Posts tagged “projection

NYX Visuals Tofidi #1

Madmapper, Modul8, Ableton Live, and a weird snakey-looking sculpture make for a fascinating mapping from French artists NYX Visual Label. I love that most of their projects include some kind of really interesting sculpture….especially this one carved out of what appears to be some kind of foam. Check out another post on NYX HERE.

TOFIDI #1 from NYX Visual Label on Vimeo.


Visuals and Production by :
NYX VISUAL
Artistic Direction by :
MASOMENOS
Video by :
Manon GICQUEL

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Angelsign Studio for Bridgestone Tiremapping

Well OK. We’ve had helicopters, trucks, all manner of cars, even lawn ornaments- now tires! Check out this projectionmapping of a Bridgestone tire done by Angelsign Studios of Milan. Angelsign had a hand in the Hugo Boss/McLaren projectionmapping for Roberto Fazio last year.

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Christie Ups the Ante at 72,000 lumens

CD_laserdemo

Brighter…must…get….brighter…..
And the jokes about the solar system wanting the Sun back will start rolling in any minute now….
I still want to see a photo, but 72k is pretty damn bright. At some point, there’s got to be a rule about one source being that bright…what if it failed? I know that two 35k Roadies doesn’t technically equal 70k brightness, but I think I’d want an online backup just for peace-of-mind. Still, you have to hand it to Christie Digital for advancing our little corner of technology. What’s the next threshold?

Christie®, a global leader in cinema projection, fascinated leading exhibitors from Asia Pacific with a demonstration of its prototype laser projector in Beijing today. Short movie clips of 3D content projected on a 20-meter wide by 12-meter high screen were screened at typical 3D brightness levels of 3-4 ft-L and then using the laser projector at 14 ft-L at the theater of Wanda Shi Jin Shan Cinema, leaving the audiences in awe.

“Today’s laser projection demo was fabulous! I’m impressed with the ultra brightness and life-like colors delivered onto the screen,” said Ning Ye, General Manager of Wanda Group.

“Christie is committed to creating new technology and maintaining our products at a high quality. We are continuously developing solutions to help exhibitors to project compelling, immersive images to their screens. Today we are pleased to demonstrate our first prototype laser projector to the exhibitors,” said Lin Yu, vice president, Christie Asia Pacific.

Presenting at the laser demo event, Dr. Don Shaw, senior director, Product Management, Christie Entertainment Solutions, noted, “Audiences deserve to see the brightest 3D with 14 ft-L on cinema screens. Our demonstration today showed just how truly spectacular a movie maker’s vision can be realized when shown at the highest light levels, making the shared experience more immersive, and, ultimately, driving more cinema ticket sales.”

Dr. Shaw continued, “Some attendees leave 3D movies complaining of headaches, fatigue, and sore eyes. Just like reading a book in low light levels, low brightness on the movie screen is one of the reasons for these complaints. Delivering more lumens to the screen will help address these effects, as will the advent of ‘eye-easy’ high frame rate (HFR) movies.”

Commenting on the laser projector, Dr. Shaw said, “There’s half-a-dozen different ‘forks in the road’ decisions that have to be made when designing a laser-projection system and most manufacturers will take different paths.” He noted that Christie customers have come to expect the best in technology and service from the world’s largest supplier of DLP Cinema® projectors, operating for more than 80 years.

Dr. Shaw also shared with the exhibitors information on Christie IMB, an integrated media block solution that seamlessly converts and delivers feature-film and alternative content within a secure environment to all of Christie’s 2K and 4K, DCI-compliant Solaria® Series 2 projectors. Following his presentation, the audiences were treated to a demo of Christie IMB showcasing MPEG2 contents.

Christie hosted its first laser projector demo for cinema industry luminaries such as Douglas Trumbull, recent Gordon E. Sawyer Academy Award winner, at its High Frame Rate Summit in April 2012.

At IBC 2012 in Amsterdam in September, Christie gained recognition for the world’s first laser projection of Hugo 3D, a feature-length 3D movie projected at 2D brightness levels. Hugo 3D is the first CPG (Cameron Pace Group) certified movie.

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

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The Projection Studio’s ‘Five Windows’

Projection Studio Hopkins Centre Dartmouth College HOP Robert Frost040

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.

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Electrosonic Expands Online Projector Lamp Sales

London (23 October, 2012) – Electrosonic’s projector lamp website www.ElectrosonicLamps.com, which was launched last year as an efficient, hassle-free way to buy projector lamps, can now service customers in the UK and throughout Europe. In addition to US dollars, the website now supports the Euro, the British Pound Sterling and the Swedish Krona.

Visitors to the website can browse the largest and most comprehensive inventory of original equipment manufacturer lamps (OEM). Also available are high quality OEM equivalent lamps for xenon and UHP projectors at savings of up to 50%. The “Sapphire” xenon projector lamps are made in Japan and designed to meet or exceed OEM quality and specifications. The “Diamond” UHP lamps utilize OEM bulbs and offer a 120 day warranty.

Electrosonic’s volume buying power and knowledge of the lamp businesses allows the company to procure lamps through many different channels, ensuring the best prices are passed on to its customers. Volume buyers can achieve special account status, which is reflected in the pricing they see online. Special discounts are also available for education, government, entertainment and corporate buyers who join Electrosonic’s buying group for their sector.

Electrosonic’s lamp customers receive a 30-day satisfaction guarantee and an enhanced 90-day warranty on their lamp purchases. For complete peace of mind, Electrosonic offers its exclusive Lamp Replacement Program. The program eliminates the hassle of procuring, storing and purchasing projector lamps. The program is fully customizable and offers installation and calibration services, and guaranteed availability.

“The new lamp website offers our clients a quick, efficient and cost-effective way to source new projector lamps for their business,” commented Sarah Joyce, Electrosonic’s VP EMEA. “This new service expands upon our existing portfolio of service solutions across the EMEA region, providing our clients with a comprehensive audio-visual service”.

Electrosonic’s lamp sales and technical support team is based out of London, UK, Stockholm, Sweden, and Minneapolis, USA. Electrosonic also has a large network of audio-visual service support staff throughout the US and Europe. They are available to provide local support and can also provide projector calibration and lamp installation services.

Beyond projector lamp sales, ElectrosonicLamps.com provides information on a wide range of Electrosonic service solutions, including priority maintenance and support, and on-site staffing.

Electrosonic’s lamp customers can ship their used lamps to Electrosonic for free lamp recycling and disposal. Lamps containing hazardous waste are recycled through a certified waste management company.

As customers in the UK and Europe will quickly discover, ElectrosonicLamps.com is the go-to destination for competitive pricing, quality customer service and the best inventory of OEM lamps.

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Sponsor Shout Out- Projectionadvertising.co.uk

You’ll notice a new ad over on the right. It’s from our friends at Projection Advertising in the UK and they need some people! The employment opportunities are as follows:

Senior Technical Producer
Senior 3D/VFX Artist
Video Technicians- both freelance and permanent
Interactive/Touchdesigner Developers

Positions are available immediately in London. If you are like a lot of folks, employment opportunities these days are something to jump at! So what are you waiting for? Get over to Projection Advertising and send them a resume (I’d do it myself, but the PF Headquarters are hopping and time is valuable….plus my work visa is expired…) – and good luck! I’ll keep posting every couple of days to let you know about this incredible opportunity.

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LDI Week

It’s LDI Week! I am supremely bummed out that I won’t be attending this year. All indicators pointed towards going, but alas, the vagaries of life intervened (money, kids, kids….did I mention kids?). While not projection oriented, LDI has morphed into the largest show of it’s kind and projection is quite dominant nowadays. It seems the lampies have ‘seen the light’- way back when someone suggested ‘it’ll all be video one day’…..well, the rest is history. Every major manufacturer has a presence and there are a TON of projection-related classes, seminars, certification trainings, and general jaw-dropping displays of projection wonder……plus it’s in Vegas! Since it’s LDI week, that means the LD will be away and guess who gets to play squint for the next week-and-a-half? You guessed it. Me. Projectionfreak will be ‘EverythingElectricFreak’. Having been in the ranks for quite a few years before jumping ship to video, I actually kind of like being an LD (if only for a little while). You really do have to think a LOT about a LOT. Projection has almost become too easy in some respects and having to wrangle a piece-meal, older lighting rig in a 50-year-old theatre has it’s challenges!

-Look for new products from Analog Way- the Pulse PLS300, Pulse is a 10-input multi-layer hi-resolution mixer/seamless switcher and dual scaler that is suitable for large-screen applications. The unit is capable of displaying up to two live sources, with many live effects including keying and PIP animation. Inputs include two DVI, six universal analog, and two 3G/HD/SD-SDI for SDTV, EDTV, HDTV, and computer formats up to 2K, with full digital in/out processing. Outputs include two analog and digital (main and preview) for computer formats up to 2K, RGBHV, DVI, and HDTV. Having just reviewed an Analog Way switcher, this looks promising! My review of the Eikos will be up on the site this week! Keep an eye out for it…..

-From our good friends at d3 Technologies, The d3 technologies’ d3 integrated production toolkit for video production professionals is now available in a new version, R10. This new release contains all-new projection simulation tools. Auto-calibration headlines these with reduction (up to 75%) in projection setup time and higher accuracy. Keystoning and manual warping are eliminated, allowing much larger projection setups in shorter time frames. Other new features include: Luma and Chroma Key, 8K content, 1080p capture, OSC/DMX/Art-Net input, new visual effects, KiNet support, and increased third party equipment support. I have d3 Designer and as soon as I can fully grasp it’s ridiculous power, I might do a write-up on it……

-From Green Hippo, Version 3.2 of Geen Hippo’s Hippotizer brings improvement to the functionality and user-interface of the media servers. A new Interlayer Crossfade Engine allows for timed or auto crossfading between media or parameters on any layer. Preview of “next media clip” simplifies cueing. The Region Mapper enhances point-and-click functionality, with the ability to create 3D objects without point dragging. Additional features include MA Net2 implementation, Genlock HD with monitor preview, timecode control of media layers without timelines, WatchFolders, direct peer-to-peer uploading, and simultaneous syntax creation and media labeling while copying directly into Media Bank and position. The Advanced Preset Manager allows creation of presets internally and recall without external control source, while MultiSelect allows control of any number of layers at once.

-From coolux, Pandoras Box Version 5.3 media system from coolux delivers media control, playback, warping, blending, show control, interaction, broadcast multi-track audio, and media storage across a wide range of solutions. The ability to absolutely synchronize and composite in realtime large numbers of video, live inputs, and media assets onto any shape screen or surface, with complete control of all parameters from almost any interface allows for screens and surfaces of any size, stationary or moving. This show control solution interfaces to almost any external system via coolux Widget Designer PRO, DMX, SMPTE, TCP/UDP, MIDI Show, WiFi, iPad, iPhone, Web Control, MIDI, projectors, or LED. The latest Pandoras Box version also features the new uncompressed playback SSD Editions.

-From Gerriets, XL Front is a front-projection surface from Gerriets available in extremely large dimensions with no seams. It would be possible to have a seamless screen 328′ wide by 14’8″ high. An opaque backing makes the projection screen suitable for situations where it is essential to have no light bleed-through. Designed for video and HDTV format applications, it is also appropriate for theatre, studio, trade shows, and events. It is also available as XL Rear projection screen.

-From Arkaos, The ArKaos Stage Server, distributed by A.C. Lighting, offers two full HD outputs combined with the ArKaos engine to produce smooth visuals that can be programmed and played from any DMX lighting console. Engineered to ensure rugged reliability and designed for quick setup, the server ships with MediaMaster Express and a library of high-quality digital media from some of the world’s best visual content providers. The fast recovery system by Acronis allows for reset of the server from the boot menu.

-Tait Technologies, Tait developed the Pixel Tablet to form the backbone of landscape video. It is a 3″x3″ RGB unit (135mmx135mm) weighing less than 1.1 lb (.5 kg), and each unit can be handheld by members of the audience, placed in holders adaptable to any environment, or mounted on a netting system to allow coverage of any landscape or architectural façade. Tait recently manufactured 70,500 Pixel Tablets for London 2012 Opening and Closing Ceremonies, where the tablets were placed in holders on every seat in the Olympic stadium, allowing the entire stadium to become the world’s largest video screen to date, while incorporating the audience into the screen and the show itself. The units are CE- and EMC-compliant and IP65-rated.

And there’s a boatload more…..make sure to visit LDIShow.com to see the craziness….there’s going to be a lot of info coming out of this show so stay tuned!

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The xx Gets XL-ent Gear

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”.

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Augmented Reality

Dane Luttik put out a really cool mini-documentary of sorts about projectionmapping, with quips from the likes of Jean-Michel Verbeeck, Joanie LeMercier, and Ilan Katin. Dig it!

Augmented Reality - Projection Mapping from Dane Luttik on Vimeo.

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ISAM 2.0 Wooden Toy

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.

Amon Tobin : Wooden Toy from Leviathan on Vimeo.

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.

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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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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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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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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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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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Leviathan Dart Case Study

Quality production of any kind, projectionmapping or not, always requires so much more than people think. This video is a great example of that. We ran a piece a while back on Leviathan’s Dodge Dart campaign for Union Ad Works that showed a ridiculously cool projectionmapping featuring the once-lowly auto. The Dart was reborn onto a sleek, mesmerizing projected soundstage complete with rich colors, 3d backgrounds, and zooming landscapes. This video gives a bit of a peek behind the scenes into what it took to pull off a well done piece of work- great camera work, Touchdesigner, and Panasonic projectors…..what more could you want?

Make sure to stay tuned for some coverage of the upcoming Amon Tobin ISAM tour, which has been redesigned and reworked with help from the experts at Leviathan.

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MeshWarpServer- My New Favorite Toy….

My Dad was an architect. Well, first he was a draftsman, then an architect. When I was a kid, I used to hang out in my Dad’s office on the weekends (he pretty much worked ALL the time)….but I remember very clearly playing with all the models that were there. They had every imaginable scale of every kind of building- little cars, little people, tiny shrubs, fake grass, miniature trees. Combine this with all kinds of architectural drawing gadgets, erasers, and pens of every hue, and you had a little kid’s dream world…or a parent’s nightmare….

So it was with great pleasure that I came across this video of Martin Fröhlich’s MeshWarpServer that shows projectionmapping in a whole new way. Well, you should watch the video first then read on….

So for all of you that want to absorb the technical details, the following video really goes into depth. MeshWarpServer is powerful stuff. There are many features beyond just mapping, as you’ll soon see:

I plan on overdosing on MWS and doing a full write-up…(just as soon as I get time), but I seem to have inherited my Dad’s work addiction. Make sure to check it out and give it a test drive!

Plus it’s just fun to say “Meshwarpserver….Meshwarpserver…

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Projections of the Imagination in Wagner’s Flying Dutchman

A powerful new production of Wagner’s The Flying Dutchman by English National Opera (ENO) has opened in London with projection design by Nina Dunn of creative agency Knifedge.

Running at The Coliseum until 23 May 2012, ENO’s new production of Wagner’s early opera is directed by Jonathan Kent and designed by Paul Brown.

Knifedge’s video projections play an important narrative role throughout the production, revealing the tale of the The Dutchman to be a recurring figment of the main character’s imagination.

In a dramatic overture, the audience sees a child in bed at the heart of a dark and wild storm, surrounded by the crashing waves of the storybook she clutches. This sets up the director’s concept of the progression from a child’s reality through a woman’s fantasy to a final obsession.


In creating her projections, Dunn worked closely with lighting designer Mark Henderson to achieve the right balance of intensity, colour and mood.

From a technical perspective, the kit consisted of 6 Panasonic projectors, 12 on-stage video monitors, 3 Catalyst Media servers and a Hog lighting desk.

Nina Dunn, Video & Projection Designer at Knifedge, comments: “One of the challenges I faced was keeping pace with the Orchestra. With the complicated content sequences, it’s all about hitting certain cue points so that music and imagery are symbiotic. But such was the energy that Conductor Ed Gardner invested into the music for this production, I had to rework several of my original sequences to keep pace.”

Knifedge is one of the UK’s leading projection design companies, serving corporate, broadcast, sports, music and charity markets as well as the arts. Other recent theatrical productions have included The Phantom of the Opera Tour, Pippin, AIDA, Backbeat, Emperor & Galilean and Cleopatra.

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Christie and RealD Debut Brightest 3D Dual PJ System- CinemaCon

CinemaCON is in full-swing right now in Vegas (oh man I wish I were there….) and some big headlines are starting to come out. Here’s one from our friends up North:

CINEMACON/LAS VEGAS – (April 24, 2012) – Christie Duo™ combined with the new RealD XL-DP Cinema System today to project Warner Bros. Pictures’ “Sneak Peek” of The Hobbit in 3D, presented at High Frame Rates (HFR) of 48 frames per second, achieving an unprecedented combination of uniformity and brightness. Christie, a global visual technology company, and RealD, a leading global licensor of 3D technologies, powered today’s major studio presentation in the Colosseum at Caesars Palace.

In the setup for this presentation, projection engineers calibrated the system using brightness measurements taken towards the edges of the screen, rather than at the center. The abundance of light available allowed the center brightness to be reduced considerably and still provided luminance measurements in excess of six foot lamberts (ft-L) across the better part of this massive 70-foot-wide screen. By combining the Christie Duo and the RealD XL-DP 3D Cinema System, exhibitors can actually achieve double the light output over the previous leading large format solutions, and at a significant overall value during regular, commercial movie showings.

“With the new RealD XL-DP Cinema System, there is a technical solution for achieving 3D brightness at 2D light levels on some of the largest movie theater screens in the world,” says Rod Archer, vice-president of Cinema Products, RealD. “RealD technology delivers twice the light of other 3D providers, allowing premium large format screens to demonstrate the true potential of digital 3D cinema with a lifelike and immersive 3D presentation without compromising brightness.”

Says Don Shaw, senior director, Christie’s Entertainment Solutions product management group: “Although it may seem too good to be true, the incredible experience delivered today by RealD and Christie was achieved on a silver screen, using Christie’s Pureformity Color™ Technology to ‘control’ the center brightness, allowing us to obtain the most uniform image possible across this large screen. Standard Christie Solaria® projectors, the Christie Duo integration kit and the RealD XL-DP Cinema System combined to achieve this industry first, which will present a compelling alternative to the more costly, but half as bright, offering from the current large-format market leader.”

The RealD XL-DP Cinema System is a pair of matched left and right eye polarizing filters featuring the patented XL light recovery technology. This Cinema System is designed for use on dual DLP projector installations on large screens, usually over 65 feet in width (20 meters). Early users of this combination of the XL-DP Cinema System and dual DLP projectors report 3D presentation brightness at 2D light levels on screens as large as 92 feet (28 meters).

Christie Duo and Christie Pureformity Color™ Technology Immerse Audiences in the Movies
Introduced in February, the Christie Duo is a new dual–projector integration kit intended to give exhibitors the ability to create and deliver their own, branded premium theater experience. The Christie Duo™ integration kit can be used with either 2K or 4K Christie Solaria® Series digital cinema projectors, purchased with new projectors or purchased as a standalone integration kit for Christie customers who already have Christie projectors. Christie Solaria® Series digital cinema projectors are the world’s best-selling, DCI-compliant digital cinema projectors, with close to 30,000 shipped and installed to date.

The integration kit features the choice of two configurations: a compact and convenient stacking system for 3D installations, or a new, innovative physical configuration that perfectly aligns every pixel on the screen for optimal 2D and 3D presentations. Coupled with automated features that easily calibrate, align and optimize the images from both Christie Solaria® Series 2K or 4K digital cinema projectors, Christie Duo delivers a completely seamless, premium movie experience for the world’s largest screens.

Pureformity Color™ Technology – a contraction of the words Pure and Uniformity – aptly describes Christie’s innovative ability to achieve optimal image color and brightness uniformity. While every Christie projector is built to exact DCI standards, every projection system has inherent color and brightness uniformity variations across the screen, especially towards the left and right hand edges. These effects can sometimes be exacerbated by certain screen materials and auditorium lighting conditions. Christie’s Pureformity Color™ Technology provides an unprecedented level of field optimization for these issues so that image quality perfection can easily be achieved across the whole screen.

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Nuit Sonores from AntiVJ

An oldie but a goodie. From Romain Tardy and AntiVJ (with Yannick Jacquet (legoman), Olivier Ratsi, Joanie Lemercier) comes Nuits Sonores, stage design and VJing for the Nuit Sonores Festival in Lyon France, 2009.

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Electrosonic at NHM Los Angeles

When I was a kid, my elementary school used to take “field trips” to the NHM in Los Angeles, and I looooved the dinosaur and prehistoric section…..so it was nice to see that they’ve revamped the whole thing with the help of Electrosonic:

Los Angeles 18 April, 2012) – Visitors to the Dinosaur Hall in the Natural History Museum of Los Angeles County experience the wonder of the prehistoric creatures in a totally new way with innovative exhibits featuring audio-visual systems provided by Electrosonic.

Twice the size of the old galleries, the recently-opened 14,000 square-foot Dinosaur Hall displays specimens – including the world’s only T. rex growth series of baby, juvenile and adult skeletons – mounted on unique platforms and preserved and articulated using modern methods. The skylit L-shaped Hall is flooded with natural light; a glass-sided mezzanine runs along the short side of the L where additional wall-mounted exhibits reveal more about the amazing creatures and show what it’s like (more…)

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Mapping Festival 2012 Lineup announced

Below you’ll find the complete lineup (so far) of the Mapping Festival, being held in Geneva May 10th-20th. Of particular note is Joanie LeMercier’s Eyjafjallajokull and Aleksandra Dulic’s In a Thousand Drops… Refracted Glances. If you’re anywhere near Geneva around that time- by all means go see these projects!

EXHIBITION
@ Le Commun – Bâtiment d’art contemporain (BAC) /// from 10 to 20/05
Preview: 10/05

Pascal Dufaux (CA) Déjà vu
Joanie Lemercier (AntiVJ/FR) Eyjafjallajokull
Daniel Canogar (ES) Scanner
Aleksandra Dulic (CA) In a Thousand Drops… Refracted Glances
Frederik De Wilde (BE) UMwelt-VIRUtopia
Danny Perreault (CA) Flow

ARCHITECTURAL MAPPING
@ Musée d’art et d’histoire /// 19/05
Bordos.ArtWorks and Invited Artists (HU)
Apparati Effimeri (IT)

AUDIOVISUAL PERFORMANCES
@ Théâtre du Galpon /// Fonderie Kugler /// Cinéma Spoutnik /// Théâtre de l’Usine
Insectotropics (ES) La Caputxeta Galàctica
Insanë (CA/CH) Dieu est un DJ- 1st representation
Sculpture (UK) Unstable Modular Collage
Casper Electronics (US)
Tasman Richardson (CA)
Chloé Tallot + Arnout Hulskamp (FR/NL) Red bus
Yilab (TW) Loop Me
RYBN (FR) ADM7:FLASHCRASH – 1st representation
Michael Vorfeld (DE) Light bulb music
TVestroy (CA)

FLEETING INSTALLATION
Cie Nejma & A-li-ce (FR) La Baraque Foraine 6.1

VISUAL-AUDIO CLUBBING
@ Zoo /// La Gravière /// La Fonderie Kugler
Discodeine (Kill the DJ/FR)
Remain (Meant Records/FR)
Vosper (Meant Records/CA)
El Hijo De La Cumbia (AR)
Nekochan (FR)
Label Commercial Suicide Party (UK)
Ras Mali (CH)
Tempo Moderno (BR/IT) Discotecario Doca et Actaruss1
RomBeads (K.O.E/CH)
Monkey Freakz (CH)
Dirty Mad Sound vs The Hiiters (CH)

SECRET LABEL PARTY
@ Fonderie Kugler /// 12/05
The official launch of a brand new audiovisual label!
The best artists of the moment and long-time favorites of the Mapping Festival, all gathered around for a full day of lectures, performances, and of course party. A wild event, keep an eye on them…

WORKSHOPS
MadMapper (CH/FR)
TagTool (UK)

And as always, the VJ CONTEST
@ Cinéma Spoutnik /// 18-19/05

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It’s a Pirate’s Life for Me…..

I haven’t posted much in the last week because, quite frankly, I’ve been working my ass off. We were a bit shorthanded at the theatre and it ended up being a loooooong week. But I’ve slept since then and the gig this week is Pirates of the Caribbean- Curse of the Black Pearl…Live! Basically, we screen the film and the Indianapolis Symphony Orchestra plays the soundtrack. Ought to be easy right? Read on….. (more…)

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