And here I thought that was just my favorite bar reply….
Netherlands-based media firm Circus Family combined forces with Jurlights and came up with this huge 360-degree projectionmapping at Gashouder Amsterdam. The gig was for Amsterdam Couture house, Scotch and Soda, for the launch of their 2013 line. Using four Hippo HD’s they were able to pipe content to ten Barco HD20′s mounted in a ring in the center. They used the ScreenWarp feature to cut the roundness and then threw in a couple of Hippo Critters with a 16×16 DVI matrix to finish it off. Technician Menno Broere tells me they didn’t even have to blend the projectors…just masked out some physical attributes. That’s how we like it- simple and clean. So many times this type of technology is ‘over done’ from the production side, so it’s nice to see people keeping to the oldest axiom in show biz- Keep It Simple Stupid.
Corporate Staging Resources recently staged a huge projectionmapped stage for the USANA International Sales Convention in Downtown Salt Lake City. The event at Energy Solutions Arena spanned 3 days with 12 hours of content and 11,00 in attendance. The stage and set elements were 100% projection using pre-produced animations, live action video, motion graphics, integration with live performance, video rolls, powerpoint files, and live IMAG. All the content was developed by USANA Studios. The custom scenic 44′h x 88′w x 40′deep finished wood and muslin panels were underlayed with steel/aluminum structure and the deck was 40′d x 88′w which included hydraulic doors and an elevator.
Stage Design: Jeffrey Berke and Michael Dolan
Projection and Pandora’s courtesy DWPLive!
For projection, they used 15 (fifteen) Barco HD18X in 5 (five) zones and 8 (eight) Pandora’s Box Servers plus a Manager. It’s pretty evident where the zones were if you look at the model ( around :27 in the video). I love seeing stuff like this because it makes me believe that the one-off gigs are coming back- that the ‘corporate staging’ market is coming around again…..remember when we all did HUGE corporate gigs that really needed technology like this? A great job by CSR and I hope to see more of it!
Touch technology is so prevalent now that it’s hard NOT to use some incarnation of it on a day-to-day basis. From the oft-referred-to scenes from Minority Report to a weekly peek on NCIS, huge touchscreens are becoming the norm from corporate boardrooms to police HQ. I ran a piece a while back on the huge interactive video wall at the University of Dayton, but that was a projection-based system. Now it seems we’re seeing LCD screens of the same size, no longer restricted to NOC’s and control centers.
I recently got a sneak-peek at such a behemoth being custom built by Sensory Technologies. My beloved DPI Lightning HD35 was coming back from hospital and ready for pick up at the ST dock- and this awe-inspiring wall, in the build room, was in it’s final touches before being deployed. Field Engineer Chris Poore was kind enough to show me the particulars….
I haven’t posted much in the last week because, quite frankly, I’ve been working my ass off. We were a bit shorthanded at the theatre and it ended up being a loooooong week. But I’ve slept since then and the gig this week is Pirates of the Caribbean- Curse of the Black Pearl…Live! Basically, we screen the film and the Indianapolis Symphony Orchestra plays the soundtrack. Ought to be easy right? Read on….. (more…)
Barco has announced the NSL-5521, a 55″ full HD LCD with LED backlight. You’ll probably install it in a control room with a bunch more to make a huge wall, but why not stick one in your board room or living room for that matter? As a tiled LCD solution, the NSL-5521 is ideal for personal wall environments and adjunct control rooms in Emergency Operations Centers, traffic management and surveillance centers, C4I-SR environments, utilities and process control centers and broadcast & telecom monitoring applications.
Narrow-bezel display for tiled video walls
The new NSL uses durable LED backlights positioned directly behind the LCD panel and has the (more…)
The following appears in the current issue of PLSN magazine, and I can’t thank them enough for printing it. But here on Projectionfreak you get some extras….
I use a PTZ camera system at work that is a package supplied by Markertek (outstanding prices and service from these folks….highly recommend them!) ….and manufactured by Vaddio…namely a ProductionVIEW switcher, 3 HD19 PTZ cameras with CCU, a Vaddio 3-way monitor, and a Vaddio 2-way HD monitor. The switcher is at the heart of the rig, providing control over the 3 cameras, a fourth PTZ (Sony EVI-D70), computer input, and DVD input. I should say up front that I am not paid by Vaddio or Markertek, nor do they receive advertising credit or endorsement from me or from Projectionfreak.com.……although ANY/ALL of those options and scenarios are open for discussion! Hint hint- as in “call for a rate card” hint….
I happen to use their gear based on price and performance and I couldn’t be happier. It’s great stuff and the image quality is outstanding- but on with the hands-on review:
Vaddio ProductionVIEW HD Switcher
As the ‘video guy’ I get asked to wear a lot of hats and it’s not just because I’m a nice guy that says “yes”. There’s a lot of factors to keep track of- not the least of which is keeping a decent image onscreen. If you’re touring, you’re usually just trying to keep the gear from being destroyed- if you’re in corporate you have the constant harangue of having to edit presenter imagery- if you’re in trade shows, well- that list is too long. Usually this is all on top of being the switcher. If you are the lucky person that owns/rents the gear that makes all that happen, you need equipment that does more than one thing. So it goes (more…)
Here’s a great video from our colleagues at Moov, a design/production house in Poland. It’s a good peek behind the scenes of what a good car projectionmapping consists of. Dig the projectionDesign F82 3-chip 10k’s! We’d also like to congratulate Moov for their Innavate 2012 Award for ‘Most InnAVative Corporate Event Project’. If you look at the nominees for 2012 in that category you’ll know this was not easy! Check out more of their work at their website or Youtube channel.
And of course, the video itself:
From Barco’s Press Release: Visualization specialist Barco has drawn upon its leadership in control room visualization solutions and 3D stereo to develop a new range of LED video wall modules. The OLS series combines the benefits of the award-winning OL series with vivid 3D stereo. This new range addresses both control room and simulation markets, offering a flexible, cost-effective and scalable solution for video walls that need to show stereoscopic images. The OLS series will debut at the GITEX Technology Week, 9-13 October 2011, in Dubai.
Barco’s new OLS series expands the OL series’ applicability with a wide range of extra possibilities and target markets. For the oil & gas sector, for example, 3D functionality is very useful for displaying explorations of underground fields; and in simulation, OLS is a compact, cost-effective alternative for existing high-end multi-projector systems. (more…)
One of our favorite projector companies has been busy. Digital Projection had a pretty banner year at Infocomm 2011 by all accounts and they have a great wrap-up/review here. Be sure to check out their 3D-capable Lightning Series as well as the Titan series. Below is a video that features DP’s awesome projectors as well as some content from Integrated Visions LLC:
I know….it’s a blast from the past….but since the Met is running the Ring Cycle (and Indianapolis Opera is presenting La Traviata soon) I figured I’d revisit it in a little more detail. Joachim Schamberger directed the stage as well as produced all the video. This production had the orchestra onstage, with the performers downstage utilizing our hydraulic pit elevator. There were two towers of scaffold left and right as well as a small bridge piece across center. We used a seamless cyc on the furthest downstage lineset to project on, and trimmed it about 8′ off the deck. Projection was from a booth about 128′ from the cyc. The aspect ratio ended up being roughly 2.8:1 or well above scope. We used two Panasonic PT-D7700 converged fro the main screen, and two PT-D5600 for super titles.. Playback was from a Macbook Pro using Vidvox’s VDMX. The pics tell the story below:
This place is for real. Sharp has announced that it has developed a gigantic 156 Multi-screen setup composed of 60” PN-V601 LCD arranged as followed with 36 monitors on the wall, celling and floor as well as 24 monitors on both the right and left wall in order to provide with the best immersive video experience ever during the 5D Miracle Tour at the Hui Ten Bosch Theme Park in Nagasaki. I can’t wait to see what controls it all…….
If you’re in the business of projecting or displaying media for a living, you know the importance of calibrating your gear correctly. Many times you’ll run into displays not reacting quite as they should or having to explain to a client why something looks the way it does. Dr. Raymond Soneira of DisplayMate breaks down misinformation about displays,and specs. Never be fooled by LCD refresh rates, frame rates, or interlacing again! Check out these GREAT articles on response time and motion blur and also artifacts and image quality. All projection freaks need to know this stuff so read up! There will be a test and quiz later………
Let me state that this is NOT a paid plug….(although it would be nice) but be sure to check out all their display calibration software- indispensable!
From the folks at Barco- their OL-521 has won the prestigious Red Dot award. The OL-521 is an LED-lit, rear-projection display cube designed for fixed video wall installations in command centers and control rooms. The OL-521 is part of Barco’s LED video wall series launched in 2010, which tackles some of the biggest issues (e.g. screen size restrictions, color imbalances…) in video wall design today. These LED-lit video walls integrate cutting-edge DLP™ technology and a Barco designed projection engine for use in 24/7 mission-critical applications. They’re not just the coolest figuratively, they’re the coolest literally. This model is part of their liquid-cooled series and because of this, it’s the brightest display cube on the market without shortening the system’s lifetime. Additionally, by using mercury-free and energy-efficient LEDs, the OL produces less waste and allows recycling for future use as it comprises recyclable materials only. Check out the video on this page.
The OL-521 is the most space-saving display cube in Barco’s LED video wall offering. It’s a 50″ 4:3 with a depth of less than 45 cm (1.5 ft) and a weight of less than 44 kg (97 lbs), so the OL boasts significant fuel and cost savings during transport and installation. Barco’s OL is also available with front accessibility, which removes the need for a rear maintenance access, allowing a highly compact control room design. Furthermore, the OL display cubes can be stacked to a video wall of practically any size without sacrificing image quality or detail.
I need a couple for the mission-critical command center in the Projectionfreak HQ basement, except maybe I’ll go for the 70″ model.
The Butler Bulldogs are in the Final Four and we had public viewing party at historic Hinkle Fieldhouse. Watching a game in the Church of Basketball is one thing, but having 4 HD screens and 4,000 screaming fans is the next best thing. Now that they’ve made it into the Final, we have to set the whole thing up again.
On the personal wish list for the 2012 Tournament (when we get this far again) – live, building-sized projection mapping with VJ interactive visuals (from AntiVJ or perhaps Nuformer) on the roof of Hinkle. pleasepleasepleaseplease……
Live blog to happen during the game on Monday 9:30p EST. Gear list:
Two Christie HD12k’s, two Christie HD18k’s, ImagePro, Samsung terrestrial HD tuner, laptops, audio interface for a DJ, and four 12′x21′ RP screens. All the graphics machines were DVI and the sat feed was HDMI from an OTA tuner. All signal to the PJ’s HD-SDI. Check out the result:
Vistasystems bills the Vista Spyder as “the world’s most versatile video processor”. The Spyder has gained notoriety because it was designed with a wide variety of users in mind, from the beginner to the seasoned pro. It is used heavily in broadcast studios as well as C&C centers. It is also used widely in live production, from corporate events to giant tours. There are basically 3 different versions- the Series 200, 300, and X20. Here’s a detailed explanation.
There is also the URS, a Universal Routing Switcher, which allows anything in (Composite to 4k) and anything out (to any of 8 user configurable outputs). Here’s the info, as well as a great mouse-over explanation. This unit does exactly what it says- universally routes and switches, which means you can get rid of external scalers, transcoders, and scan-converters.
Here at Projectionfreak, we were early adopters of this technology. It’s now come into it’s own and is quite popular. With the advent of higher-end home theater installs as well as industrials, tours, and museum/corporate installs, we’ve all seen the need for getting signal to far away places. The thing is, it’s not only for distance. With tour budgets tightening and space/weight at a premium, structured cabling has definitely solved a lot of problems. But what is it all about? Let me just start by saying that this area of the signal transmission industry is HUGE. From manufacturers of cable all the way to people that wire their own home theaters and “swear this will work”, the opinions and info will vary greatly. Your individual project will have unique requirements and you should weigh all the options before purchasing or trying to rig up a system. Keep in mind too, that different cable/balun combos will be able to transmit higher resolutions different distances- so again check the spec! We’ll cover the raw basics:
Well this is easy. I need 2 or 3 of these (model CP-4230, please), one for the man-cave, one for the upstairs media room, and one for the stadium gig- because 4k at 32,000 lumens is just enough. Here’s Christie’s info. Help send a deserving Projectionfreak to Cinemacon in Vegas this year. I’ll need to leave tomorrow.
Green Hippo, the folks behind the Hippotizer HD, debuted their latest device- the Grasshopper, at the TMB booth at USITT last week. The Grasshopper is the solution for those that need a single output of HD with 8 media layers in an affordable package. It shares a lot of the software features of it’s larger cousin, the Hippotizer HD, and can be operated as a standalone video player running Videomapper or as part of an Uberpan rig. It can be used to drive any projection or data-display rig you can come up with. I need 10 or so…
From the folks over at Digital Projection U.S.- this great display of animation on the side of their building in Atlanta. They used the Lightning 45 1080p, a behemoth projector capable of 30,000 lumens. The content was served up from Integrated Visions Productions.
And on the heels of the last video from http://www.engineerguy.com explaining
LCD technology, we get this from our friends at Texas Instruments, the folks that hold the patent and are largely responsible for inventing and propagating the DLP chip. And for those of you who don’t like video (hard to believe there are any of you if you’re reading this) here’s a great printable article.
Part II of our review of software-based Projection control we visit Qlab, from Figure 53. Qlab is a powerful cue editor and playback app for Mac that offers a wealth of features for the designer. It is primarily a “built” editor, that is, all of the main features are already assembled in an easy-to-use interface, whereas some others in this blog series are “build-as-you-go”. The interface and workspace is clean and… (more…)
Just used the Barco DP2K-20c to screen Kevin Smith’s Red State and both the film and the projector were OUTSTANDING! The great film aside, the Barco is a true big gun. It outputs a whopping 18,500 lumens on 3 x .98″ DMDs and the picture quality was STELLAR. The native resolution is 2048×1080 and it’ll do cinema flat (1998×1080) on which the movie was shot. It’s a big pig weighing 225 lbs and it can put out some heat (note the stove-pipe heat vent). The content was served up by the Doremi DCP-2000 which is quite a machine. It’s a hard drive based cinema server that will do 2d and 3d playback at 2k and 4k resolutions. It’s a whole different post for all the details on this device, suffice to say it performed flawlessly.
Kevin hung around and did a Q&A session for like 2 1/2 hours so it was fantastic to hear the genesis of the film and some behind-the-art shop talk. Word is it’ll be out in October- GO SEE THIS FILM.
What exactly is â€œdigital lightingâ€?
OK, so it’s not technically projection but read on:
A loooong time ago, â€™96 or â€™97….I laid eyes on the venerable Icon M.Â The worldâ€™s first â€œdigitalâ€ light. It used a 1200w MSR lamp in conjunction with a DMD chip and had digital â€œgobosâ€ and a pattern generator.
Here we are a scant 12 years later and already High End Systems is on itâ€™s 3rd version of the premier digital light, the DL-3.Â Besides being a marketing term, itâ€™s a whole class of lighting instruments that use video technology as the â€œlightâ€ source.Â Think of it as a moving light with a projector inside instead of a traditional light source like arc or Tungsten.Â In fact, thatâ€™s exactly what that type of instrument is- a moving projector.Â There is another technology from High End Systems called the Arenaview Orbital Head that is literally a servo-driven mirror head that bolts on to the front of a projector, effectively turning it into a â€œmoving lightâ€.Â First things first- the all-in-one units: