THE WALL HOLDS
HALF THE IMAGE.
The core artwork was prepared as vector illustration in Adobe Illustrator, printed onto carefully selected self-adhesive vinyl and installed as a permanent physical layer.
Different grey tones in the print gave the projection mapping software control over how the image lit. The character remained on the wall; her hair became a moving digital world.
1.5 METRES IN.
6.5 METRES OUT.
ICG built a projector and lens system around a 10,000-lumen DLP unit. A fisheye-style lens produced an image approximately 6.5 metres wide from a throw of roughly 1.5 metres.
The optics were built for this wall and this artwork. An off-the-shelf lens could not make the required image from the space available.
THE HAIR MOVES
WITH THE MUSIC.
ICG developed real-time shaders for the projected hair. The same audio signal drove the visual system and store lighting, so both reacted to the music together.
The shaders ran on an ICG-built media server. Like a game engine, they generated each frame live rather than playing a fixed video loop.
THE GARMENTS
CHANGE THE WALL.
Hardware and software were integrated with RFID tags in garment neck labels. A tagged item could call its matching artwork from Senpais.jp’s cloud asset library and update the projection.
A cherry-blossom garment, for example, could call the corresponding cherry-blossom assets. That created a path for customers and new collections to change the artwork without rebuilding the installation.