Bajt says, “It’s very interesting that only one disguise 4×4pro was needed to output to 16 projectors. In advance of the disguise forthcoming VFC card technology, this was done using four Datapath x4s with 2560×1600 inputs running at 60hz. Each projector therefore received a 1280×800 resolution, which essentially made each pixel on the physical egg 1-2mm big. The sharpness and brightness was stunning! The egg was bright and sharp from morning to night.”
Bajt also cites the media server’s ability to integrate with other technologies. “For this installation, disguise received OSC input from an iPad – the user selected what graphics to play from an iPad interface. It sent UDP commands to a Dataton WATCHOUT server that mapped up the adjacent shards hanging in the windows next to the egg, it sent DMXcommands to a Pharos control that triggered lighting cues, and it also played back uncompressed audio.”
Projection Artworks found the disguise 4×4pro’s QuickCal and Dynamic Blending features to be especially helpful. “We had the egg 3D-scanned with 260 individual marker points. The model had no edges or vertices, so without disguise it would have been impossible to line up all the projectors manually in the three-day install period,” Philpott reports. “QuickCal, along with the sub mm 3D-scan accuracy, allowed us to map the egg in one night.”
Philpott adds that, “one click of a button set all the blending on 16 projectors as well – another very difficult task to do manually.”
From the outset disguise provided support on the capabilities of the system and offered early access to a number of features in development, such as projector control and Dynamic Blending, says Philpott. “The system was easy to use and performed flawlessly for the four weeks of the installation,” she notes. “Both Projection Artworks and disguise learned a lot from the project. We are already looking at 32+ projector installations for future projects to continue pushing the boundaries.”
At Projection Artworks Tom Burch, the company’s managing director, was the project lead; Scott Millar the lead developer; and Gavin McArthur the lead creative.