In the colours of the old-fashioned carnivale and traditional Dutch imagery, video projections rotate around the carousel. Sometimes they move exactly with the carousel, and sometimes they turn the other way around. With synchronised lights, smoke en sound effects this carousel becomes more than just a regular fairground attraction. A magical and spectacular image, in an experience for all ages.
Concept and video mapping by Beeldjutters.
Carousel by Camping De Lievelinge.
Red Paper Heart designed the interior of the Michigan Central Station to chronicle the life and culture in Detroit through imagery that moves off the screen, onto the grand arches, and ultimately culminate in a 65ft barrel vaulted ceiling. (Client: Ford, Agency: Civic)
Planet Triage is an immersive, projection mapping installation created by Cody Healey-Conelly at the Wageningen University artist in residency program in conjunction with its 100th year anniversary celebration. Using computer-generated imagery, projection, and sculpture, Planet Triage creates a space for dialogue between artists and scientists with the hope of inspiring new ideas and ways to counteract the impacts of climate change.
Cody used an Optoma HD142x, After Effects and Cinema 4D to bring the installation to life. He used a laser measurer to precisely position the projector and the sculptural elements. Additionally, guides were drawn on the sculpture to indicate where the pieces of the installation should lock together. MadMapper’s mesh warp was used to align the projection, and then to control and loop the final video playback.
The exhibition took place at the World Soil Museum at Wageningen University and Research from June 25-29.
Front Pictures‘ audition on America’s Got Talent 2018 consisted of performing a videomapping routine while detailing a story of a person who must escape a video game.
This year at Burning Man, artist Joe Crossley (Astral Projekt) will be producing and curating a collection of Human/ AI inspired media art pieces under the name IAMAI. The ethos is to create a ceremonial space where we can acknowledge and celebrate the declaration of co- existence between man and machine.
Artists from around the world are invited to submit media artworks to this theme to be displayed in a truly immersive setting at the foot of the man base this year.
Details on how you can be involved are below.
PROJECTOR LAYOUT: 6 x Projector 360 ̊ media surface (1920 x 1200 @ 15k Lumens Epson laser Projectors)
PROJECTION AREA: The Projection area will be a full 360 ̊ Wall intersected by two doorways (not show on output template).
OUTPUT FILE INFORMATION:
Green Areas denote the projection area, content falling outside these areas will be not visible. The grey area is the unused projector throw. The green areas will be stitched at both ends creating a full 360 degree surface. Animators should supply finished files with their camera angles included. Files will be played as received. Audio should be embedded in the video file, we wont be accepting files with detached audio unless pre arranged for a surround sound experience.
A father uses projectors to transform the view from the windows into a Jurassic wonderland, complete with interactive dinosaurs.
L’Atelier des Lumières, created by Culturespaces, is the first Digital Art Center in Paris for immersive exhibitions. The 16,000-square-foot venue, a 19th century disused foundry, received a complete make-over to allow the hosting of immersive digital art shows on a monumental scale. Its first exhibition is an immersive digital experience around Gustav Klimt’s work. It’s a stunning show bringing together monumental projection and music for a new artistic experience. Visitors are immersed in the work of the Austrian painter thanks to a massive AV set-up: more than 130 Barco PGWU-62 video-projectors were installed together with 35 Modulo Kinetic media servers by Modulo Pi.
Animated images of Klimt’s work are projected on the floor, walls and ceiling. Images flow in rhythm to the music and appear perfectly molded to Atelier’s architecture.
Faced with the technical challenge of equipping such a venue to achieve a 300 million pixels projection, Culturespaces and Cadmos, the integrator for the project, opted for the Modulo Pi system. Augustin de Cointet de Fillain, Multimedia Project Director at Culturespeaces, explains, “The exhibition is tailor made to the venue. It’s as much creation as it is staging, with a certain complexity due to the perspectives and different depth levels in the venue.”
To pursue its mission of bringing to the public a new way to discover art, Culturespaces is currently working on the launch of new immersive art exhibitions in the United States and Korea.
King Tut met 21st century design and technology at the California Science Center. Projection Designer Bart Kresa mapped the space shuttle Endeavor with images of King Tut’s spectacular golden sarcophagus for the Science Center’s recent Discovery Ball fundraiser.
Bart Kresa, who heads the international Bart Kresa Studio, transformed the space shuttle into the boy king’s tomb by projection mapping the fuselage and vertical tail with images of King Tut’s iconic jewel-encrusted sarcophagus. He also created 20 wall projections of scenes from the interior of the tomb. The shape of the space shuttle’s fuselage adapted well to the projection of King Tut’s sarcophagus; it appeared to levitate above the walls of the pavilion covered with vignettes of the tomb complete with projections of flickering torchlight.
Kresa designed two looks for the evening. “We started with a traditional warm, golden look then transitioned to the party with a cooler palette of blues and purples with a sparkling effect for dessert,” he explains. “We wanted to create a beautiful ambiance that didn’t take away from the gala experience.”
Kresa relied on WorldStage to supply the large complement of projectors required for the Discovery Ball as well as the digital routers, fiber optic cabling and power distribution. WorldStage provided six Panasonic PT-RZ31K and PT-RZ21K laser phosphor to cover the space shuttle’s fuselage, nose and tail. Kresa warped and blended the images with his Dataton WATCHOUT servers. WorldStage furnished 20 Panasonic PT-RZ770 projectors for the individual wall vignettes. They were positioned in the control area under the nose of the space shuttle, in an area port side aft of the aircraft and on vertical truss sticks close to the walls.
Since there was no opportunity to have redundant projectors, WorldStage devised a creative backup plan using the Panasonic projectors’ internal logo transfer software. “The screen grab of each image being projected effectively became a still store,” explains WorldStage account executive/project manager Joe Conway. “The content was saved in the projector itself so we could automatically go to that still store if necessary. If a projector suddenly lost a signal there wouldn’t be a black hole.”
Kresa’s new mobile studio contributed to the efficient technical operation on site. With 28 projectors mounted in the pavilion, additional equipment was kept to a minimum with Kresa’s 20 WATCHOUT servers housed in his mobile unit parked on the street. Fiber optic cabling ran video and Internet data from the mobile studio to the pavilion. “It was a pretty clean installation,” says Kresa.
WorldStage created a LAN network to communicate with the projectors via laptop. When the show was underway the network gathered information on projector status for live monitoring.
Loney’s team also featured WorldStage projectionists, Chris Gerrety and Alex Laux, freelance projectionist Joaquin Martinez and WorldStage projectionist/video engineer Linda Cappelletti.
For more information, visit www.worldstage.com
The “Infinity Room” exhibit is an immersive environment project created by award-winning media artist and designer Refik Anadol. It allows visitors to step into an otherworldly portal where they are enveloped by distorted light and perpetually morphing visuals powered by Epson’s state-of-the-art laser projectors. Anadol uses four Epson Pro L1505U large venue laser projectors’ to create the immersive twelve-by-twelve foot environment.
“By using Epson’s laser projectors, ‘Infinity Room’ has almost 50,000 lumens, which creates a magical environment for Exploratorium visitors,” said Anadol. “Light is the major element in this exhibit, and I think the most important part of the experience is the quality of light the Epson laser projectors provide, as it is used to blur and interconnect the boundaries between the two realms of actual/fictional and physical/virtual.”
“Refik Anadol’s ‘Infinity Room’ is an inspiring, eye-opening experience,” says Chris Flink, the Exploratorium’s Sakurako and William Fisher Executive Director. “Digital and physical realities merge, and you become more attuned to what is happening around you. This curiosity and awareness is what we cultivate and curate at the Exploratorium – you make sense of the world and you become more awake to its possibilities. We’re ecstatic to be able to share ‘Infinity Room’ with our visitors this summer on Pier 15, and grateful to Epson for enabling it with their impressive projectors.”
The “Infinity Room” exhibition will run at the Exploratorium, a museum of science, art, and human perception, from June 15 through July 15, 2018, and will be one of the featured installations for the Lightplay festival on June 16.
Photo courtesy: Gayle Laird© Exploratorium