The following is a review I did for PLSN magazine in June. It’s quite the projector and I was able to clip some quick video together as well.
The problem with new technology and gear is that you usually only get to put your hands on it the day before a gig, or worse, actually ON the gig. I’ll admit- under duress is usually the best way to learn a piece of gear, but not exactly the most stress-free activity in the world. So I was delighted to be able to get my hands on the Barco HDX W20 Flex actually IN a shop and not under any time gun or a client breathing down my neck.
The Barco HDX W20 Flex is their latest addition (more…)
You know we’re fans of architecture and also Luftwerk. But the duo of Petra Bachmaier and Sean Gallardo are teaming up again to illuminate the iconic Farnsworth House by Ludwig Mies Van Der Rohe. You may recall Luftwerk’s treatment of Falling Water…a projectionmapping treat on one of Frank Lloyd Wright’s seminal works that we featured here. Projecting onto highly valued, protected works of architectural magnificence is not inexpensive. Luftwerk has initiated a Kickstarter campaign called INsite, to help fund the Farnsworth project so if you feel compelled, head on over to their site and kick a few bucks towards it. The Farnsworth House is one of my personal faves in the mid-century lexicon, in fact the house I grew up in closely resembles the lines. They do good work and your help would be most appreciated.
From their press release:
“Luftwerk launches Kickstarter Campaign
The artist duo of Petra Bachmaier and Sean Gallero, also known as Luftwerk have launched a Kickstarter campaign to help fund INsite, a temporary public art
experience that transforms Mies van der Rohe’s Farnsworth House into a canvas of light and sound.
“Based on an architectural video mapping test in the fall of 2012 we feel destined to make INsite a public experience. We are very excited to launch this campaign now and hope to illuminate the Farnsworth House in October 2014 after dark with funds raised by May 31st through Kickstarter.”
INsite intends to bring a new experience to the Farnsworth House that will attract new audiences and celebrate the lasting relevance of the architecture. By choosing Kickstarter as a way to support INsite, Luftwerk hopes to excite the community and build the audience for the fall installation. This is a once in a lifetime opportunity for Mies enthusiasts and architecture lovers to see this icon of modern architecture in a new light.
Luftwerk’s fundraising goal is $25,000, which will support project development and equipment needs, as well as the installation and operation of the exhibit. Ten video projectors, encased in weatherproof housing, will display a seamless composition that highlights the structural minimalism of the Farnsworth House and its glass walls from the exterior to the interior. The video installation will be accompanied by an original music composition by Owen Clayton Condon, a Chicago based percussionist and composer and former member of Third Coast Percussion.
Luftwerk has delighted and illuminated viewers with a history of completing major commissions on landmark architecture. In 2011 they illuminated one of America’s most extraordinary buildings: Fallingwater, designed by Frank Lloyd Wright. “Celebrating 75 years of Art in Nature” was followed by a site-specific video installation “Luminous Field” (2012) that transformed Millennium Park into a digital playground, attracting over 65,000 visitors in only ten nights.”
Our friends over at PointCloud Media just did a proof-of-concept for a project called “Raylight4D”, a really cool projectionmapping system for pools. Although details are necessarily quiet, Jack Hattingh explains, “The test was done with a ##### projector and the most beautiful thing is that the ambient light above the water does not affect the image.. the contrast ratio is pretty good and you can get good results with less projectors. 3D projections on water are typically cheaper, since they require less projectors compared with 3D building projections; and typically, no permits are required to use pool sites for projection mapping. Essentially, pools are also more conducive to projection mapping because of their low ambient lighting, color, and ubiquity.”
Mermaids, sharks, disappearing sand….pools make a perfect mapping surface! Next step- motion tacking interactivity???
Check out some of Jack’s other work HERE, or head over to PointCloud’s website and check it out!
It’s exquisite. It’s everything I dreamed of when I was a kid- robotics, in-camera film effects, precision. The San Francisco based firm of Bot & Dolly has pretty much upped the game for everything involving projectionmapping in real-time and combined it with extreme robotic film making. It seems a natural progression though, and I can’t think of anyone more capable and qualified to do it. But before we give in to our Robot Overlords, let’s remember they still need to be told what to do. It’s just that they do it over and over again with ridiculous precision and razor-accuracy. I don’t know what they used for projectors, but I suppose it wouldn’t take much in terms of lumens for a project like this. Projection software on the other hand was accomplished with Touchdesigner. As advanced as Touchdesigner is, the more you watch what they’re doing with the Iris robotic arm the more you realize that projectionmapping is the easy part. They have an entire array of tools at their disposal- BD Live, BD Time, and the stunning BD Wheel- a hand-held control wheel that allows you to scrub through a shot or attenuate playback speed. If you’ve ever been to the Museum of Science and Industry in Chicago and seen their toy manufacturing display – this is like that x1000. They have a couple of Motoman robotic arms that you can race and play against…but this scale is entirely different.
It’s not hard to discern where or how the effects are in-camera, but the marriage of the elements is what overwhelms me about Box. That, and the sound. That first big whoosh at 1:24 is just plain sensual.
Tobias Kinnebrew of B&D explains: “Box explores the synthesis of real and digital space through projection-mapping on robotically controlled moving surfaces. The short film documents a live performance, captured entirely in camera. Bot & Dolly created this work as both an artistic statement and a technical demonstration. It is the product of an experience vision realized through the integration of multiple technologies pivoting on our software platform BD Movetm for precision control of robotics.” It doesn’t take a lot of imagination to extrapolate where you can go with this type of gear on a film set. With the extreme precision and playback capabilities, the possibilities are truly endless. I gotta get out to the coast and see this in person. That’s all there is to it.
Absolute heaven. Dig it!
Huge shout out to our friends Jack Hattingh and Alan Demafiles- they’ve opened up shop at Pointcloud Media and their website is live. Check it out- they have an immense background in projectionmapping, domes, and other creative uses of projection.
I know- it’s been a while. The summer, sadly, has gone. I pretty much worked and relaxed and didn’t pay too much attention to the blog. Life is like that- hit it hard in some areas, lay low in others. But luckily those patterns are bound to shift and I feel change a’comin’. To start off, we just finished a multi-million dollar renovation to the theatre I work at…which sounds glorious on the surface. In reality, it was replacement of the seats and carpet, addition of air conditioning to the tech areas, and a lot of paint and roofing. Not at all what you’d think from a gear perspective, but we did get a kick-ass sound system out of the deal- details forthcoming….
But about the PODCAST! I’d toyed around with the idea of other media for a while but the opportunity never really presented itself and being a video guy, my heart wasn’t in it. But along came George Tucker from AV Nation with just enough idea and wax to spark me and viola! A podcast! But what the heck would anyone want to listen to? Projection stuff of course!
In the first of what I hope will be a series of casts, I interviewed Bryan Dodson (along with Michelle Dodson and Brian Blessinger) of Integrated Visions. You’ve seen them here before….they’ve done all manner of projectionmapping projects and curated an art show that used projectionmapping as the primary medium. I was completely honored to use the interview for the inaugural run of the Projectionfreak Podcast. Much thanks go to the IVP team for putting up with my schedule and really shedding some light on a fascinating subject. AV Nation has a ton of other podcasts as well with a wide range of projection related topics so be sure to give them a listen.
And about that schedule…..keep on reading- there’s some great stuff coming up (including some gear reviews)
Check out this recent vid from the venerable Memo Akten of Marshmallow Laser Feast. Just some tests with realtime interactive lasers (this time a 4W RGB, 90Kpps), finger tracking, ilda, etherdream dac, leapmotion, openframeworks, ofxEtherdream, ofxIlda, ofxLeapMotion and a DJI Fantom thrown in for good measure.
I’ve played with a Leap…it’s veeeerrryyy promising! Nothing beyond the developer stages just yet, but this takes it to a whole new level! Nice work Memo!
From our friends over at Immersive Ltd. comes this building-sized projectionmapping done at the Friends House, home of Quakers in Britain.
Ben tells me they used 3 x Christie Roadie 35K to do the gig. Parts of the content were created by the in-house creative at Immersive’s Studio using 3D Studio Max, After Effects, Cinema 4D, Maya. Immersive also worked with students to produce some of the content using a variety of packages. Students were from Ravensbourne College, University of West London, Middlesex University and Teeside University.
The final piece was edited together in Final Cut Pro. The resolution of the project was 3600 x 1080.
The mapping and playback was from 2 x T4 Ai media servers a primary playback machine and a hot spare running through a Switcher.
Biofuel power lights and sound equipment by Firefly Solar (http://www.fireflysolar.net/). Sound design by Zen Death Squad (http://zendeathsquad.com/), music by Jazon Mraz (http://jasonmraz.com/) and the project was curated and directed by Immersive Ltd (http://www.immersive.eu/). Immersive donated the project to Greenpeace UK.
Got a great tip on a massive 360deg. projection rig for New Zealand’s Barfoot and Thompson’s 90th birthday. Spyglass used 22 Christie 20k projectors and covered about a 290m image of immersive projection. From blowing out 90 candles to a full 90 year history of barefoot and Thompson, this was truly impressive!
Another really cool project from our friends at NYX Visual- ‘Electric Bit’. Louis De Castro says they developed the concept to be shot on the back wall of a new very futuristic venue in Paris: l’Electric. “Our setup was done using a custom built quartz composer rig. It’s based on the “Tracked User” functionality of the kinect camera, importing only the silhouettes of the persons moving in front of it. The feed was pixelized according to the wall sculpture grid then used as a mask to play media content and interact with various effects (color, speed etc…). We then remapped the video feed using MadMapper. Creating a new surface for every pixel then mapping it to each pyramid, we covered the maximum space our video projector could provide. The result was a 8bit looking tracking funhouse installation played by the audience of the night.”
Justin Thompson co-created, concepted, designed and integrated a first-of-its-kind in hospitality permanent 3D projection mapping installation with San Jose’s Dan Block, known simply as “theWall” at ROOF on theWit ranked Chicago’s #1 nightclub and one of the top 3 rooftop nightclubs in the world. The ROOF installation features an Arkaos media server with DMX controls of theWall and 48 ColorKinetics LED panels were installed and customized with a library of custom content created by Justin and co-creator Dan Block. The installation includes a giant drop-down flat projection screen for presentations and HD sports games with input and output ranging from blu-ray to DirecTV to a client-ready DVI plug-in jack. The project was overseen by owner of theWit Scott Greenberg. Justin Thompson served as in-house content creator and resident VJ- live mixing visuals during live DJ performances. Dan Block remained consultant on the project. You can see the full press release (with a whole bunch of tech details) HERE.
This video was shot by Matt Kowynia and Justin Thompson, edited by Justin Thompson.
Content mixed and projected onto theWall in this video created by Justin Thompson… and yes- he’s the tattooed guy setting up and running the system in this video. Justin is now looking to expand his installation base, seeking his next big project- permanent or temporary travelling 3D projection mapping installations and custom created content for clubs, hotels, touring acts, DJ’s, and events, so if you are looking for an upgrade in the visuals department, email him at justin-at-subversivevids-dot-com.
And BONUS!- some content from the WALL:
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:
This business is full of deadlines and we all hate them. For some of us it’s more Love/Hate (I personally love tight deadlines…makes you feel alive). The following video shows a rather hectic deadline that Montreal-based GraphicsEmotion dealt with around Coachella time. Next time you have a deadline, remember what it must be like for a bunch of people to have that same deadline, and what it took to get to the end! We’ll look at some more great stuff from Julien Abril and the team at GEM in the very near future……
Got a great tip from Erick Calderon over at Light Art Interactive- his new projectionmapping app for iOS called- you guessed it- Light Art. Erick works a lot with Touchdesigner and got tired of using giant computers to come up with mapping schemes, so why not make a tablet app? I haven’t had a chance to download and use it yet, but it looks fascinating. As soon as I procure an iPad, I’ll let you know how it goes, but in the meantime, for those of you with an iPad with an HDMI interface, give it a go and let me know…better yet- let Erick know!
From The Agency, comes this great looking project- shot at night in the forest of Fontainebleau. Romain tells me they first shot the band members in their photo studio. Then, during the night in the forest of Fontainebleau, they projected their portraits on the rocks and trees and then took about 600 pictures (like a stop-motion). Finally, they assembled the pictures and added a camera traveling (parallax) and transitions between pictures (morphing) with Apple’s Motion software. Love that they did it on the fly, with a car battery and an inverter!
- video projector Optoma 3000 lumens
- electrical converter
- power supply car battery
- midi keyboard
- camera Nikon D800
- Apple Motion
- Apple Final Cut
When I was a kid growing up on the West Coast, the hot ticket in shoes was to own a pair of Vans. They ultimately became the de-facto skate/surf/grunge wear shoe-of-choice when they came out with the slip-on version (still are AFAIK). The beauty of Vans at that point (early 80′s) was that they were still quite boutique and you could pick and choose different colors/fabrics for the various designs they had. If you were reeeaallllly cool, you could take (as I did) your own fabric in and have them make a pair for you.
Fast forward 30 years and you get the following. (more…)
There’s some great videos coming out of the Mapping Festival 2013 held May 2-12 in Geneva. I’ll post some more this week- We’ve seen the work of Bordos.Artworks in the past, but here’s a reminder- I wish I had a decent pair of 3D goggles…..
By all accounts it looks like Form and Substance was a big success. If you couldn’t make it to the show, here’s a little teaser footage with a few recognizable pieces….
Hoping to get some details from Bryan in the near future…
Big reminder- Form and Substance: Projection Mapping in Contemporary Art, the first group exhibition in the United States dedicated exclusively to artists working with projection mapping as a medium- is this Friday. If you’re in the NYC area and you’re a fan, get to this exhibition!
In addition to the already outstanding line-up (including Davy and Kristin McGuire, John Ensor Parker, Joanie Lemercier), they’ve added two new artists to the roster: Joel Fitzpatrick is a fine artist, fashion designer, interior designer, lighting designer, and production designer. He will be presenting three works, including a collaboration with New York based painter and graffiti artist Adam Dare.
The exhibition opens Friday, May 10 at 6 PM at the Gowanus Ballroom at 55 9th Street in Gowanus, Brooklyn. The opening party is from 6 PM to 10 PM, and entry is free.
There will be a $10 cover charge starting at 10 PM, with Percussion Lab residents Nooka Jones and Archie Pelago playing till 4 AM. Proceeds from the door go to benefit the Gowanus Ballroom, which is still recovering from damage incurred during Hurricane Sandy.
The full list of artists is below. We are also still accepting tax-deductibe donations to help defray costs, including travel and accommodations for our foreign artists, promotional expenses, and production costs for several works. All donations are processed by Mister Artsee, a 501 (c) (3) arts-industry non-profit. Email for details about donating.
Collecting awards, that is. Chicago based visual studio Leviathan garnered the Platinum Remi Award for Visual/Special Effects this past weekend at the 46th WorldFest-Houston International Film Festival (www.worldfest.org) for their original short film “Lilith”. Then, at the FITC Toronto Design and Technology Festival last Monday, Leviathan’s executive creative director Jason White personally accepted the FITC Best Animation Award for the studio’s sensational “Wooden Toy” project for Ninja Tune recording artist Amon Tobin.
“We have an awful lot of people to thank for putting us in the position to earn this recognition from the judges of the world’s longest-running independent film festival, and from the FITC, which covers the future of everything innovative, technical and creative,” White began. “Across the spectrum of our phenomenal creative partners including V Squared Labs and Red Moon Theater among many others, unbelievably talented and passionate artists and craftspeople, to my fellow principals Chat Hutson and Matt Daly, we are counting a lot of blessings this week. Immense thanks to everyone who has played a part in our success to date, and with this recognition, we are even more inspired to create phenomenal visual experiences.”
Since launching in 2010, Leviathan’s collaborations with agencies, brands and leading filmmakers have rendered scores of sensational projects across all markets and industries and earned award recognition from the Association of Independent Music, Communication Arts Magazine, the AICP, The D Show, The One Club, and the Themed Entertainment Association.
Earlier in his day at FITC, Jason presented his original talk entitled “Hyperblender, the collision of art and technology” an hour-long presentation discussing vision, our past and future of creating transformative visual experiences. According to feedback from conference organizers and on Twitter, it was one of the most talked-about of the conference’s 70 sessions, which drew over 1,200 attendees from around the world over the past three days.
Congratulations Leviathan! Well deserved accolades!
d3 Technologies are pleased to announce San Carlos based rental and staging company Tekamaki have signed up to become the latest d3 Studio. With a client base ranging from NASA to Nintendo and Electronic Arts to Google, Tekamaki profiles as a high-end technical service provider with deep roots in display technology and an extremely knowledgeable staff.
Tekamaki’s capabilities range from concept development through process management, project design and staging. A small, flexible company with decades of industry experience between its team members, Tekamaki’s focus has always been on teamwork, talent, innovation and the latest in display and media technology to help their clients successfully communicate their message. Tekamaki used d3 systems on the September 2012 DreamForce event for Salesforce.com, which saw the entire San Francisco City Hall mapped up for a one-off performance by the Red Hot Chili Peppers. Based in San Carlos, California, Tekamaki team members include Matt Ward (co-founder of Element Labs), Joe Conway, Ron Machado, Robert Loney and Christopher Burdett.
Mapping Festival 2013 is about to get under way in Geneva so get tickets NOW. There’s something for everybody- installations, VJing, and workshops on mapping and stage design from the likes of Boris Edelstein, Joanie LeMercier, and Phillipe Chaurand.
“The Mapping Festival is a multidisciplinary festival dedicated to audiovisual arts and digital cultures. As the sole broadcasting space of this magnitude in Switzerland, the festival is now also recognised internationally, and this with the richness of programming. Mapping Festival offers every year audiovisual performances, installations, clubbing parties, live performances, architectural mapping, as well as workshops and conferences.
Thanks to this unique diversity aspect, the festival is recognised throughout the world as an major event, a real experimental meeting space, for creation and exchange with its innovative thinking in the field of audiovisual arts.
Now in its eighth edition, the Mapping Festival has steadily grown and has become one of the leading events of its kind in Europe.”
Barco’s DP2K-10Sx looks like a great PJ for smaller venues and art-cinemas. With 9k output and 3TB of RAID 5 DCP Doremi storage, it’s listed with a max screen size of 9-10m for 2D. It looks to be in the ranks with the Solaria 1 and the Sony SRX-R515. Rumor is the street price is $35k-ish. Read on:
Tim Sinnaeve, Market Director Digital Cinema at Barco: “Going digital is a big and important step for smaller cinemas. There is a lot of concern in the industry that the transition from 35mm to digital threatens the survival of smaller, independent and arthouse cinemas that take up a unique position in the cinema landscape. Barco strongly believes that Digital Cinema also offers a unique opportunity for these cinemas to thrive, as it offers them flexibility in their programming and new business opportunities. Our new projector will make the transition easier for smaller theaters and help them grasp these new opportunities.”
The Barco DP2K-10Sx projector comes as a fully integrated, DCI-compliant projector – including a 0.69” DLP Cinema® projector, a high-grade cinema lens and an Integrated Media Server with integrated redundant storage. In it’s class, it offers the brightest and sharpest image quality, being the perfect worry-free solution to go digital with minimal hassle and risk.
Check out this massive work from QED. They were contracted to projectionmap the stage for the BBC broadcast of “Funny for Money”, a huge fundraiser put on by Red Nose Day to help people in need.
From their press release:
“QED Productions successfully delivered ground-breaking video mapping and stage lighting integration for Comic Relief’s seven-hour television broadcast on BBC One, by using nineteen high-brightness Christie 3-chip DLP projectors.
According to QED Director Paul Wigfield “not only was this was the most challenging indoor projection mapping ever attempted but also the entire rig had to be installed in just one day”. (more…)