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Found 11 results

  1. High on the list of technologies that delivered such a memorable and moving London 2012 opening ceremony were the ‘pixels’ that turned the Olympic Stadium seating into a giant video screen.We were directly brought in by TAIT Technologies to work on this with their direction. We used 37 Ai Media Servers and 4 Sapphire-Midi Controllers to control the video on the 70,500 pixel tablets situated within the audience seating, as well as to control all LED & projection screens throughout the stadium. The ‘landscape screen’ is recognised by the Guinness World Book of Records as the ‘World’s Largest LED Screen‘. Immersive had a long-standing ambition of representing UK design in the 2012 Olympic games. We had always liked the idea of creating an ‘immersive’ video screen and soon were approached by the only company in the world who could manufacture such a dream – Tait Technologies. They had technically researched such an idea and already developed the installation into the form of tablet batons that each had 9 LED pixels in a 3×3 array. Each seat was equipped a tablet. All 70,500 of them were manufactured by Tait Technologies. The tablets measure 134mm square, and the pixel pitch is 50mm. Each pixel is individually programmable. The viewing angles are 180º both horizontally and vertically. We supplied bespoke templates that made animating on the warped screen possible to the animation teams working for ceremony director, Danny Boyle. We controlled all of the LED batons and mapped all content to the unique fixtures with our custom-made media server, Ai, which was the main media server used by the London 2012 ceremonies. “We chose Ai because of Avolites’ substantial and long history in the field of entertainment; and quite simply this is one of the only server systems that can handle mapping on such huge scale. The Olympics was a one-shot event – it had to be perfect – and the strength of the company reputation is reassuring to all those involved. Managing this volume of mapping is easy with the Ai software.” – Frederic Opsomer, CEO of Tait Technologies We used 37 Ai Media Servers and 4 Sapphire-Midi Controllers, all were operated live by Immersive and Avolites Media technical staff. We controlled Installations including: 70,000 Audience LED Pixels, x5 Spice Girls London Taxis, x4 Freddy Mercury moving Projection Screens, x4 Stadium 30m Audience LED Screens, Coldplay Live Stage projection plus all Stadium IMAG screens. For the closing ceremony dance party highly anticipated Spice Girl’s reunion preformance, 5 of London’s famous Black Taxi’s were fitted on the exterior with LED by Tait and equipped on the interior with five mobile Ai servers to control the videos. Special thanks to Dave Green, Trey Harrison, Mark Calvert, JB Toby, and Martin Harvey. Source:
  2. Chili Peppers Get Away With Largest Touring Kinetic Lighting Installation Since opening night, social media has erupted with videos, hashtags and comments with fans describing it as “a dream come true,” “a show you can’t miss,” “genius,” “spectacular,” “the best concert I have ever seen.” Even more so, the fans were impressed with the “dynamic glow” from the kinetic light installation that created a nonstop, contagious spirit throughout the night. The kinetic display used over 1000 TAIT Nano Winches to deploy the connected LED light fixtures which hung above the crowd and traveled 60 feet perpendicular to the stage. The light fixtures moved 10 feet per second, horizontally, vertically, in and out of unison, into shapes and into the bands logo, while changing colors from all spectrums of the RGB color grid. The rhythmic lighting and juggernaut movements of the fixtures were accented by the video content being displayed on the massive screen behind the band. The Peppers’ main focus for The Getaway Tour was to provide the audience with an immersive, three-dimensional concert experience, while feeling every groove and lick of their music. To achieve the goal, the Peppers team, which includes Production Manager, Narci Martinez, Production Designer, Scott Holthaus and Manager Peter Mensch of Q-Prime immediately began designing the show and searching for the latest in technology and art. Mensch ultimately determined, after numerous conversations and viewing TAIT’s latest product, TAIT Nano Winch, that TAIT would be the provider of staging, automation, and, of course, the larger than life kinetic light installation powered by TAIT Nano Winches. Source: taittowers
  3. PRISMAtique was a temporary installation for the In Light In Indianapolis Light Festival along the canal downtown. The project seeks to investigate the fracturing of geometry and light through both material and interaction. Material selection was key to this exploration. Through the use of twin wall polycarbonate, light is refracted through the flutes of the material, disguising the origin of light. Each cell only contains one LED, yet through the layering of the extruding panels, the light begins to overlap and create a complex visual effect. This fracturing of light is driven through the project’s interaction. As users trigger sensors in the piece, a sequence of associated LED’s are activated. Because the sequence is inherently random and the LED’s are only momentary, the sources are not apparent. However, the fractured path of users walking through the environment is clear. Each LED is filtered with a custom printed Mylar film that creates at gradient of light from cyan to magenta. The soffit blends white light and printed films to create an exciting three-dimensional atmosphere for users to experience. Our work was among over 25 other projects from national and international artists, encouraging exploration and participation. This inaugural event lasted for two nights attracting thousands of people to the canal, providing provide unique and memorable experiences.


  4. With 28,000 LEDs, It’s Lights! Lights! Lights! Action! Strung across the Metropolitan Opera’s stage on more than two dozen parallel strands, from the pit to the back wall, 28,000 colorful LEDs will create an ever-changing, sometimes tempestuous sea for the Met’s new production of the Finnish composer Kaija Saariaho’s “L’Amour de Loin. The lights are the centerpiece of the staging by Robert Lepage, who runs the production company Ex Machina and has directed theater, films, circuses and the Met’s much-debated production of Wagner’s “Ring” cycle. LEDs solve the problem of how to depict water onstage in an opera about the idealized love of a troubadour and a countess separated by the sea, and they provide a visual complement to Ms. Saariaho’s music, which is shimmering, colorful and luminous. More information is available here.
  5. The Speed of Light transforms humble urban design fixtures into a playful rollercoaster of light where simple LED globes accompany visitors as they walk through the neighbourhood. The installation, which is a playful twist on a static light pole, puts the emphasis on the light itself and its movement. The simplicity of the installation is captivating, whilst keeping a minimal appearance.
  6. The installation is controlled via Healium Lightformer, a realtime, node based, 3D light control software, developed in-house. For more information, visit:
  7. Interactive light & sound installation Luxonus is an interactive installation of light and sound developed thanks to a new partnership with two interesting actually north of Reggio Calabria: the Ecolandia Park and Face Festival. The installation, replicable in other contexts and places, thanks to an ad hoc step sequencer programmed, allows the public to create music loops that turn into light choreography, in this case, on the ancient Forte Gullì. To every note played, a siaccende light to illuminate a portion of the facade. If Gullì, the public, in the days before the festival, through a web interface, has been able to create, record, and send your contribution to music. All the collected works have been presented in the four evenings of the event. In addition, during the days of the Festival, thanks to an on-site location, the public could interact directly with the installation by playing a specially programmed keyboard. The multimedia exhibition was also used as a backdrop to the concerts scheduled. Luxonus was open to all and active for the duration of the event. kernelfestival
  8. Light installation AnTUenna consists of ample 10,000 LED lights attached to the chimney at the ‘groene loper’ of the Eindhoven University of Technology campus. These LED lights generate red, green and blue light and are individually controlled in colour and intensity by a central controlling system. These light points are grouped around the chimney in rings of 60 LEDs each. It starts with a 15 centimetres’ distance between the upper two rings to be increased up to a distance of several metres between the two lowest rings. Horizontally, the distance varies between 14 and 32 centimetres. And owing to this specific division, a conic, low resolution screen appears which depicts images, videos and animations to be seen at great distance. During GLOW, several moving image projects are shown representing scientific and technical processes. These images are supplied by several faculties of the University of Technology, exemplary for the many fascinating studies that take place on campus. After GLOW, AnTUenna will remain on site permanently.
  9. WaveFrame is the first of a series of installations based on RGB LED tubes and a new software development line. Installed for the DGTL festival in August 2016 in Barcelona, WaveFrame parasites a public sculpture formed by square arches for a total length of around 70 meters, creating a light tunnel where people could stand and pass by. Using oscillator generated pixel textures, wave forms fill the led tubes with oscillating light. When delayed from one arch to the other, light creates perspective and time effects, reinforcing the idea of traveling inside a tunnel. Source: playmodes, showjockey
  10. Pixel Avenue est un écran géant pixelisé qui forme un « ciel lumineux » sur la sous-face de l’ouvrage permettant de rompre avec l’effet d’enfermement existant dans ce passage. Cette installation lumineuse met en évidence les mouvements dynamiques qui traversent le site : piétons, cyclistes, trafic automobile et le cycle jour/nuit. À partir de capteurs de mouvements et de vibrations, l’artiste crée des variations symptomatiques de l’activité du quartier. Les différents scénarios lumière, couleurs, formes et rythmes lumineux sont en interaction directe avec la vie du site. Pixel Avenue se veut être l’œuvre symbole d’une région, Plaine Commune, innovante, ouverte et créative. Pixel Avenue met en lumière les flux dynamiques traversant le lieu. Très perceptibles lorsqu’on traverse le tunnel, les vibrations de l’autoroute diminuent ou s’intensifient au passage des voitures et des camions. De même, le flux de piétons amenés à emprunter cet axe de transition vers le Stade de France, évolue tout au long de la journée selon des temporalités bien définies (horaires de bureau, évènements sportifs…). Ces variations sont révélatrices de l’activité du quartier. Elles sont par ailleurs facilement mesurables en temps réel à l’aide de capteurs de mouvement et de vibration. Ce sont pour nous autant de données qui permettent de “prendre le pouls” de l’activité du quartier à un moment donné de la journée. Pixel Avenue intègre ainsi ces paramètres dans la programmation des animations lumineuses afin de créer une interaction entre les usagers et l’espace. L’installation fonctionne alors comme une véritable entité vivante dont le comportement serait la traduction de son environnement direct. L’éventail de possibilités qu’offre le dispositif dans la programmation des animations lumineuses et la prise en compte des données extérieures, élabore un langage visuel sophistiqué, capable de hiérarchiser certaines priorités, de prendre des décisions, des initiatives, d’éveiller la curiosité ou de susciter la surprise. Parfaitement autonome, l’installation génère ses propres scénarios de comportement, si bien qu’elle n’est jamais exactement la même selon les différents moments de la journée et de la semaine ou encore des saisons. Face au spectre de possibilités que permet la programmation d’animations lumineuses, les paramètres extérieurs qui influencent le comportement de l’installation sont les suivants: Flux de piétons et de vélos: des capteurs infrarouge PIR sur les poutres en plusieurs endroits du tunnel calculent en temps réel le nombre approximatif de personnes se trouvant sous le pont au même moment et sur la voie piétonne prenant en compte la direction des piétons et leur vitesse moyenne. Trafic sur l’autoroute: L’intensité du trafic sur l’autoroute est également pris en compte grâce à des micro fixés à plusieurs endroits du plafond de l’édifice. Les exemples d’installations interactives monumentales sont aujourd’hui rares dans l’espace public. Digitalarti est fier de prendre part à ce projet pérenne, symbole d’un environnement urbain ouvert, créatif, et porteur de sens pour le territoire. Installation électronique interactive de Fred Sapey-Triomphe Saint-Denis, 2016 Une commande de Plaine Commune, Territoire de la culture et de la création, et du Stade de France, en partenariat avec la ville de Saint-Denis. Source: digitalarti