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!
I’ve been a Clancy fan from the beginnings of Rainbow Six to the latest release of Splinter Cell- even going so far as to join gaming ladders and lose myself in FPS overload. So I was absolutely giddy when I saw the latest press from Leviathan. Looks like Touchdesigner was the weapon of choice for the mockups and playback…read on:
From our friends to the North:
CHICAGO – Aug. 27, 2013 – The principals of the award-winning Leviathan creative studio are very proud to showcase their artistry for Ubisoft(R) Entertainment at this year’s Electronic Entertainment Expo (E3) trade show. At its global press conference streamed live worldwide this past June, Ubisoft dramatically announced the forthcoming release of the next blockbuster title in the critically acclaimed Tom Clancy franchise. That title, Tom Clancy’s Splinter Cell Blacklist, was released last week in the U.S. and Europe. (more…)
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.
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!
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:
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…..
AntiVJ has once again conquered a major projection mapping on a very unique structure. Paleodictyon is shot onto the curved exterior of architect Shigeru Ban’s the Centre Pompidou Metz, France. “(The piece is) loosely inspired by the work and research of deep-sea expert Peter A. Rona, (and) abolishes notions of scale by contrasting micro-architecture with human construction. Fascinated by the marks left by unknown creatures called Paleodictyon Nodosum, he offers the hypothesis that these hexagonal structures are designed in order to cultivate bacteria. A modern day Captain Nemo, Peter A. Rona wanders relentlessly across the seabed looking to discover (more…)
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!
London UK based projection artist Ross Ashton, returned to Gateshead’s Saltwell Park for the Enchanted Parks 2012 event, with a beautifully imaginative large format show “Glass House” celebrating the work of Victorian stained glass artist, William Wailes. The six and a half minute piece was projected on to the front face of Saltwell Towers, Wailes’ magnificent former home in the grounds of the Park, and ran every evening for the duration of the after dark experience. It was accompanied by a soundscape created by Karen Monid and the whole work was designed from the start as an integral visual and audio narrative.
A single PIGI 6Kw projector with a double rotating scroller was used to project the images, fitted with a 25cm lens and located 35 metres away producing a 20 metre wide picture.
Challenging environmental conditions included temperatures down to -5ºC and 15 cm of snow on the ground, making it a tough working environment, but also added to the magic and ephemeral nature of the installation once up and running – which looked stunning! (ED.- Doing projection of any kind in weather like this is always a challenge often requiring special boxes to house the units in. Even with the incredible heat they put off, temps have to be stabilized across the whole piece…)
“Glass House” juxtaposed the chemical reactions involved in the process of making stained glass against those of the Great Fire of Gateshead, which ripped through the heart of the city in 1854. The fire, though destructive, was followed by the rebuilding and regeneration of the city. Ashton and Monid’s collaborative works are renowned for fusing specific themes and local history relevant to individual buildings with fabulously accessible and entertaining results. Ashton commissioned locally based photographer Shaun Thubron to visit all the churches in the area which still have intact Wailes stained glass windows, including St Nicholas’ Cathedral, Newcastle and others, which he used as original materials for his PIGI artwork.
The audio script was derived from a number of mid 19th century resources including accounts of the Great Fire and printed documents from the 1851 Great Exhibition at Crystal Palace, which enthusiastically embraced Wailes’ work.
Extracts were chosen by Monid and read by a local community group, the Friends of Saltwell Park. These were additionally composed as multi-layered sound textures.
She also used multiple glass sounds and tones – both musically and as effects – including a rendition of local folk song, ‘The Waters of Tyne’. The sound system comprised two KV2 EX12 speakers with playback via an Alesis HD24 hard drive, and all the original work was created and played back in stereo.
Ashton comments, “I was very proud to be involved in Enchanted Parks again this year, and very pleased with the results. The idea of bringing local history alive and reaching out to people in live installation like this is very exciting and rewarding”.
Enchanted Parks is organised by the Newcastle & Gateshead Initiative (NGI) and Magnetic Events.
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.
London (December 11, 2012) – Electrosonic is pleased to announce its acquisition of Global Immersion, a leader in the design and integration of high performance digital immersive theater attractions. Global Immersion will continue to serve the planetarium, institutional theater and giant screen markets.
The acquisition, completed on December 10, 2012, positions Electrosonic as the only company to offer digital immersive solutions across the theme park, museum, giant screen cinema and planetarium markets.
“This is a significant strategic move for both companies, and I am excited by the prospects presented by the acquisition,” says Jim Bowie, President of Electrosonic Group. “As a single operation, we will service an even broader range of markets, bringing further innovation and an expanded offering to our customers. Our goal to attract and develop the best industry talent has been one of the drivers of the acquisition. Together we will lead by consolidating our strengths and delivering the best visual systems in the world.”
Founded in 2007, Global Immersion is renowned for its work with highly specialized and technically-complex digital immersive theaters. The company has won multiple project and business awards, and has established a solid base of digital immersive theater attractions worldwide. Its project portfolio includes the California Academy of Sciences, Adler Planetarium, Moscow Planetarium, Swedish Museum of Natural History, Peoria Riverfront Museum and Reuben H. Fleet Science Center.
Martin Howe, CEO of Global Immersion comments “I am delighted with this transaction with Electrosonic. It allows us to further expand our activities and develop our product and service offering, opening up new doors and bringing with it many synergies. The planetarium and giant screen markets are undergoing significant change as the digital revolution pace quickens. Electrosonic offers a range of benefits that our customers can immediately enjoy. Its international reach and broad technical expertise and capacity mean that we can more cost-effectively service a wider range of customers in more locations, while building upon our shared reputation for quality, performance and support.”
Here at Projectionfreak, we’re proud to have Electrosoniclamps.com as a sponsor! Check out their website by clicking on their advert over on the right for all your OEM and replacement lamp needs! If you think you might like to jump on the sponsorship bus, get in touch with Projectionfreak- admin(at)projectionfreak.com….
Well….The Venetian. In Las Vegas. But it looks like Venice, right? The Projection Studio is at it again with a winter wonderland being projected onto the facade of the Venetian Hotel in Las Vegas. Ross Ashton is no stranger to giant projection gigs, having accomplished some pretty amazing projects this past year. You can read more about them here or over at the Projection Studio’s website.
London, UK, based The Projection Studio – led by Ross Ashton – has delivered a spectacular and eye-catching new monumental video projection show to help celebrate the ‘Winter In Venice’ Festival at the world famous Venetian resort in Las Vegas.
Ashton has also created a series of works for a permanent video son et lumière extravaganza which was launched in summer and is being show nightly, year round. The colourful, vibrant giant images are projected on to a 25 x 25 metre canvass forming part of the Venetian’s frontage including a full scale replica of the famous Clock Tower from St Mark’s square in Venice. Ashton was initially asked by the Venetian to consult on the technical installation and produce all the projection artwork, after which he tendered and won the project having faced off some serious competition!
The newest ‘Winter In Venice’ video work is centered around Amadora, a character with roots deep in Italian folk lore, created by the Venetian as a key symbol for their 2012 Festival. In the projection show, she represents an anthropomorphisation of time – she is young at the start of the year and ages with the passing of time. Ashton developed this temporal idea and combined it with Vivaldi’s famous Four Seasons violin concertos as a starting point for his visual imagery, which follows the changing seasons of the year. It starts with the chilly ice of winter covering the building, which melts to reveal the flowers, positivity and energy of spring. For summer, viewers are transported to vivacious fields of blooming sunflowers, complete with a massive bee flying through, colliding with dandelions and pollinating them which then transitions into autumn. Grapes grow up the side of the building, mushrooms sprout and dance emphatically to the music and leaves swirl and jive around in a sea of movement, being buffeted by the seasonal breezes. These blast the action into winter, where the building ices up again … ready for the Festive season.
The five-minute piece is accompanied by a special re-worked version of The Four Seasons created by UK based sound artist, Karen Monid. She created one minute musical vignettes based on Vivaldi’s score, but very much in her own style.
A key reason that The Projection Studio was chosen to produce the series of visual shows is Aston’s reputation for pictorial storytelling with detailed historical references, which can really bring significance and relevance to any building or environment. The Venetian’s team wanted each show to have real depth and substance as well as being instantly accessible for the public. The resulting ‘live art’ phenomenon has been hugely successful at the Venetian with the initial three daily shows, and this has now continued with the special ‘Winter In Venice’ work. Says Ashton, “The challenge was to produce a unique and interesting narrative to engage onlookers in each case, which also required a distinctive Venetian feel, and had to be delivered to exceptionally high standards”. He has really enjoyed the experience, in the process adding The Venetian to a growing list of global landmarks to receive the Ashton projection art touch!
Ashton created all the storyboarding and worked alongside two other graphic designers – Nils Porrmann and Sang Gun Kim – on the imaging.
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
I thought I’d post a piece that was sent to me by John Ensor Parker, co curator of the incredible Codex Dynamic recently staged at the DUMBO Arts festival. Some technical details of “An Inquiring Age” will follow (this was a massive install made possible in part by Worldstage and Nationwide Video featuring the d3 media servers), but for now, just dig the video!
Christie officially launched its high-value premium digital cinema offering, the Christie Solaria One, aimed at emerging markets and community theaters whose screen sizes are less than 10.6 meters (35 feet) wide. The solution is DCI-compliant, having recently been fully certified for Digital Cinema Initiatives, LLC (DCI) compliance testing by AEGISOLVE, INC. Christie Solaria One is the first solution to begin shipping in quantity, based on Texas Instruments’ recently developed S2K DLP Cinema chipset.
The Solaria One will deliver fully DCI-compliant images at 8000 lumens within the DCI color space and, as the Christie Solaria One+, 10,000 lumens when presenting alternative content.
“The DCI-compliant Solaria One projector won kudos from customers across the globe in our product previews for its all-in-one design, as it ships with a zoom lens, a high-performance Xenon lamp, an Integrated Media Block (IMB) for playing high frame rate movies and Screen Management System (SMS) for controlling the system,” said Don Shaw, senior director, product management, Christie Entertainment Solutions.
“Exhibitors will also appreciate Christie Solaria One’s built-in dual DVI (HDMI) and network ports, rendering it capable of displaying virtually any form of alternative content. And customers should also note that they are not locked into a projector-based, proprietary storage system; we strongly believe that mechanical hard drive platters should not coexist within the projector chassis and that such systems featured in competing solutions are a failure waiting to happen. DCI-compliant, robust, external storage systems based on the very latest commercial RAID5 technology are available through Christie sales representatives for use with Solaria One.”
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…)
London- UK based Projection artist Ross Ashton was commissioned by Dartmouth College in Hanover, New Hampshire to produce an exclusive Son et Lumière show celebrating the 50th anniversary of its high profile Hopkins Centre for the Arts. The show ‘Five Windows’ was based around stunning large format projections highlighting the history, achievements and impact of the Hopkins Centre, which also houses the Ivy League College’s drama, music, film and studio arts departments. Giant images were projected on to the magnificent front façade of the Hopkins Centre, which was designed by architect Wallace Harrison and opened in 1962.
The College approached Ashton who has completed several prestigious projected art installations in the US within the last three years.
He comments, “It was an amazing opportunity to work with one of the most prominent educational institutions in the USA. The building is architecturally exciting, and compiling the storyboard and artwork was very interesting”. Ashton took a brief from the College’s Organising Committee who discussed what they wanted, and a student committee was also invited to present ideas that could be included. From there, he originated the concept for the 13 minute work. There was a historical and a future section to the show, together with a special dance piece devised by students and videoed against a green screen, from which elements were edited and integrated into the projection sequence. “It was really important to make it an all-inclusive piece and to emphasise the hugely diverse traditional and contemporary performance programmes for which the Hopkins Centre is renowned, as well as the reputation of Dartmouth as a liberal arts university,” explains Ashton, who knew from experience that dance as a medium “Would transpose very dynamically onto the front of the building”.
Ashton completed the story and script-writing in London, while Projection Studio’s Sang Gun Kim produced the motion graphics with some input from Ashton and Steve Larkins. Ashton asked UK-based sound artist Howie Saunders – whose cinematic credits include The Matrix – on-board to compose a special sound-track. This featured recording from the first events at the Hopkins Centre including readings by poet Robert Frost.
The front of the Hopkins Centre features several enormous arched windows, each of which were covered with bespoke Spandex shades made for the occasion by Rosebrand, and attached via magnetic strips to the steel window frames. The projection equipment was two Christie HD18 projectors, overlaid and located in a special hide positioned 17.5 metres from the front of the building. They were fitted with wide-angle short-throw lenses and supplied by New York based Atomic Professional Audio, co-ordinated by Dan Ostroff. Ashton worked closely on site with Hopkins Centre Production Manager Todd Campbell, audio technician Doug Phoenix and video tech Will Cleveland and they also hired carpenter Donald Winams. The Watchout show control system was programmed by Karen Monid. The big technical challenge was lining up the projectors across the Hopkins Centre façade’s different depths, which vary by up to about 5 metres … however some great teamwork resulted in a unique and memorable event to celebrate the landmark achievement.
DUMBO Arts Fest 2012 kicked into high gear with the side and underside of the Manhattan Bridge projectionmapped with “Codex Dynamic”, a work curated by Leo Kuelbs and John Ensor Parker. Two site-specific, large-scale, mapped projections rotated with a selection of single-channel video artworks by internationally renowned video artists. The exhibition seeks to conjure artistic inquiry relating to the subjectivity of space, time and the effect they have on our perceived reality. The DUMBO Arts Festival is a three day celebration of arts, music, and performance that takes place “Down Under the Manhattan Bridge Overpasses” every year with world-renowned artists displaying everything from painting to video to dance and music.
Of course, we’re particular to the video aspect (more…)
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
It looks like Moment Factory’s gig in Spain this weekend was a big hit. Check out the video and some stills they were kind enough to send over.
French Canadian visual studio Moment Factory have been invited to create a multimedia show of architectural video mapping that will illuminate the Sagrada Familia In Barcelona, September 21 to 23 during the Mercè Festival. As with almost all of Moment Factory’s high-profile projects, it’s pretty mum on the details as of yet….but look for more details after the opening. Anybody who reads Projectionfreak with any regularity knows I’m a bit of an architecture freak as well, so I always get excited when someone gets to perform their magic on a great building.
The as-yet-unfinished Sagrada Familia basilica is considered to be Antoni Gaudi’s greatest work- a building that transcends Gothic architecture. It’s groundbreaking was in 1882 and it’s expected completion date is somewhere around 2026. A spec like that is amazing by itself, but the structure is incredible. The folks at Moment Factory get to do some crazy high-profile gigs- Madonna’s Superbowl Halftime, Celine Dion, Cirque…..but I have to think a project like projectionmapping the Sagrada Familia has to be more exciting than all those combined. Here’s an exclusive interview from our friends over at Philips.
From their press release:
The latest architectural mapping technology will be used to tell a story of rebirth and hope, projected on the basilica’s richly ornamented Nativity façade.
Ode à la vie (Ode to Life) is a poetic vision of the creation of the universe, inspired by original colour sketches by Gaudi as well as the words of the architect, for whom colour was the essence of life. The result is a 15-minute tribute to one of the world’s most venerated churches. Moment Factory’s team has created a living fresco made of colour, light and sound. Among other things, spectators will see trompe-l’oeil effects, statues in metamorphosis, natural-texture effects on the stone, highlights on the stained-glass windows and lighting effects on the four spires of the Basilica. The soundtrack is by Anthony Rozankovic (acts 1 to 5) and Misteur Valaire (acts 6 and 7). Its style: classical, with electronic and modern touches.
A creative and technological challenge
Moment Factory’s previous work includes multimedia projects involving architectural projections on a variety of surfaces: the façade of the Parliament Buildings in Ottawa, ruins of early Montreal at Pointe-à-Callière and, more recently, the façade of Boardwalk Hall in Atlantic City. Of course, the Sagrada Familia’s Nativity façade is much more detailed and thus more complex to map. We had to be extremely precise in the mapping and find the right visual tricks to arrive at an impressive effect. We will use our X-Agora software platform to control the show’s sound, light and video elements.
Tech specs look relatively simple:
-The new deadline for entries is 12 o’clock (noon) September 24, 2012.
-Entries must be made to fit the ‘Template’ provided by the organizers, entries using templates other than the one provided will be rejected automatically.
-The ‘Template’ consisting of three parts of the building should be interpreted and treated as ONE PROJECTION SURFACE.
-DO NOT alter the size, place, resolution, etc. of the ‘Template’.
-The contour lines shown on the ‘Template’ are there to show the edges, these CONTOUR LINES DO NOT HAVE TO BE INCLUDED in the work submitted.
-The photo taken in daylight is to help contestants make the video, to show them the design pattern and details of the façade, but when making the video contestants should keep in mind that it will be projected at night! The architectural features of the building are to be incorporated in the design!
-The plants that can be seen in the ‘Supplementary photograph’ taken in daylight, which serves to aid contestants, can be considered when making the creative content, but due to seasonal changes in foliage, we suggest that you do not use them.
-The ‘Template’ and the ‘Supplementary photograph’ can be downloaded from ‘Downloads’ at paintup.visualpower.hu
1920×700 pixel, 25 FPS, Quick Time, codec: Photo JPEG, quality: 95%, The video material must contain the audio.
Entries can be made using 2D and 3D animation, film, video and/or computer or any other techniques.
The music genre of your choice.
The entries will be projected using a Hippotizer HD V3 media server, Vista Spyder video processor, 6 super bright (2×20 000 Ansi Lumens + 2x2x15 000 Ansi Lumens) DLP projectors at the event.
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.
Well I finally had a chance to see Amon Tobin’s iconic ISAM 2.0 show in Chicago at the Congress Theatre last weekend. I had to restrain myself from just jumping in at FOH and bugging anybody about the setup, but there were two pairs of what looked like Barco FLM-HD20′s and Peter Sistrom’s control bridge. Behind all that was the excited crew from Leviathan. The visuals from V Squared Labs and Leviathan didn’t disappoint and the Congress’ killer Nexo line array thumped with authority. I wanted to hang around after the show to chat up the crew, but since I get to Chi-town once in a blue moon, I left to go hang with some close friends. Plus, Amon didn’t take the stage until fairly late- and I’m old. Kidding.
It’s hard to explain what I saw exactly. There’s a lot going on and one only needs to see some footage to really understand….which, by the way, you can do here:
This is a behind-the-scenes look at the process behind creating the visual work for “Wooden Toy”. Check this great article over at Spinner.com, too.
All in all, it was a fun time. I rarely get to actually attend a concert unless I’m working it, so it was a treat to see. Hats off to the whole crew that put their efforts into this one-of-a-kind event.