Several months of hard work flew by in one breath. All stages - from pencil sketches-comics, thinking about the geometry of virtual space, storyboarding to the first experiments on a reduced 1: 100 screen layout and final adjustment of effects, ending with the development of the most complex software and music composing were conducted within our team.
And now it's okay how we combined it all into one project!
1️) First, we analysed the complex structure of the screen with its faces, roundings and gaps, took into account all the nuances of perspective distortion and created a three-dimensional mathematical model of the geometry of space inside the screen.
2️) then, a whole series of sketches were drawn by hand, in which the complex surface of the screen "dissolves". They calculated a trajectory along which objects, like Alice in a mirror, "dive" deep into the net and realistically jump up relative to the optical surface.
We worked out the scenography and combined the technological and sound parts to gain depth in the space "inside" the screen. It became three-dimensional, and the 3D effects of the spacecraft flying from the facade, accompanied by sound effects, turned out as realistic.
3️) Next, a model of the screen was built in our laboratory, taking into account all its features on a scale of 1: 100. We raised it above the ground to the appropriate height to scale to see what it would look like for the audience. With the help of 3D projection, we tested the visual content, looking at the layout from all sides to capture all the nuances and possible problems.
Thinking about the trajectory and moves, we came up with plots and elements that will "shoot" forward with different dynamics so that the story was not the same. The content itself was made in FOUR separate stages, in four other software products, because the technology of compiling such a hologram is much more complicated than editing ordinary video content!
We worked a lot on textures. We wanted to create a show where the audience would think that the objects really fly out of the screen and then return to the "cracks" and "destruction" inside it!
4️) At the final stage, we went to the location and tested the nuances of distortion live so that the flat lines formed into precise geometry. There were many nuances since we swung at a tremendous and complex screen shape.
In such installations around the world, something voluminous is often broadcast. But since we wanted long "departures" and profound "failures" deep into the screen, even the slightest differences in this geometry would be very noticeable.
Therefore, after live tests on the spot, we brought a few more iterations closer to the ideal of the entire virtual geometry of each scene.
And now, we are actively working on launching an interactive interaction with this installation. Soon, everyone will be able to control the events happening on the screen via the web application from their smartphone.
Interactivity is our feature. We have already launched such complex semantic projects as Khortytsia, Mariupol Freedom Square and Dnieper Pipes. Now it's time to "revive" such a large-scale 3D installation. Nobody in the world has ever done that!
