Live Design Online: Disguise, an immersive technology leader with 20 years of experience in live installations for some of the world’s most iconic venues including the Burj Khalifa, has powered a new video projection show and multimedia theater experience for one of New York’s most iconic tourist attractions: The Rockefeller Center.
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Trial and error in any installation that uses computers to produce graphics, sound and their many other capabilities if you're not specifically educated in their uses and debugging can be a brutal process as the solution can dangle one word or character away. The solution to speed up their installation down to mere minutes from days of labor is quite a feat. The process of automating more and more of our workflow greatly benefits those who can use it but identifying and properly integrating techniques of automation and technology is a daunting and time consuming task. The need to spend the time and money on investigating and implementing solutions for technology and other needy projects should be identified early on to allow the proper allocation of resources or the attainment of resources to solve these issues. It is crazy that technology is progressing fast enough to see holograms in our lifetime. (not that this is a hologram but research is being done to achieve it.)
I am deeply drawn to his work, especially the movement of the chaotic lines and the artistic energy they convey. Curator Maria McLintock emphasizes that Burton's distinctive style is less about specific visual motifs, like spirals or stripes, and more about the dedication to craftsmanship, design, and collaboration. This collaborative spirit challenges the notion of the solitary auteur and reinforces the importance of design in filmmaking. This focus on collaboration and process resonates with contemporary culture, where creativity is often shaped by teamwork and iterative development. Burton’s work serves as a reminder that great art and film are not the result of isolated genius but rather a community effort. Just as theatre directors work with actors and designers, Burton’s films are a product of a network of artistic contributions.
It is very impressive that they can map these projections onto complex surfaces in just minutes rather than days. I wonder where the people doing this sort of work got their training, or if they were self-taught. I wonder how they came up with this technology. I wish the article went a little more into depth on how exactly the API technology works. And also, what is Disguise Designer software? I wonder why they couldn't have set up computers etc. to run the software while they were in the building. Perhaps the software is too slow? I also wonder how big of an impact AI will have on video mapping onto complex objects. AI could scan and interpret objects in the real world, then make a coordinate box of the object. Then, you just tell the AI where the projectors are in the coordinate space and it will figure out how to project. Side note, I think if we ever figure out how to make holograms, they would be incredibly useful in theater.
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