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.
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.
Indiana University’s outstanding Opera department teamed up with the Indianapolis Opera to produce Philip Glass’ masterpiece “Akhnaten”, a first in many ways for opera in the midwest. It was the first time the collegiate program has staged a Glass opera, it was the first time a Glass opera has been seen in Indianapolis, and it was the first time I got to lay my hands on the venerable Barco FLM 22+. There’s an excellent article over at NUVO- worth a read…but I’ll focus mainly on the projection. I’m a huge Philip Glass fan (occasionally OD’ing on the Qatsi trilogy is a fave pastime) so I was stoked when I learned I would be the tip-of-the-spear for an actual production in the 30th anniversary year of the seminal work. For the last week I’ve been hunkered down at PFHQ breathing 98 degree air- sitting behind two of these behemoth DLP projectors. The rig was originally designed to have both projectors doing different things, but with the shot from our venue slightly (!) different than the original presenting venue, we decided to converge and let ‘em rip.
I know, you’ll all want to see gorgeous panoramic displays of the actual imagery, but all I had time for was the down-and-dirty tech porn. Sorry- you’ll just have to find it on Youtube. Playback was achieved with HogPC software on a laptop feeding Artnet to the PJ’s and to another machine (a beefy Dell Precision) running Arkaos MediaMaster Pro. Mike Schwandt was kind enough to cue the show with a Hog Playback wing, so the run was super easy and quite accurate. We shot about 120′ onto a tight-weave white scrim for an image roughly 50′w x 32′h. There were a few unique shapes…one was the scrim flown out to a trim of about 8′h x full width for a scrolling Book of the Dead. Another was an open, unfocused nebula during a Firefly effect that was quite pretty. All in all it was a piece of cake and the IU Opera was great to work with. Hope to do it again someday!
Stay tuned in May when the IO presents The Flying Dutchman, heavy on the projection!
As part of a wholesale technological overhaul in one of Europe’s most evocative museum spaces, projectiondesign has supplied 40 of its high-performance DLP® projectors to the Museo Nazionale del Cinema in Turin, Italy. The projectors were provided by and supported by Italian distribution partner, AGMULTIVISION and installed by Italian System Integrator OVRIT VIDEO. Image courtesy OVRIT Video
Housed inside the Mole Antonelliana, (more…)
The incredibly inventive folks over at White Kanga recently did this huge industrial for CTL Logistics. Utilizing eight 22k projectors and Touchdesigner, they transported the audience on an intergalactic themed presentation, and then fed live video of the entertainment into the animated video frames. These guys do some amazing work- make sure to check out their piece that appeared on PF previously… MPS v1.0
It’s a fact that LA has the craziest traffic on the planet outside of NYC. I used to commute to Hollywood on a daily basis from the San Gabriel Valley and I can tell you- it’s not a party…at least not a party that’s fun to attend. Apart from the wackos and endless commuters, who takes care of the mundane? Which roads are open? Which ones are full of holes? Where is the traffic the worst? That job falls to Caltrans- and it’s not an easy one. So I was fascinated to see the following press release from our friends at Electrosonic about upgrading the District 7 Command Center video wall.
When Caltrans District 7 began the first phase of a multi-phase AV system upgrade at its Los Angeles facility, it contracted with Electrosonic to create a brighter, more reliable video wall for traffic monitoring that takes advantage of the latest in projection technology.
“Caltrans District 7 has more than 400 cameras on the highways of Los Angeles and Ventura counties,” says Electrosonic project manager Guy Fronte. “They can review camera feeds 24/7 in the facility and when there’s a traffic event – road damage or an accident – they can magnify that feed on the videowall. The videowall is integral to 24-hour traffic management.”
The existing videowall comprises a 12-screen center unit in a 4×3 configuration flanked by a pair of 6-screen 3×2 units. The giant wall features 80-inch diagonal screens in the center and 52-inch screens on the sides.
The standard format of the wall has single-camera feeds (more…)
TED talks are all the rage- and this one made my Monday! John Ensor Parker is a projection artist who recently did CODEX Dynamic at the DUMBO Artsfest. His work is pretty fascinating and this video gives just a little glimpse into the process behind making a large-scale work like CODEX happen. Yeah, yeah…we all know it takes servers and projectors and lots of cable- but John emphasizes the importance of knowing where our medium came from….we owe a lot to the past. Check out the article previously on PF HERE. Many thanks John!
Finally a review that I should’ve thought of. I don’t care about lumens, features, resolutions, lamp life, blahblahblah….I want to know if I can drive my truck over your projector! A couple of things strike me about this video. One- that DPI has a 20k that is small enough to drive over, and two- the International Sales and Marketing for DP drives the same truck as I do! Woo-hoo! When DPI sends me a unit to test, I too can drive over it with complete confidence. It’s no secret that we’re big DPI fans here at Projectionfreak. I use two of their Lightning 35hd’s all the time and they are outstanding. DPI is stepping up their rental and staging projectors with the Titan Super Quad 20k. It’s got 4 UHP lamps that can theoretically pull 8,000 hours of service, dual DVI, 3g-SDI, and HDMI 1.4 inputs, multimode warp and edge-blend, and an intelligent lens mount that can memorize positioning from .67 to 11.2:1. And it weighs just under 40kg so with the combined rigging frame it’s a cinch to fly two! Check out the RavePubs product video from ISE 2013 after you watch them try to crush it:
I thought this was a pretty unique way of ending a news year. Most of the time we’re treated to the same old ‘one-shot’ style story or a list of some sort….but projectionmapping is far cooler! Plus- who can’t resist a decent time-lapse? Juanjo Fernandez and his cohorts used a single 20k DPI to shoot this, although they said they’d rather have had 3 (who wouldn’t?)…real-world budgets- ugh.
Juanjo Fernandez of Gnomalab used Millumin to map it, along with:
Oscar Teston (Creator of VjSpain community) in art direction.
Rafel Gallego as Producer.
La bocina with the sound.
Romera diseño e Infografia, with the visual content, 3D and 2D.
all imagery courtesy/copyright Gnomalab
SOTA Creative drives game changing experience for Subaru Australia.
Following product supply challenges that resulted from the tragic Japanese earthquake and tsunami, Subaru Australia needed a game changing communication experience to re-motivate their Dealer Network and Launch two new models. As long term experiential agency for Subaru Australia, the team at SOTA conceived and produced a one-off experience incorporating a “Virtual Drive”, where all 240 people in the audience became passengers in a unique 360 degree cinematic creation. On over 125 metres of continuous screen, a Full High Definition projection system took our audience on a drive through some of Australia’s iconic landscape and environments.
SOTA Creative conceived and produced two major 360 degree cinematic experiences, one each for the reveals of the Impreza and the XV, plus continually changing 360 degree visual effects for environment design and speaker support for the duration of the evening. The images were created and edited to be delivered at Full High Definition (22,000 pixels wide and 1080 pixels high). The virtual drive experience was shot using a purpose built 9 camera rig which was mounted on a custom-fitted Film vehicle. Post production was done both in Los Angeles and Sydney and converted by SOTA to be projected through 12 Christie Projectors (HD-10k) and a Dataton Watchout Control system. Haycom provided the Christies and the staging/rigging.
all imagery courtesy/copyright SOTA Creative
After a worldwide search, SOTA Creative sourced a Los Angeles based camera system and rig capable of delivering 22,000 pixel width 360 degree images, developed a post production process to deliver the finished programs to a Watchout controlled system and then to 12 matched Christie projectors. Social Animal used the incredible SA360 rig to deliver the goods. (Make sure to check out their site for some cool interactive loops and extra footage- and some pretty amazing case studies).The continuous audience surround screen surface was a challenge in itself, needing to be floor to ceiling, while allowing “openings” for audience arrival, F&B service and the revealing of Vehicles and Entertainment. The LA team from Social Animal came to Australia for literally a 3 day shoot. We also used a still shoot of the interior of the car to produce the interior of the car and then this was added as the foreground of the video. We then had the challenge of doing rescaling up to 22,00 pixel width and had to crop it to our Aspect Ratio requirements and cut it up to suit the 12 Christie projectors (12 movies playing together using the ‘Watch out System”. And before all of this could happen we had to produce the foreground plate with the ‘interior of the car’. We produced this as a 22,000 pixels wide by 1080 high all played in full high definition. The end result was projection 106 metres around all the audience. Notice, also that the ‘rear view mirror’ had the same image as the ‘rear window’.
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.
Celebrate the holidays the Seeper way! The BBC invited the nation to celebrate the start of its 2012 Christmas Lights in a techno-driven finale at the closing of the One Show Live on BBC one. Clips taken from popular BBC programmes such as Strictly Come Dancing and Doctor Who were reworked by seeper into a two- minute, three-dimensional BBC Christmas experience to kick- start the festive celebrations in a way not seen before. “Growing up in the UK the BBC has always been central to Christmas for me”, said seeper’s founder, Evan Grant. “It’s a pleasure to use such an iconic building as our canvas. This is a great opportunity to celebrate Christmas the seeper way.
They used five of the Barco HDQ-2K 40, Barco’s giant 3D-capable projector in a specially built FOH rig to blast through the infamous London fog. Units supplied by XL Video, natch. XL recently invested heavily in Barco’s latest super high brightness projectors and these were no doubt part of that batch. The proprietary “SeeperServer” was used for playback of media.
Seeper has done some pretty outstanding gigs in the last year, and you can read more here. By all means, have a look at their website- as well as their Vimeo channel. And for some great info on their process (as well as projectionmapping in general) check out this slide deck.
I came across a really great looking mapping project from Dub Video Connection recently. They are a multidisciplinary studio, based in Lisbon, Portugal, dedicated to multimedia arts and interactivities, since 1997. They are committed to develop ideas and projects in Film Direction and Production, Graphic and Motion Design, Visual Identities for artists and festivals, Video Mapping and 3D Visuals, Interactve Systems, Technical Implementation and Visuals Creation and Performance. Dub Video Connection uses its skills, allied with the most recent technology, to blend visual narratives and visual identities and bring them to the most demanding audiences.
DVC explains about the piece, Panoramic Room 2, “In this project we used two Panasonic DS100 projectors, 10k therefore, as you can see on the video.
For the playback we used Dataton Watchout and connected to another computer for the live drawing there was a member of the team drawing with total freedom using Alchemy over the whole projection. We can say that the biggest input on “hardware” was in fact the black tape on the wall, which gave to the image that amazing contrast that we can find in the medieval stained glass. Every line and surface was mapped and operated during the show, an audiovisual experience, with sound design and music to involve the audience in that specific environment (rain, birds, lightnings, etc). This live performance wasn’t a finished product, and in this very next weekend we’ll have a another one in the same place with the same environment, but with inputs, new visuals, contents and some narrative. This project was definitely implicated in the specific architecture of that space (House of Music, by dutch architect Rem Koolhaas). This project was created as an hostage of that space, as an experimental and paisagistic approach inviting everyone to sit down and enjoy the imaginary and surrealistic transfiguration of the room.”
Love the taped outlines!
A technician sent me a link to this beautiful corporate gig for Orange done by ETC Audiovisuel. Utilizing ETC’s proprietary “Onlyview” software, they were able to do it with with a whopping 26 Christie 20k’s!
Client : Orange
Agency : Havas Event
Art Direction : Superbien
Sceneography : Vincent Coutelin
Production : Fighting Fish
Projection : ETC Audiovisuel
Music : StartRec
A little projection pr0n from a recent gig. It was for Intergalactic Nemesis, a ‘live’ comic book, where the action gets played out by performers in front of the screen. In this case, a Da-lite 28′ RP surface, with two Digital Projection Lightning 35hd’s. I also used a Barco ImagePro for processing and a shameless plug for Coolux test patterns. Happy Friday!
For all my friends in the Netherlands….Dataton is running a one-day Watchout Academy event at Projectiondesign HQ. It’s free, free, free! Head HERE to register
The WATCHOUT Academy is a one-day seminar designed to take you through the key features in award-winning WATCHOUT multi-display production and playback software.
The event kicks off with basic skills before moving on to a more advanced level, and the latest features in WATCHOUT. The Academy is run by members of the WATCHOUT team from Dataton HQ in Sweden and AVtrade, the WATCHOUT Premium Partner in the Netherlands, all with many years of WATCHOUT experience. There will be a Q&A session at the end of the day.
Whether you’re an old hand at WATCHOUT or new to the system, we look forward to seeing you at the WATCHOUT Academy.
Important: Training sessions are free, but participants must pre-register below as seating is strictly limited.
Place: Projectiondesign office, De Boelelaan 28,1083 HJ Amsterdam, Netherlands. Click for map.
Dates: November 28 or December 12
Edge-blending just became obsolete. Well, at least SOME edge-blending that is. Projectiondesign just released the F35 Panorama, a projector with a 21:9 aspect ratio. Funny, because just today I was looking at an ad for a 21:9 monitor and it seemed strange to me that you wouldn’t just use two monitors, given that monitors are pretty cheap and most graphics cards can handle it anyway…..but this- this is just crazy when you think about it. It’s still a single chip DLP, but up to 7k! Now if they can work this into the F85 series…..or if I can just upgrade my Optoma in the basement….
A unique projector designed for advanced meeting rooms and collaborative spaces in which users are sharing a variety of graphical image content both locally and remotely, the F35 panorama boasts an exceptionally wide image aspect ratio of 21:9 or 2.37:1. In an office environment with an average ceiling height, this enables images as wide as 4m (13’) to be created without the need for edge-blending the output of two separate projectors.
Furthermore, the F35 panorama’s flexible input configuration means that it can project simultaneous side-by-side images from two separate high-resolution sources, fill an entire screen from a single source, or simply set up a video conference call next to a computer presentation.
Anders Løkke, Marketing Director, projectiondesign, comments: “We have introduced the F35 panorama to address (more…)
Giant projection specialists Urbanscreen came to Rice University to produce the 100th Anniversary spectacle that would be splashed across 3 buildings on campus. From Mike Williams Media Relations , Rice University:
Thorsten Bauer went straight for the heart, rather than the intellect, of Rice University. So when he saw the Spectacle writ large for the first time, even the German artist shed a tear.
“We wanted to make it an experience for the audience,” he said. “It’s not as much about teaching them as it is about touching them.” Video after the jump….
As creative director and co-founder of URBANSCREEN, Bauer led the artists and technicians from Bremen, Germany, who designed the light and sound show that brought Lovett, Sewall and Herzstein Halls, the cornerstones of the university’s Academic Quadrangle, to stunning life for a series of performances during Rice’s Centennial Celebration.
Thousands experienced the awe-inspiring performance over three perfect autumn evenings inside the quad – and outside. One viewer tweeted about seeing a few seconds of the Spectacle from the air: “Even from 15,000 ft. we can tell we missed something special.”
The URBANSCREEN team flew to Rice, its first American client, charged with creating an event (more…)
Enabling future upgrades and custom configuration of projection and visual display systems whilst at the same time optimising current investments in projection, projectiondesign®’s new X-PORT™ modular based front and back-end connectivity extensions offer great new connectivity and image processing options. The new X-PORT modules are designed for use with the new F35, FL35 and F85 series projectors using projectiondesign’s Magnesium electronics platform. Whilst the F35 and FL35 series X-PORT modules are available for purchase now, the F85 series X-PORT module will ship in December 2012. X-PORT is a small and unique module based extension that enables easy connectivity to and from current and future formats, as well as supplemental image processing. The discrete devices (more…)
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.
XL Video is supplying a high power projection system and Green Hippo Hippotizer i7 HD media servers for uber cool Mercury prize winning UK indie band The xx, who are currently in the middle of an 18 month world tour having just released their second album, Coexist. The highly innovative projection-based visual design was originated by Tobias G Randler, and then modified on the road by lighting director and lighting/video operator Michael Straun. The design has evolved and grown, and currently five projectors are being utilised in total. Two Barco FLM22 22K projectors are positioned at FOH, and separately either projected across a white backdrop or carefully masked and beamed onto the band members, or as the set reaches its climactic conclusion, onto an imposing 12 x 12 ft three dimensional transparent X which is revealed for the final three numbers. The Perspex X is also filled with smoke at certain times to produce an opaque surface adding another dimension for the projection.
The other three FLM 22s are fitted with short throw lenses and positioned onstage directly behind each band member and project straight out into the house.
More recently, the design has undergone a further evolution by incoming show director Willo Perron of WP & A, which has seen the addition of 48 Stealth LED panels mounted directly onto the back of the X, fed by another Hippotizer also supplied by XL. The Hippo server system is run in the UK and Europe by John Montague, and Projection is looked after by Bjorn Parry. The four Hippotizers – three active and a hot backup – are triggered via Michael Straun’s Avolites Tiger Touch console – and are also re-programmed ‘live’ during the show, allowing Straun to feel the emotion and mood of the performance and audience and react accordingly.
The Hippotizer i7s were a new investment by XL for the tour – supplied by A.C. Entertainment Technologies – and were selected mainly for their Live Mask function, which allows very quick, accurate Alpha Masks to be drawn onto the output of both the Layers and the Mask Outputs. Much of the show is about video being used as a highly dynamic lightsource for creating moods and atmosphere, silhouetting the band, or capturing them starkly in the projector beam paths with undulating multicolour gobo-like effects and beautifully fluid, subtle laseresque moments.
There are occasional snippets of more traditional projection techniques with liquid and oil type effects bursting out and filling the backdrop. Once revealed, the X comes alive with meticulously masked projections from the front projectors and ‘internal’ effects radiating out from the Stealth LED behind, all resulting in a very unique energy and intimacy, connecting with the audience and drawing them into the action. XL’s Project Manager Paul Wood says, “It is a pleasure working with artists and a creative team who are prepared to take some creative risks and producing something that’s very stimulating and eXciting”.
Who doesn’t love trains and transport museums? I thought so. No one.
We go to a lot of ‘kid-centric’ venues for entertainment (obviously- with our kids). But like any concert or theatre show I attend, I’m drawn in to the details of production. Museums and the like are pretty much the incubators for ‘multi-media’ as it were so there are no shortages of projectors and display devices- right down to the signage. So I got a thrill when I read about the London Transport Museum’s use of projection…. and their weapon of choice? Norway’s projectiondesign of course. They are celebrating 5 years of constant use. 5 years! Projectiondesign’s projectors are renowned for their utility when it comes to permanent and semi-permanent installs, as thoroughly featured by the following:
From the press release:
Situated in Covent Garden Market, London’s most frequented tourist hot spot, the London Transport Museum utilises projectiondesign F3+ and F1+ series projectors throughout the museum’s exhibit areas to tell the story of transport within London. The projection system was installed and maintained by global systems integrator, Electrosonic in 2007 and has been working non-stop ever since. “In 1933, Chief Executive, Frank Pick’s mantra was ‘fitness for purpose’ and he believed that good design was essential. This principle applies to the design of technology in our gallery,” explains Rob Lansdown, Chief Projects and Infrastructure Officer at London Transport Museum. “We use projection to show how this unique design culture was developed across the company’s entire range, from vehicles and architecture to information signs and publicity. Our requirements in 2007 were for high-resolution projectors that would be stable over time as well as produce outstanding image quality in various ambient light levels and, which required minimum maintenance over the lifetime of the exhibit. We are very pleased with how well the projectors have performed.”
F1+ projectors are installed in a specially designed ceiling mount to project a massive 12-meter floor canvas. The exhibit takes advantage of projectiondesign’s high brightness, accurate colour capabilities and 24/7 failsafe operation. Visitors can see the collection of 5,000 posters and art collection for themselves as they walk through the exhibit. projectiondesign F3+ and F1+ series projectors are used to communicate the story of London in major exhibits such as Victorian transport, World’s first underground, Pioneer tube, Travel revolution, Growth of suburbia, London in the 1920s and 1930s, London transport at war, London Icons and Transport futures.
“Our museum has no moving parts, so through projection, we are able to visualise the scale, size and complexity of London’s transport,” adds Lansdown.
“The building is an English Heritage grade II listed former Victorian flower market, which relies on natural cooling and heating. As with all technology, heat is an issue for us, and Electronsonic designed specially mounted projection systems.”
Corporate Staging Resources recently did the Fusion-IO ION launch with non other than the Woz himself throwing the ‘Wozinator’ switch. The event was at the Yerba Buena Center for the Arts in San Francisco and the gear list is as follows:
6 Barco HD20
3 Coolux Pandoras Box Media Servers
Animations created in AfterEffects with a special guest appearance by Photoshop
Projection surface integrates existing architectural details with built scenic elements
Creative Director/Producer: Jeffrey Berke, Corporate Staging
Pandora Programming: Ben Ryle, DWP Live
Animation/FX: Doug Stringham, MediaGrabbers
Projection: Jerry “Yellow Fever” Popescu, Corporate Staging
Limelight is a collective that creates monumental projection works. They’ve been fortunate enough to be able to present their work all over the world, and this most recent work is a great example of their inspiration.
I posted about their work at the Sharjah Light festival earlier this year.