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2010-11(Nov)-25; Der Herbst als ideale Jahreszeit für Fassadenprojektionen? Drucken E-Mail

Die Fassaden-Projektion ist wahrscheinlich so alt wie die Projektion selbst. Meine erste außergewöhnliche Fassadenschau habe ich 1994 in Rieti bei Rom gesehne, wo in einem Innenhof eines alten Gebäudes die Fenster ganz bewusst in die Gestaltung der Projektion eingebunden waren. Vor allem wurde damals mit Diaprojektoren noch grafische Elemente projeziert. In unserem Fotoclub in Schwäbisch Hall praktizieren wir das regelmäßig bei der Haller Kunstnacht und diese Kunstnächte sind meist im Herbst, wenn es schon früh dunkel wird und man trotzdem noch mit Plusgraden rechnen kann.

Hier eine Auswahl aus meinem Blog zum Thema: Fassaden-Projektion

Und hier eine aktuelle Fassadenprojektion Wasserschloss Parz

Die Geschichte der Projektion visualisiert als Multidisplay-Projektionauf die Fassade des Wasserschlosses ParzIm Zuge einer exklusiven Veranstaltung für ausgewählte Partner hat AV Stumpfl als Höhepunkt eineeindrucksvolle Projektion auf die Fassade des Wasserschlosses Parz (nahe Grieskirchen,Oberösterreich) realisiert.Als Grundlage für die Content-Erstellung wurde der Originalplan des historischen Gebäudesdigitalisiert. Die für den Event gestaltete Show erzählt die Geschichte der Projektion. Der ProduzentDr. Andreas Scheucher hat sich intensiv mit der Geschichte der Projektion beschäftigt und seineErkenntnisse u.a. auch in dem Buch „Die Macht der großen Bilder“ zusammen gefasst. Die Produktionspannt den Bogen von den Ursprüngen der Projektion, über die Laterna Magica bis hin zur modernendigitalen Projektion. Die Strukturen und Elemente der Fassade wurden bewusst in die Gestaltung derProjektion eingebunden.Die Schlossfassade hat sich für die Projektionslösung förmlich angeboten, da das Gebäude erstkürzlich renoviert wurde und jetzt in neuem Glanz erstrahlt. In den Arkaden des gegenüberliegendenLandschlosses wurden zwei lichtstarke Panasonic PT-DZ12000 in Publitec Pegasus Flugrahmeninstalliert. Die Projektion wurde per uEye Netzwerkkamera erfasst und mit Wings Vioso automatischauf die Fassade angepasst. Das früher oft aufwändige Einrichten des Projektionssystems (Perspektive,Geometrie, Überlappungsbereiche des Softedge-Blending,…) wird mit Wings VIOSO jetzt zumKinderspiel. In nur wenigen Minuten wird mit der kamerabasierten Technologie auch auf derartungewöhnlichen Flächen ein perfektes Projektionsergebnis ermöglicht.Die Show wurde mit Wings VIOSO in einer nativen Gesamtauflösung von 3526x1200 produziert.Neben hochauflösenden Fotos wurden auch Red One 4k Videos direkt in Wings VIOSO in vollerQualität eingebunden. Der Content wurde mit einer Stumpfl SC Media Engine wiedergegeben. Auch dieEffektbeleuchtung mit LED Strahlern wurde per USB DMX Modul direkt in der Wings VIOSO Timelinesynchronisiert.Das Resultat war eine einzigartige Show, die im stimmungsvollen Ambiente des Schlosses einenbleibenden Eindruck bei allen Gästen hinterlassen hat.

Technische Realisierung: www.AVstumpfl.com

YouTube Video zum Projekt: http://www.youtube.com/watch?v=c

Eingesetzte Produkte:
 Wings VIOSO auf AV Stumpfl SC Media-Engine.
 DMX Steuerung mit Show Control Modul zur Anbindung der LED-Lichtleisten.
 2x Panasonic PT-DW12000 (3-Chip DLP Projektor 12.000 ANSI Lumen mit WUXGA Auflösung (1920x1200px,) mit Teleobjektiv DLE250, montiert im Pegasus Flugrahmen von Publitec.






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In modern Russia, projection maps you! – Video inside.

14 December 2010 ( http://www.inavateonthenet.net )

Drive productions has just completed a major projection mapping project in St Petersburg, Russia, providing the opening night event for internet service provider Yota’s inaugural Yota Space Festival. The company’s Troy Morgan acted as event producer for Drive, and InAVate editor Chris Fitzsimmons caught up with him to discuss the process of putting on such an event, and importantly, the technology that goes into it. Check out Drive’s extensive behind the scenes video in the story.

Troy, how did you and Drive become involved in this event?
Drive were recommended to Yota by a supplier that worked with us on another project. After our introductions we were given the initial brief and pre-production started from there. I was keen to get involved in video mapping following the success of other similar projects Drive had recently completed.

How long were you working on the project?
First discussions took place in mid October, and the full design and pre-production was under way by end of the month. Into November the content production stepped up a notch and became increasingly intense, leading to the technical production on location right up until moments before we ran the show. So in total, about two and a half months.

What kind of brief did you get?
We were fortunate enough to have been given an open creative brief, loosely based around a sci-fi theme. The freedom of the brief allowed us to get creative with the content and not be constrained by strict corporate guidelines. We were required to integrate Yota brand imagery, but this happened quite naturally and worked well within the storyboards we were developing.

Who made the content?
Giles Thacker our Head of Motion Graphics and his team of animators and designers. The audio effects and sound track were produced by Stevie D, and includes a mix of one of the tracks from his new album.

Yota Video Mapping St Petersburg - Behind the Scenes from Drive Productions on Vimeo.


Hungary’s annual Night of Museums’ Festival —designed to attract the general public with non-traditional, specialist art programmes — took on a new complexion this year. The new ‘Paint Up!’ architectural video mapping challenge was hailed in the Hungarian press as the most outstanding event of the

Festival. While museums remain open all night on June 19th (in celebration of the summer Solstice), in the centre of Budapest the remarkable ‘Paint Up’ — aimed at popularising a new form of contemporary art known as architectural video mapping – was being staged. Hungary’s leading visual artists were invited to ‘paint’ the façade of the magnificent Hungarian National Gallery, within the historic Buda Castle complex.

The idea for the event came from hosts/organisers, Visualpower. The Christie partners made available four high powered Christie projectors — a Roadster S+20K (20,000 ANSI lumens SXGA+) and S+16K (16,000 ANSI lumens SXGA+) paired on each side. According to László Riegler, Visualpower’s CEO, who masterminded the event, it was the first time they had staged this advanced video mapping challenge (in 2D and 3D) — and it was an outstanding success.

“As leaders in the Hungarian visual display market, and local representatives of this technology, we organized this non-profit competition and provided our high power Christie projection. The content was provided by the artists whose work complemented to the architecture of the building.

“We have seen how popular this genre is in other parts of the world and we wanted to introduce the concept of lighting up buildings to Hungary.” From the original 32 artists who tendered, the adjudicating panel of renowned professionals selected a final 12 to take part in the two hour long programme.

Each had three minutes in which to present their motion picture animation (accompanied by musical soundtrack) onto this monument, from the Square in front of the gallery. Most incorporated both 2D and 3D elements, while one was one painted on paper with traditional animation technique.

The size of the competition surface measured 30m x 23m — providing a near 700sq. metre surface area. But there was a further bonus. World class exponents of the idiom, László Zsolt Bordos and Ivó Kovács (known for their huge resolution 3D animation composed for the opening ceremony of the Dubai Palm Islands) — made a 3D presentation film exclusively for the occasion (in cooperation with Viktor Vicsek), and this was projected onto an extended surface measuring 60m x 23m.At their disposal were the four Christie projectors, fitted with 1.45-1.8:1 lenses rigged on two sides of the projection studio, and placed on a Lahyer Scaffolding system.

László Riegler stated, “The main conception of this show was to project two stacked half pictures that were stitched together in one panoramic picture. All this was performed by four beamers – a Christie S+16K and a Christie S+20K paired on left and right side – and a Christie Vista Spyder X20 0808 video processor.”

The system was fed from a media server in the form of a powerful PC, installed with special software to position the animations according to the architecture of the building. Since there was a statue positioned in the middle of the Square, Visualpower managed to bypass this with the aid of a Christie Vista Spyder X20 0808 video processor that ‘stitched’ together the panoramic picture from the two half video frames projected by the beamers placed on the sides.

The resolution of the competitors’ artworks was 1024 x 768 — an easy resolution to work with — while the professional presentation animation had a resolution of 2000 x 720 onto the extended widescreen surface.

The projection distance was 45 metres and Visualpower applied electronic lens shift to provide the right exposure of the pictures.After a hard-fought contest the artist adjudged the winner was Budapest-based Demeter Lóránt, with his piece, ‘Variations’. His prize was a Christie LX400 LCD projector provided by Christie Digital Hungary. Runner-up Tamás Iván took home an Edirol P-10 Visual Sampler as his prize.

Summing up, László Riegler confirmed that with between 8,000-10,000 people assembling in the Square for this jaw-dropping presentation, ‘Paint-Up’ had been an unqualified success. “This was no ordinary job. A main advantage of these projectors was the stacking legs that allowed fast and easy installation for our engineers when using the projectors in dual mode.

“Due to the extremely good colour, high quality lens and brightness uniformity — even when using different type of beamers with new or used lamps — it is also easy to project panoramic picture with an unnoticeable overlap. In fact we consider Christie projectors to be the most reliable and durable ones on the rental market.”

He also added that it had been an honour for Visualpower to be able to provide its technical background, to enable the artists to unveil their creativity. “In this

way we were able to present the architectural projection genre to the wide public, as it complemented the Night of Museums programme. The Square was packed and we now hope to repeat the event next year.”