Posts tagged “High Res

BARTKRESA Designs Event for FOX Mundo

The big Christies patiently awaiting the call...

BARTKRESA designs for some of the premier events these days- including Christie’s much-talked-about booth at InfoCOMM 2012. Bart’s a huge Christie fan and you can see some of his featured work with Christie HERE. This one was for FOX Mundo’s event at Club Nokia.

Gear included two 35K Christie projectors with wide angle lenses
1 Barco DCS 200 switcher
4 watchout playback servers with 2 watchout control servers (A and B system)
power book 17″ with Modul8 software

The big Christies patiently awaiting the call...


The Dataton video servers had installed Intensity Pro HDMI capture cards that were used to capture 1080p HDMI signal coming from a laptop with Modul8.

A proper shout out goes to Billy Butchkavitz, event designer, for his work on the gig. “an amazing event designer- (he is) very creative and we love collaborating with him”. Check out this great article by Liese Gardner on BB’s previous work.

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projectiondesign F22 in World’s Largest Ship Sim

A while back I featured a story on the Swire Marine Training Center, which uses 24 projectiondesign F82′s, their flagship big-gun projector. This one though, uses a whopping 48 smaller projectors (projectiondesign’s F22) to simulate two 360 degree bridges. Farstad Shipping built the sims to train people on the massive rigs being deployed to support Australia’s natural gas boom. From projectionDesign’s website:

Farstad Shipping, the owner and operator of Offshore Simulator Center AS (OSC) of Ålesund, Norway, is a leading supplier of support and services to the international oil industry. The Perth project is the OSC’s most ambitious installation to date and was opened in December by the Norwegian Prime Minister, Jens Stoltenberg.

The offshore training simulator is the world’s largest of its kind, located in Perth, Australia. It is built to simulate two large, 360 degree bridges, using 48 of projectiondesign’s F22 wuxga DLP® projectors. The aim is to have the bridge personnel train to operate large-scale mechanical hardware, such as winches, by working together with other bridge personnel and rig cranes in a team effort, in an environment as close to a real life as possible.

The images were seamlessly blended together to produce a full 360-degree image that was some 7 meters high and 15 meters in diameter. The “half a teacup” shaped screen incorporates similar technology to that used in IMAX cinemas, and Joel A. Mills, the OSC design director, explains: “The visual simulation aspect of the system is fully integrated with the hardware on the ‘bridge’, which is all Rolls-Royce marine equipment and which behaves exactly as it would if you were really at sea. As soon as the simulation starts, you are convinced not only that you are surrounded by water but that the water is actually moving and that you are moving with it.” Mills continues; “a lot can happen when you are servicing an oil-rig in a remote, offshore location, especially if the weather is bad. So the simulator gives us the opportunity to re-create those adverse weather conditions. As the waves grow larger, the movement of the vessels within the 3D environment is mathematically and physically resolved so that their response is exactly as you would expect to find in the real world.”

The projectiondesign projectors were chosen due to OSC’s need for total consistency in terms of brightness, optics and colour matching, reflecting the mission-critical nature of their work. Joel A. Mills explains: “Rather than using a few large, powerful projectors, our requirement is for a large number of relatively small devices that can nonetheless deliver very high-performance imaging over a short throw distance. The F22 is perfect in this respect – bright, consistent, rugged and reliable.”

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Blackmagic Design Releases All Manner of Video Goodness-IBC 2012

It’s no secret I’m a huge Blackmagic Design fan. I use a ton of their gear…everything from mini-converters to monitors. They’ve released a bunch of new products that look promising at the recent IBC 2012, to wit:

UltraStudio 4K with Thunderbolt Technology:
Blackmagic Design today announced UltraStudio 4K, an attractively designed rack mount capture and playback device based on Thunderbolt™ technology developed by Intel® with collaboration from Apple®. UltraStudio 4K features full resolution 4K support, dual stream 3D capture/playback, 10bit hardware architecture, dual link 3 Gb/s SDI, support for up to 1080p60 in SDI,component analog and HDMI connections which support full SD, HD, and 4K , for only US$1,295.

UltraStudio 4K is a single rack unit design with a wide range of rear connectors. The front panel is a machined aluminum design that features an integrated color LCD as well as fast to use video and audio input buttons. UltraStudio 4K is attractive so it’s perfect for desktop as well as rack mount use. The power supply is built in so no need for an external plug pack, and the rear panel includes virtually every type of video and audio connection that exists using standard connectors. UltraStudio 4K can take advantage of long Thunderbolt cables that can be up to 30 meters away from the host computer.

Thunderbolt technology enables UltraStudio 4K to offer high enough (more…)

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ISAM 2.0

I know….yet another Amon Tobin plug- but this is only because I am excited beyond measure to be traveling to Chicago this weekend to see ISAM 2.0! I’ve heard all the hype, I’ve had friends that raved about it, and now I get to witness firsthand what Gizmodo calls “The Concert of the Future, Today”. Being that it’s in Chicago, I am hoping to run into the folks from Leviathan (one of the primary drivers behind the production) as well, so expect a full report. I promise no incriminating photos…..

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Insane Olympic Wire Cam

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I was a shooter long before I was a projectionist so watching the olympics takes on a whole different significance. I use a robotic camera system where I work and robocams have been a fascination of mine for years, starting with the venerable Sony EVI-D30. My current rig is 3 Vaddio HD19′s but they pale in comparison to some of the robotic/wire cam work of the London games. Watching women’s rowing the other day, I kept noticing the cut-away shot to the overhead camera. At first I thought maybe blimp or aerial cam, but on the dolly shot from shore it was clearly a wire cam. Then I looked at the length of the race- 2500m! What the hell kind of rigging would you need for over 2.5 kliks of distance on a wire cam????? Well- two x 95m high towers and 2500m of cable- that’s what. Pretty sure this is a record……


imagery courtesy Cam-Cat Systems

At the start, the camera which can rotate 360 degrees, is 85m above the athletes’ heads. At this level it can zoom in on four boats. As it follows the race it gradually drops closer to the water, hovering a mere 8m above the water at the 1,100m mark at its lowest point. Finally as the athletes are gasping at the finish line, the camera will zoom back to the start at 70km per hour for the next race. “The buzz of the overhead wire camera is going to put rowing into a completely different realm for showing our sport,” said David Tanner, Performance Director for British Rowing. Stefan Boisjoly, the broadcast venue manager at Eton Dorney, told the Washington Post: “To us, rowing is one of the most magnificent sports and the fact the lake is so long was a challenge,” “We always wanted to be able to show the full length of the lake. You can do it with a helicopter, you can do it with a blimp but our goal is to have something that is more flexible, that we can use race after race after race. The images coming out of there are just unreal. It is so beautiful.”
And the athletes agree. After been shown the shots that the camera produced during a training outing, Nathalie Dell of the USA women’s quadruple sculls said, “That’s so awesome!”
The camera was developed by Cam-Cat Systems to film a documentary on St. Stephen’s Cathedral in Vienna. The Austrian-based company quickly realised the potential of the technology for sport. The Cam-Cat system has been used to film ski jumping, Formula One racing, and in previous Olympic Games. There are five other systems in use for the London Olympics, including two in the main Olympic stadium, mountain biking, equestrian, white-water canoe and kayaking, and one across the River Thames.

The shots achieved by all the robo-cams, (and the real-life shooters) are nothing short of outstanding and I can give credit to them for making the Olympics watchable, despite NBC’s rather lame coverage and presentation.

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More Olympic Sized Projectionmapping

This time from the good folks at Klip Collective featuring Dr. Mojo of MojoVideoTech and Ryan Uzilevsky of Light Harvest. They got to hang in Boston and projection map, shoot, and generally wreck havoc on Beantown for the run up to the Olympic Opening Ceremonies. Looks like they got to use the killer water-jet technique made popular recently in a vid from KC and the Good Doctor for Nike’s Melo M8. Check out the custom projector mounts….especially the tripod-mounted 10k! I love the work these guys do and you can’t help but admire the craftsmanship.

From MVT’s website:
“To celebrate the 2012 Olympic Games, Procter & Gamble and Gillette staged a series of projected video displays on buildings throughout Boston. The series concluded with an event at Boston’s Institute of Contemporary Art which coincided with the Opening Ceremonies in London.


The ambitious video concepts and technical production were spearheaded by Philadelphia-based Klip Collective. The projector package at the museum event included two Christie HD+35Ks, six double stacked converged Barco FLM HD20Ks and featured two massive water vapor screens provided by Mirage Water Works, as well as projections on the museum’s facade. A Christie M-Series HD10K plus an additional Barco HD20K were used for the mobile locations. The challenge of video mapping with poor weather conditions and a tight production schedule was met by the highly skilled projection team which included KLIP’s Ric & Steve Rivera, Ryan Uzilevsky of Light Harvest Studios and MVT’s Doctor Mojo.”

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Christie at the Toronto Film Festival

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KITCHENER, Ont. – (July 25, 2012) – Christie®, a world leader in advanced cinema technologies, today announced its continued sponsorship of the Toronto International Film Festival® by providing multiple Christie Solaria™ Series digital cinema projectors.

Recognized around the world for presenting the best of international and Canadian cinema to film lovers, the Festival screens more than 300 films from 60+ countries during its 11-day program September 6-16, in addition to offering year-long programming. This year represents Christie’s 12th year as the official projection sponsor, supporting The Festival’s mission of transforming the way people see the world through film. In 2011, The Festival selected Christie’s industry-leading Christie Solaria 4K DLP Cinema® projector for screening filmmakers’ Ron Fricke’s and Mark Magidson’s 70mm movie Samsara – marking the first 4K screening at The Festival, while Francis Ford Coppola’s movie Twixt was shown in 3D on a Christie CP2230 4K-ready DLP Cinema® projector.

“The explosion of digital cinema technology has provided the industry with accessibility while meeting the rising demand of filmmakers around the world who want their films screened in the highest digital quality available,” said Diane Cappelletto, The Festival’s Director of Technical Production. Cappelleto adds: “Transforming many of our screens to digital format was made possible with the support of Christie, whose digital projectors are recognized worldwide for performance and reliability. We value Christie’s exceptional image quality and expert service to help make the Festival successful every year.”

“Throughout Christie’s long-standing partnership with The Festival, we have seen a growing use of digital projection technology for screenings. Last year, the sold-out documentary “Samsara” was screened in 4K,”said Kathryn Cress, vice president, Global and Corporate Marketing, Christie. “With its international flavor, The Festival truly transforms the way people see the world, and Christie is proud to support it as it transitions from what was once a film-only industry to one predominantly digital,” adds Cress.

Christie digital projectors are used by leading Festivals around the globe. This year, Christie renewed its official technical sponsorship of the Festival de Cannes for the next three years, a position it has held since 2006. In addition, Christie was the exclusive projection sponsor of the “Water for Elephants” screening at the opening gala of the 14th Shanghai International Film Festival last year. Today, Christie equipment is found in more than half of all digital projection rooms – about 33, 000 projectors in use.

Christie’s Commitment to HFR
The two main goals of Christie’s HFR activities are to help the industry develop the best HFR content and the best delivery system for HFR content. The first goal involves assisting leading-edge filmmakers and post-production companies in perfecting HFR movie creation, so the industry has the most engaging, entertaining content possible. The second goal is to assist exhibitors in showing these 3D HFR movies in all their glory. To these ends, Christie is helping create the standards for 3D HFR movies through formal and informal technology-development alliances with major producers and directors, post production facilities, studios and technology partners. On the exhibitor’s front, Christie provides one stop shopping for all the hardware, software and services that enable exhibitors to deliver a filmmaker’s vision in stunning 3D HFR quality. For more information visit http://www.higherframerates.com.

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Arkam.tv at Google I/O Interactive

Arkam.tv recently were involved in making the visuals for the after-hours party at Google I/O. Their overall size was 80′x20′, rear-projected. They also came up with a really inventive playback system using Android pads with Touchdesigner as the control, of course. There’ll be a write-up over at Derivative’s site soon so check there for more details.


Adam explains: “Falcon Northwest was nice enough to provide us with their newest micro tower build, The Tiki, for this project. It was running a NVidia GeForce GXT 680 which gave us an option for up to four outputs. The show’s output resolution was 2560×640 and we split that into two 1280×640 signals. Those signals were pumped out the two DVI outputs on the video card into a proprietary video mixing station from Riverview Systems. Once it entered their system they used some customized software to re-composite the two signals back together. Beyond that it was all in their hands and we didn’t have anything else to do with the signal. They were able to split the signal into three outputs that fed into corresponding projectors. (edit- looks like they used the Barco FLM 22). It was a rear projection set up. The full resolution of the combined projections was 4320×1080. The scaling on the projectors was so high quality and sharp that we decided to build our project at 2560×640 in order to maintain a high fps since our graphics were running in real-time.”

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Christie Digital Hosts High Frame Rate Expert Panel at SIGGRAPH 2012

CYPRESS, Calif. – (July 19, 2012) – As the Platinum Sponsor of SIGGRAPH 2012, Christie, the first in the world to publically demonstrate 3D High Frame Rate (HFR) projection technology using a single projector, is proud to host the SIGGRAPH HFR Panel, “High Frame Rate Cinema, Impacts on Art and Technology,” to be held Wednesday, August, 8 at 10:45 a.m., at the Los Angeles Convention Center, Hall K. The panel will feature 10 cinema industry leaders, led by Gordon E. Sawyer Academy Award winner Douglas Trumbull and Dennis Muren, Senior Visual Effects Supervisor at Industrial Light & Magic. It will be moderated by Paul Salvini, chief technology officer (CTO) of Christie. SIGGRAPH 2012 will be staged August 5 – 9.

Filmmaker and Visual Effects legend Douglas Trumbull’s photographic effects credits include groundbreaking films such as “2001: A Space Odyssey,” “Close Encounters of the Third Kind,” “Blade Runner,” and “The Tree of Life.” Douglas Trumbull pioneered work on High Frame Rate cinematography and projection with his Showscan process of 70mm film photographed and projected at 60 fps, and is now exploring 3D at 120 fps. Dennis Muren is the recipient of eight Academy Awards for Best Achievement in Visual Effects, with credits that include “Star Wars” and “Terminator 2: Judgment Day.”

“The SIGGRAPH HFR panel will explore the technology behind high-frame-rate cinema, and look at what it will mean to producers of content and to the audience experience,” noted Paul Salvini. “The panelists are pioneers in their fields, addressing the challenges of HFR across the entire workflow, to provide the post-production and visual effects communities with important guidance regarding the challenges and rewards of developing HFR content for the exhibition community.”

Additional panelists include:

· Jim Beshears, Head of Post-production at DreamWorks Animation SKG Inc., oversees all aspects of the studio’s self-contained editorial and post-production facilities. Jim has been instrumental in creating a solid support system capable of simultaneously managing multiple feature-length animated projects and multiple short projects.

· Matthew Cowan, co-founder of Entertainment Technology Consultants and currently Chief Scientific Officer at RealD, of California, developed RealD’s successful 3D cinema system and is respected in the post-production community for his knowledge and application of human perception to 3D systems, color, and transfer functions in digital cinema.

· Darin Grant, Chief Technology Officer, Digital Domain Media Group, is responsible for the overall technology strategy for the company and its many subsidiaries. He is the former head of production technology at DreamWorks Animation.

· John Helliker is Founder/Director of Sheridan College’s SIRT Centre, a research and training facility focused on digital workflow innovations including HFR and virtual production. Based at Pinewood Toronto Studios, SIRT’s leading edge work is based on a unique set of partnerships with major industry guilds and associations, individual companies, as well as government and academia.

· Luke Moore, Director of Special Projects at Canada’s Side Effects Software, in Toronto, is responsible for identifying and addressing the unique technical challenges faced by studios using the popular Houdini VFX and Animation software. Luke brings first-hand knowledge and anecdotes regarding challenges of managing large datasets necessary to enable higher temporal and physical resolution to meet the needs of new challenges in modern production environments.

· Phil Oatley is Head of Technology at New Zealand-based Park Road Post Production, where his visionary talents have guided the company through incredible growth, including establishing key partnerships to promote HFR research and development.

· Dr. Lincoln Wallen, Head of Research and Development at Dreamworks Animation, in California, and formerly CTO at Electronic Arts Mobile, where he was instrumental in shaping EA’s approach to the mobile business, creating a strong portfolio of mass market mobile games, as well as games delivering a next-generation consumer experience.

“As the first licensee to market digital cinema projection based on Texas Instruments’ revolutionary DLP Cinema® technology, Christie has remained an industry leader, helping the post-production and exhibition communities with the latest-generation products, service, and technical expertise,” noted Paul Salvini. “We are proud to moderate this panel, which brings together true industry visionaries to discuss HFR, the next phase of the digital cinema revolution.”

Salvini added: “Christie continues to forge alliances in Hollywood with powerful proponents of HFR such as James Cameron, as well as partnering with leading post-production facilities such as Park Road Post Production and Weta Digital Ltd., to ensure a seamless transition to HFR and a superior movie-viewing experience.”

Among the movies on the horizon to feature HFR is the sequel to James Cameron’s “Avatar,” as well as Peter Jackson’s “The Hobbit,“ both of which will also be presented in stereoscopic 3D.

Salvini noted that Christie recently affirmed its HFR leadership with the world’s first and only single-manufacturer DLP Cinema projector and Integrated Media Block (IMB) combination that meets the DCI specifications in both the 2K and 4K mode of operation. It’s the best combination for producing the brightest and sharpest image and the most reliable HFR solution.

“Christie has earned a solid reputation for accelerating innovations in digital projection technology that includes the first to market a fully stereoscopic 3D DLP projector, in addition to providing leadership in the development and implementation of visualization and immersive technologies,” said Salvini.

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Sensory Technology HD Touchscreen Overload

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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….
(more…)

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Scott Snibbe at LAX

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Scott Snibbe has gotten a lot of press lately and for good reason. He’s been in the interactive art scene for 20-something years and has collaborated with such celebrated innovators as Bjork, Brian Eno, and James Cameron. His latest work is called “Transit” and is one of 17 pieces running on a 58 back-to-back HD monitor ribbon overhead at the Tom Bradley International Terminal at LAX. In Scott’s words :”The 15-minute video features hundreds of pedestrians in silhouette who take part in a loose narrative grounded in their ceaseless movements left to right. Against this backdrop, travelers occasionally put down their bags and break into exuberant dance routines in styles that reflect L.A.’s diversity: from Hip-Hop to Salsa, Ballet, and Punk.

Midway through, the high-definition story shatters into abstracted fragments as multiple copies of travelers wipe forward across the screens; moon-walking travelers float backwards; crowds spew out from single travelers; and a Lady in Red appears who is ignored by them all. The project is a collaboration with Choreographer Francesca Penzani, and videographer Noah Cunningham. The California Institute of the Arts Center for Integrated Media offered substantial facilities and support for the project’s production.”

Here’s a piece from the good folks at the Creator’s Project that goes into detail about some of his innovative work:

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Moment Factory In-Depth with Super Bowl XLVI

Can’t get enough of the Super Bowl Halftime show? Thought so. Here’s a vid from media magnates Moment Factory going in-depth on the production behind the production. Incredible amount of detail and work! For other posts on this crazy event, check HERE.

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Sony SRX-R515 4K

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On the heels of Infocomm comes the announcement from Sony that they’ll release a new SRX-R515 4K:

Sony today announced it aims to make digital cinema available to all with the unveiling of its new SRX-R515 ultra high quality 4K digital cinema projection system, designed in particular for use in small or medium sized screen auditoria.

Key features beyond its superior 4K resolution, include an outstanding contrast ratio of over 5000:1 and the use of multiple High Pressure Mercury Lamps – a cinema industry first. All in all, the SRX-515 represents the next stage in the evolution of digital cinema, enabling smaller exhibitors to embrace the tangible benefits of digitisation and deliver a superior viewing experience for their visitors.

Smaller exhibitors will now be empowered to expand their current role to (more…)

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d3 at the Diamond Jubilee

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We see a lot of palaces getting projected onto these days, but when you get to project onto THE palace- Buckingham, that is, it’s a big deal. d3 Technologies was out in full force with Sam Pattinson (yes- of U2 and Elton John fame…) for the Diamond Jubilee last week and did a massive mapping onto the facade of Buckingham Palace as the highlight of the festivities. The event featured such celebrity acts as Kylie, Robbie Williams, Stevie Wonder, Sir Elton John, Madness and Sir Paul McCartney. A full detail of the event and breakdown of the gear is available at their website, but here’s an excerpt: (more…)

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Knifedge’s WNO Design of La Boheme

Nina Dunn is back in the Projectionfreak spotlight again, this time with a design for the Welsh National Opera’s production of La Boheme. Nina recently had a hand in the English National Opera’s ‘Flying Dutchman’ as well as ‘Aida’ at the Royal Albert Hall. From their press release:

Creative agency Knifedge hands WNO a “digital paintbrush” with consultancy, design & training

Welsh National Opera (WNO) raised the curtain on a new touring production of La bohème on the 1st of June, featuring projection design by Knifedge with a state of the art projection rig the creative agency has helped specify for the opera company.

Knifedge projection designer, Nina Dunn, and visual engineer, Sam Hunt, have spent the past year consulting with WNO to devise and commission the new projection system. The brief made it clear that the new system would need to be purchased on a finite investment budget, be suitable for touring shows and be, as far as possible, future-proofed. Whilst advising on the new rig, Dunn has also been working with La bohème director, Annabel Arden, and designer, Stephen Brimson-Lewis to design projections for Puccini’s spectacular opera, which will be the first production to showcase the system.

Billed as “the greatest love story ever sung” and set in Edwardian Paris, this production of La bohème demands sensitive projection designs that support the narrative and embellish the elegant simplicity of the set. Dunn worked closely with lighting designer, Tim Mitchell, during technical rehearsals to ensure that the projections work with the performance to enhance the audience experience.


From a technical perspective the new rig consists of 3 Panasonic PT-DW730 7,000 Lumen projectors with a range of lenses and a Catalyst rack with built-in backup system. Knifedge has also provided training, alongside chosen suppliers SSS and SNP, to ensure that the lighting crew will be able to use the system with confidence both at their home at Wales Millennium Centre as well as on an 8 week tour.

“This puts WNO at the forefront of a new flourishing era of digitally aided production design. As an agency, our focus is always to enhance a production, not to fragment it with projections that create a barrier between narratives, lighting and set design,” says Dunn. The new versatile projection system means that WNO can work with video projections in mind from the outset of a project without adding equipment costs to the touring production budget. This alongside the training makes it feel like we’re handing the company a digital paintbrush, which can be used to add a whole new dimension to the already well-conceived and highly acclaimed productions.”

Richard Norton, WNO Production Manager, says, “Working with Nina Dunn to source equipment and execute their design has been a smooth and hassle free process. Adding another layer of technology to our new production of La bohème could have made the Stage Rehearsals very stressful however Nina and Sam were self contained and worked around all the other Technical Departments. I think that we are all proud of what has been achieved. Collaboration has been the key. The results are outstanding.”

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Barco ImagePro II- Review

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The following appears in the current issue of PLSN Magazine, and many thanks go to the team there- Justin Lang and the entire editorial staff, the web folks, the sales team, and all the other fantastic writers. I couldn’t ask for a better team to work for (when I get the chance) and the quality of the mag is beyond great. Be sure to visit PLSN.com and subscribe! There is so much more with the electronic version as well. If you work in the Biz, than you need to read it. Simple as that. The current issue is chock full of articles from industry experts Nook Schoenfeld, Vickie Claiborne, and Brad Schiller, as well as some great pieces on portable power, the Clay Paky Alpha Spot QWO 800, a tribute to Chip Monck,…..just get there and read! (more…)

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Behind the Scenes with Senovva at UMF

We got a peek at a great mapping done by Senovva for Red bull at UMC a couple of weeks back, and here’s a look behind-the-scenes. They used 12 Barco FLM 20′s and a d3 rig from d3 Technologies. And you thought shooting the side of a building was easy, although the pros from Senovva and Integrated Visions make it look that way! Check IVP’s input for the RB event HERE.

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d3 Technologies Dreams Big…

Artisan, part of UVA, used d3 to map, simulate and output content onto sculptural LED tunnels for USA telecom company Sprint’s new cinema announcement. It’s a great peek into what it takes to shoot a quality product. David Bajt and Luke Malcolm give some insight into the process….and I guess since I’m a Sprint user- at least I know my money is going towards something a little more than person’s pocket. Plus- who doesn’t love the sight of a crazy-huge jib poking a room chock full of technology with a pricey camera on the end? Keep an eye out for the super-fine Barco NX series LED panels……Check out the “making of” video and their press release:

May 29, 2012 – If your phone could truly “sleep,” what would it dream? A new interactive on-screen cinema experience created by Sprint in partnership with “Team Sprint” encourages moviegoers to turn off their mobile device in exchange for a custom mobile phone “dream”. More than 1,000 NCM Movie Theaters will show the experience on nearly 18,000 screens as part of Sprint’s courtesy-message sponsorship that asks moviegoers to turn off their phones prior to the start of a movie. Artisan, the new sister division of UK based design company United Visual Artists, was taken on board (more…)

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Because you can never have enough Amon Tobin….

A whopping 30 minutes worth of AT in Austria via Electronic Beats! Enjoy!

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MIDASpaces presents CODES

From our colleagues at MIDASpaces comes a call for support. They are hoping to put together a new piece entitled CODES for the Absolut Fringe 2012. You’ll recall MIDASpaces from a previous post- the Dublin based collective now needs our help to fund their latest endeavor, CODES. Gifts for funding can be made at :fund:it.ie and there are a number of levels with corresponding gifts. Knowing the expense of our little corner of the arts world, I can appreciate their need for some decent funding. Let’s help them get off to a good start and see what comes out of it!

From their Fund It page:
“We are now looking to go beyond our initial prototype for a new unique, experimental and visceral visual performance piece entitled CODES as part of the ABSOLUT Fringe 2012. Working with the MIDASpaces team are choreographers Tom O’Donnell (as seen in the FUNDIT promo) and Emma O’Kane as well as dancers Roisin A. Laffan and Alina Ortenburger. Working collaboratively, CODES will challenge how far we can take digital augmentation within a dance and live music performance.

Combining light projection, interactive audio and visual design CODES is a groundbreaking performance to be presented this coming autumn but we need your support! Aside from the typical costs of creating a show, we require high powered projectors. various other pieces of technology (some bought, some made, some hacked together by our team), for rehearsals, to feed our wonderful dancers and to make the show happen! ”

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DPI updates LIGHTNING Pro Series….

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Digital Projection Inc. has updated the LIGHTNING Series, their brightest, most capable projectors, to include warp & blend, SDI input, and HFR 3D as standard features. I own two of the 35HD series and I can tell you- they rock!. They’re circa 2006 though so I wonder if they can update my oldies-but-goodies…..

Atlanta, GA (May 18,2012) – Digital Projection International (DPI), an Emmy® Award-winning manufacturer of high-performance projection systems, announces a major electronics update to their entire LIGHTNING series. The newly-named LIGHTNING Pro Series 3D platform enlists DPI’s latest NextGen electronics platform, delivering advanced image Warp and Blend capabilities, 3G-SDI input compatibility, high frame rate 3D functionality as a standard feature in all LIGHTNING displays, and a host of additional professional features to suit the world’s most demanding large-scale imaging applications. Delivering between 20,000 and 30,000 lumens, LIGHTNING Pro Series 3D projectors (more…)

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Amon Tobin’s Lost and Found

From the Rolling Stone site comes this clip of Amon Tobin’s Lost and Found. I don’t know whether to laugh or cry….it’s a beautiful thing. I’ll try to keep up with the tour by posting clips as they come. To be clear: Amon’s people have not contacted me, nor have Rolling Stone’s…well….nor have anyone else related to this tour…but it LOOKS GREAT. V Squared Labs, with Peter Sistrom at the digital helm, have outdone themselves this time around. This, I think, is what concerts will look like (and how they will be produced) in 20 years. If you’re in the Midwest and want to see this visual orgasm, here’s the closest they will come….

And from Thinktank Media comes the incredible packaging video for the ISAM box set.

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Barco’s Groundbreaking 4k Laser Projection at CinemaCON

I’m kicking myself for not making out to Vegas this past month for the Holy Grail of Projection- CinemaCON. While it has come and gone, all the big players in the industry flexed their collective projection super-powers and impressed the industry once again. HFR and laser seems to be where we’re headed and it figured big at Cinemacon. So of course- Barco threw their skin in the game:
Barco, the global digital cinema technology leader, impressed hundreds of attendees at this year’s CinemaCon, demonstrating ultra-bright 4K laser projection, a never-before-seen exhibition of High Frame Rate movie footage at 120 fps per eye, its premier 3D multi-channel cinema audio solution, and a stunning 3D projection mapping show on Caesars Palace. (more…)

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The Projection Studio Goes for a World Record

Ross Ashton’s Projection Studio went for yet another record-breaking project on the face of Buckingham Palace last week. Although kind of an obscure record, there’s nothing obscure about Ashton’s work. The ‘Face Britain’ project culminated in a mass projection on the front of the Palace featuring portraits of the Queen submitted by children. Creative Technology supplied 24 Barco and Panasonic 18k/20k projectors and the whole thing was run on a Dataton Watchout. From the Projection Studio’s website: (more…)

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