LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Red Bull Mind Meld at the ULTRA Music Festival

COW Library : Digital Signage : Debra Kaufman : Red Bull Mind Meld at the ULTRA Music Festival
CreativeCOW presents Red Bull Mind Meld at the ULTRA Music Festival -- Digital Signage Feature


CreativeCOW.net. All rights reserved.


Red Bull Mind Meld - 3D Video Mapping the Intercontinental Hotel @ Ultra Music Festival 2012 from Integrated Visions Productions on Vimeo.

At the ULTRA Music Festival in Miami, even the iconic InterContinental hotel got into the groove, its 29-storeys transforming into a psychedelic mural for the "Red Bull Mind Meld" experience. Electronic artists Tiesto, Avicii, David Guetta and others provided the soundtrack for 165,000 fans who witnessed the bricks making up the InterContinental come tumbling down. As the façade of the hotel completely crumbled, Integrated Visions Productions projected an array of colorful line art that gyrated to the beat of the techno music and then turned into a hypnotizing psychedelic mural.



Integrated Visions Productions projected an array of colorful line art that gyrated to the beat of the techno music


Integrated Visions Productions, a multimedia design lab based in Atlanta, Georgia and dedicated to producing production-mapped content, created more than 30 custom 3D animation modules for the ULTRA Music Festival, integrating extreme sports and cultural footage from Red Bull into the mix. Integrated Visions is no newcomer to the specialized field of video projection mapping, having created an art installation at the Panama City Beach's 2011 Christmas Spectacular and a themed weekend show at the Promenade Shops at Centerra in Loveland, CO.

The size and height of the Intercontinental Hotel meant that Integrated Visions had a lot of content to create. "It took us six weeks with 12 animators to create all the content," explains partner Bryan Blessing. "We had access to all of Red Bull's content pool, and everything else was created by our team of animators. We work very closely with the University of Georgia's animation department; our partners are all alumni." Most of the animations were built and executed in Autodesk Maya, with assist from Adobe Photoshop.


To create this complicated live visual experience, Integrated Visions Productions teamed up with SenovvA


To create this complicated live visual experience, Integrated Visions Productions had teamed up with SenovvA, which has more than two-decades experience in technical and visual solutions for the broadcast and film industries, including the 2012 Oscars®, Jason Wu for Target's Launch in New York and the DUMBO Arts Fair.

SenovvA brought on 12 large-format Barco HD projectors and UVA's D3 media playback system to produce a 20,000+square-foot projection. "The media management and playback system developed by UnitedVisualArtists (UVA), a lighting company and VJ crew that also does software development, is custom software application that was built exactly for this kind of use," says Blessing. "It has a much more powerful processor and manages a lot more media inputs and outputs than a Mac."



SenovvA brought on 12 large-format Barco HD projectors


SenovvA's projection plan broke the surface into three zones; the company then side-stacked four of the Barco projectors to saturate each zone with color. By layering the images produced by the projectors to fit exactly, pixel-by-pixel, SenovvA Senior Producer Dave Taylor created a single seamless image in each zone for a total of 7,776,000 pixels (1920x4050) on the wall.

"The biggest challenge from a creative standpoint was the resolution," says Blessing. "That was determined by the size of the building, with 1920 as the width and 4050 as the height. When you're rendering files at that resolution, they can take lots of time. For one of the modules, the spinning cubes with Red Bull took 37 hours across 11 computers to render."

The event was live for four hours a night, for three nights. "We created 40 loops or vignettes of between one and three minutes in length and just looped those for five minutes at a time," says Blessing. "It didn't allow us to do mixing or blending like a normal VJ would be able to do. We just went from one loop to the next because of how the media management system was set up. We saved about 12 of the loops for the second night, and six to ten the additional two nights, so all 40 ended up on the wall."






Projection mapping is a hugely labor intensive job prior to the event, and more ephemeral than most video content, which has an afterlife on Blu-ray or DVD. "That's one of my favorite aspects about it," says Blessing. "It lives online but the impact is so much greater in person. It's magical on the Internet but the actual experience is a rarity. When you see it live, whatever the deception is, you fall for it."

Although projection mapping has its roots in the light shows of the 1960s and, segueing in the late 1970s and early 1980s into slide projectors and then video, the massive video projection event like the one at the ULTRA Music Festival is still relatively rare in the U.S.

"For the first time in the U.S., you have hundreds of thousands of people seeing it in front of their eyes," says Blessing, who reports that one event in Russia, a celebration of that country's history, played before half a million people. "It's difficult in the U.S. because there aren't a lot of cool unique buildings so we're faced with lots of reculinear surfaces."





"Most of these events take place in front of a small number of people," he says. "That, and the ephemeral nature of the execution give it a potency and cachet that I find appealing."

In May, Integrated Visions Research plans its next performance, at the Gowanus Ballroom, an industrial space in Brooklyn, NY. You can see it online after the event. Or, if you want the cachet of being there, head over to Brooklyn to see it live.






ACADEMY AWARDS® and Oscars® are the registered trademarks and service marks of the Academy of Motion Picture Arts and Sciences. ALL RIGHTS ARE RESERVED.

Comments

Re: Red Bull Mind Meld at the ULTRA Music Festival
by Aamigo Amigo
Amazing large projection with 12 large-format Barco HD projectors. Great post !!!


Recent Articles / Tutorials:
Apple Motion
Apple Motion 5: EPIC Title Tutorial by Simon Ubsdell

Apple Motion 5: EPIC Title Tutorial by Simon Ubsdell

Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for some really useful and interesting techniques for creating a fake 3D title treatment with dramatic depth, texture, reflections, staining and other details that goes way beyond what you can achieve with the 3D Title Tool. Not only that, these techniques work well with any graphic object, for maximum motion graphics flexibility.


Simon Ubsdell
TV & Movie Appreciation
Designing Tarantino's Once Upon A Time in Hollywood

Designing Tarantino's Once Upon A Time in Hollywood

Barbara Ling, production designer for Once Upon a Time in Hollywood, discusses how she was able to turn back time and recreate 1960’s Hollywood. Barbara and Go Creative Show host Ben Consoli discuss how Quentin Tarantino kept the film’s script a secret, how she restored Hollywood to the 1960’s, not using green screen, sourcing vintage props from eBay, filming the real Playboy Mansion, the challenges of filming on Hollywood Boulevard, and much more.


Ben Consoli
Blackmagic Design Announced WHAT?

Blackmagic Design Announced WHAT?

As if this wasn't already the hottest summer on record, Blackmagic Design's Grant Petty rolled out some blazing news across a wide range of the company's product lines in cameras, production hardware, and software.


Creative COW
Apple Motion
Apple Motion 5: Light Art Tutorial

Apple Motion 5: Light Art Tutorial

Discover how to create this moody light art scene with Apple Motion 5! Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for a tutorial that also includes number of useful tricks, including how to create an ambient occlusion effect and textured specular highlights.


Simon Ubsdell
Cinematography
The Lion King's Virtual Cinematography: Caleb Deschanel, ASC

The Lion King's Virtual Cinematography: Caleb Deschanel, ASC

Caleb Deschanel, cinematographer for Disney’s live-action The Lion King, shares how they used traditional cinematography to create the life-like virtual film. Caleb and Go Creative Show host, Ben Consoli, discuss modeling cameras and lenses for virtual filmmaking, how Caleb was able to move the sun around in virtual space to get the perfect lighting, using a real drone for the Circle of Life sequence, and more!


Ben Consoli
Adobe After Effects
Adobe After Effects Reverse Stabilization

Adobe After Effects Reverse Stabilization

You're going to be blown away by how you can power up your After Effects workflow with reverse stabilizing your footage! By separating your tracking from your compositing, you can focus on each step, and in addition, overcome the render order complexities when match moving elements and effects on a moving shot.


Roei Tzoref
Makin’ Planets! Adobe After Effects Tutorials by Graham Quince

Makin’ Planets! Adobe After Effects Tutorials by Graham Quince

Here's a great new Adobe After Effects tutorial series from Creative COW leader Graham Quince that takes advantage of the free Orb plug-in from our friend Andrew Kramer at Video Copilot. Graham supplies project files, tips and tricks, and good humor on this tour through building every planet in the solar system, with customization options galore!


Creative COW
Adobe After Effects
After Effects Content Aware Fill: When It Doesn't  Work

After Effects Content Aware Fill: When It Doesn't Work

There’s a new artificial intelligence-powered feature in Adobe After Effects called Content-Aware Fill that allows you to remove anything from your shots fairly easily! It's powerful, but if you’ve tried it you know that it doesn’t always work perfectly. So what do you do when it doesn’t work as well as you'd hoped? Filmmaker Cody Pyper is here to show what to try next!


Cody Pyper
Cinematography
Shooting RED 8K for Danny Boyle's Yesterday

Shooting RED 8K for Danny Boyle's Yesterday

The magical romantic comedy Yesterday reunites cinematographer Christopher Ross BSC with director Danny Boyle to tell the story of a singer-songwriter who wakes up to discover that he's the only one in the world who remembers The Beatles. Christopher selected the RED HELIUM S35 8K sensor (with as many as 17 cameras rolling simultaneously in a single scene!) to capture a variety of looks as the story takes viewers from East Anglia to Los Angeles. With 10-15TB of footage coming in every day, this is also a workflow story, featuring DIT Thomas Patrick and the team at Mission Digital for dailies, and Goldcrest Post for online, VFX, conform, and grade.


Adrian Pennington
Apple Final Cut Pro X
Animate Text Without Keyframes or Plug-ins in Apple FCPX

Animate Text Without Keyframes or Plug-ins in Apple FCPX

Join longtime editor, VFX artist, plug-in developer, Creative COW leader Bret Williams of BretFX to learn how the FCPX Custom text tool allows you to animate text in Final Cut Pro X without using keyframes or plugins. With the often overlooked custom text tool you can easily create great text animation with just a couple of clicks. Change opacity, position, rotation, scale, duration, spread, blur and easing all without creating a single keyframe!


Bret Williams
MORE
© 2019 CreativeCOW.net All Rights Reserved
[TOP]