is centered around Amadora, a character with roots deep in Italian folk lore, created by the Venetian as a key symbol for their 2012 Festival. In the projection show, she represents an anthropomorphisation of time – she is young at the start of the year and ages with the passing of time. Ashton developed this temporal idea and combined it with Vivaldi’s famous Four Seasons violin concertos as a starting point for his visual imagery, which follows the changing seasons of the year. It starts with the chilly ice of winter covering the building, which melts to reveal the flowers, positivity and energy of spring. For summer, viewers are transported to vivacious fields of blooming sunflowers, complete with a massive bee flying through, colliding with dandelions and pollinating them which then transitions into autumn. Grapes grow up the side of the building, mushrooms sprout and dance emphatically to the music and leaves swirl and jive around in a sea of movement, being buffeted by the seasonal breezes. These blast the action into winter, where the building ices up again … ready for the Festive season.
The five-minute piece is accompanied by a special re-worked version of The Four Seasons created by UK based sound artist, Karen Monid. She created one minute musical vignettes based on Vivaldi’s score, but very much in her own style.
A key reason that The Projection Studio was chosen to produce the series of visual shows is Aston’s reputation for pictorial storytelling with detailed historical references, which can really bring significance and relevance to any building or environment. The Venetian’s team wanted each show to have real depth and substance as well as being instantly accessible for the public. The resulting ‘live art’ phenomenon has been hugely successful at the Venetian with the initial three daily shows, and this has now continued with the special ‘Winter In Venice’ work. Says Ashton, “The challenge was to produce a unique and interesting narrative to engage onlookers in each case, which also required a distinctive Venetian feel, and had to be delivered to exceptionally high standards”. He has really enjoyed the experience, in the process adding The Venetian to a growing list of global landmarks to receive the Ashton projection art touch!
Ashton created all the storyboarding and worked alongside two other graphic designers – Nils Porrmann and Sang Gun Kim – on the imaging.
London- UK based Projection artist Ross Ashton was commissioned by Dartmouth College in Hanover, New Hampshire to produce an exclusive Son et Lumière show celebrating the 50th anniversary of its high profile Hopkins Centre for the Arts. The show ‘Five Windows’ was based around stunning large format projections highlighting the history, achievements and impact of the Hopkins Centre, which also houses the Ivy League College’s drama, music, film and studio arts departments. Giant images were projected on to the magnificent front façade of the Hopkins Centre, which was designed by architect Wallace Harrison and opened in 1962.
The College approached Ashton who has completed several prestigious projected art installations in the US within the last three years.
He comments, “It was an amazing opportunity to work with one of the most prominent educational institutions in the USA. The building is architecturally exciting, and compiling the storyboard and artwork was very interesting”. Ashton took a brief from the College’s Organising Committee who discussed what they wanted, and a student committee was also invited to present ideas that could be included. From there, he originated the concept for the 13 minute work. There was a historical and a future section to the show, together with a special dance piece devised by students and videoed against a green screen, from which elements were edited and integrated into the projection sequence. “It was really important to make it an all-inclusive piece and to emphasise the hugely diverse traditional and contemporary performance programmes for which the Hopkins Centre is renowned, as well as the reputation of Dartmouth as a liberal arts university,” explains Ashton, who knew from experience that dance as a medium “Would transpose very dynamically onto the front of the building”.
Ashton completed the story and script-writing in London, while Projection Studio’s Sang Gun Kim produced the motion graphics with some input from Ashton and Steve Larkins. Ashton asked UK-based sound artist Howie Saunders – whose cinematic credits include The Matrix – on-board to compose a special sound-track. This featured recording from the first events at the Hopkins Centre including readings by poet Robert Frost.
The front of the Hopkins Centre features several enormous arched windows, each of which were covered with bespoke Spandex shades made for the occasion by Rosebrand, and attached via magnetic strips to the steel window frames. The projection equipment was two Christie HD18 projectors, overlaid and located in a special hide positioned 17.5 metres from the front of the building. They were fitted with wide-angle short-throw lenses and supplied by New York based Atomic Professional Audio, co-ordinated by Dan Ostroff. Ashton worked closely on site with Hopkins Centre Production Manager Todd Campbell, audio technician Doug Phoenix and video tech Will Cleveland and they also hired carpenter Donald Winams. The Watchout show control system was programmed by Karen Monid. The big technical challenge was lining up the projectors across the Hopkins Centre façade’s different depths, which vary by up to about 5 metres … however some great teamwork resulted in a unique and memorable event to celebrate the landmark achievement.
DUMBO Arts Fest 2012 kicked into high gear with the side and underside of the Manhattan Bridge projectionmapped with “Codex Dynamic”, a work curated by Leo Kuelbs and John Ensor Parker. Two site-specific, large-scale, mapped projections rotated with a selection of single-channel video artworks by internationally renowned video artists. The exhibition seeks to conjure artistic inquiry relating to the subjectivity of space, time and the effect they have on our perceived reality. The DUMBO Arts Festival is a three day celebration of arts, music, and performance that takes place “Down Under the Manhattan Bridge Overpasses” every year with world-renowned artists displaying everything from painting to video to dance and music.
Of course, we’re particular to the video aspect (more…)
Tech specs look relatively simple:
-The new deadline for entries is 12 o’clock (noon) September 24, 2012.
-Entries must be made to fit the ‘Template’ provided by the organizers, entries using templates other than the one provided will be rejected automatically.
-The ‘Template’ consisting of three parts of the building should be interpreted and treated as ONE PROJECTION SURFACE.
-DO NOT alter the size, place, resolution, etc. of the ‘Template’.
-The contour lines shown on the ‘Template’ are there to show the edges, these CONTOUR LINES DO NOT HAVE TO BE INCLUDED in the work submitted.
-The photo taken in daylight is to help contestants make the video, to show them the design pattern and details of the façade, but when making the video contestants should keep in mind that it will be projected at night! The architectural features of the building are to be incorporated in the design!
-The plants that can be seen in the ‘Supplementary photograph’ taken in daylight, which serves to aid contestants, can be considered when making the creative content, but due to seasonal changes in foliage, we suggest that you do not use them.
-The ‘Template’ and the ‘Supplementary photograph’ can be downloaded from ‘Downloads’ at paintup.visualpower.hu
1920×700 pixel, 25 FPS, Quick Time, codec: Photo JPEG, quality: 95%, The video material must contain the audio.
Entries can be made using 2D and 3D animation, film, video and/or computer or any other techniques.
The music genre of your choice.
The entries will be projected using a Hippotizer HD V3 media server, Vista Spyder video processor, 6 super bright (2×20 000 Ansi Lumens + 2x2x15 000 Ansi Lumens) DLP projectors at the event.
If you project onto the facades of buildings for a living, getting to do it on the Sydney Opera House must be the pinnacle of a career. Urbanscreen recently got the chance projecting the outside of the iconic building for Vivid Live!. In the past, the festival has drawn such luminaries as Laurie Anderson, Brian Eno, and Lou Reed as guest curators and is seen by over 400,000 people.
From the Sunday Morning Herald Sydney:
“Speaking from Urbanscreen’s headquarters in Bremen, west of Hamburg, members Till Botterweck and Daniel Rossa describe their work as akin to architectural ”remixing”, like a DJ with a song, that gets people thinking differently about buildings around them. (more…)
The moniker “3D” is nothing new to projectionmapping, and in fact, the term has been over applied and misused so much that it’s sometimes hard to find ‘real’ 3D stuff. Not the case with Bordos.Artwork. Their recent display at Mapping Festival Geneva 2012 is jaw-dropping. 3D for real in all it’s 3D-ness. You can hear the crowd reaction at a couple of really killer moments in the video. Granted, it’s hard to tell the depth in the video, but the sheer scale must’ve been awesome! Bordos did a great job with this one, but it wasn’t without it’s challenges. 3D, while stunning, poses a lot of issues with brightness as well as viewing angle even under the best circumstances, let alone on the side of a building with a very short throw! Bordos explains: (more…)
We let you know about The Visual Drugstore’s partnership with Intel a while back. Video artist Mar-K.os (aka Markos Aristides) just completed a projectionmapping in Hamburg for the Ultrabook 3D tour….Lot’s of Sanyos and the awesome MMOV! Check it out:
Projectionmapping on a large scale suffers from ‘instant fame’ syndrome. While it’s a really cool and innovative technology, the fact is- if you’ve seen it once, you’ve seen it all. Then the game changes when someone gets really creative with an existing technology and mixes it with large-scale projection. So it is that NuFormer presents “mocap mapping”, a first-of-its-kind combination of 3D video mapping projection and live motion capture technology. This brand-new mix allows for engaging interaction between the audience and a 3D character projected onto a building. Oddly reminiscent of interactive technologies (more…)
Here’s a projection mapping by British creative agency Knifedge for the closing ceremony of the inaugural Kuwait Professional Squash Association Cup, staged in Kuwait City at the end of 2011.
The opening ceremony was inside the venue and they back-projected onto smartglass which is opaque and then clear when an electric current runs through it all. For both the ceremonies they created all the content in a combination of 3D Studio Max, Realflow, Cinema 4D and After Effects. PRG Group provided (more…)