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Marks in the Landscape Festival Flashback Community New to Lumiere Conference New commission Permanent Performance Participatory BRILLIANT Fire Installation Interactive LED Neon Projection Video

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Luminous Pareidolia | Love Light Norwich

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The bold & bright light festival returns to Norwich 17 & 19 February 2022.

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Experience Art in the Dark! Light Night Leeds is the UK's largest annual arts and light festival and will return in 2024. For the past 19 years, over two incredible nights in October, some of Leeds's most recognisable indoor and outdoor spaces have been transformed by spectacular artworks and captivating performances by local, national and [...]

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QED Productions | Projection Mapping - What is it?

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A brief introduction to projection mapping, building projection and what QED can offer.

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Derivative is a software company that offers TouchDesigner, a visual development platform.

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Isadora provides a cost-effective and easy-to-program solution for fast media playback and cueing. It can also be easily interfaced to work with other software media tools. If you want to find out more about Isadora's extensive range of features and how they can be tailored to serve you, please contact us.

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IHL : Greyfriars Tower projection and game 

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IHL : Greyfriars Tower projection and game 

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https://www.collusion.org.uk/projects/the-ihl/

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https://www.collusion.org.uk/projects/the-ihl/

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https://www.collusion.org.uk/projects/the-ihl/

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DRAWDOWN by Ben Sheppee highlights ways to reverse the effects of climate change, aiming to provide us all with positive and practical ways to reduce our impact on the world. The work is a series of dynamic animations, projected onto historic buildings that was first shown in King's Lynn from 25 October to 04 November 2020. Now we're re-booting it for COP26.

The impact of the international pandemic and subsequent lockdowns has shown us that change can be made and some positive effects have been experienced including people commuting less and becoming more aware of their environment... Can this be the beginning of an influential change? The work aims not to emphasize the problems of climate change, but highlight some of the solutions and provide empowerment through awareness.

The project draws on research from Drawdown, a comprehensive plan to reverse global warming, developed by an international coalition of leading researchers, scientists and policymakers. Their report ranks the top 100 ways to reverse climate change, with #1 being the most effective in sequestering carbon from the environment.

To create DRAWDOWN, Sheppee has focused on the most relevant subjects for King's Lynn, tailoring the solutions to the locality, as shown in the list below. Read our interview with Sheppee to find out more about what inspired this project.

King's Lynn Corn Exchange brought awareness of solutions related to food.

Greyfriars Tower focused on solutions related to changes to our energy use.

King's Lynn Minster considered solutions around reducing emissions.

The Custom House highlighted solutions for water usage and protection.

St Nicholas' Chapel related to solutions for afforestation, restoring our green environment.

DRAWDOWN is supported by the Borough Council of King's Lynn & West Norfolk, Arts Council England, Norfolk & Norwich Festival, Discover King's Lynn BID, Norfolk County Council and the Audrey Muriel Stratford Trust.

DRAWDOWN is the first of four climate related artworks by Collusion that will be delivered between October 2020 and May 2022 as part of the GAME ON series. GAME ON aims to establish King's Lynn as a national centre of excellence for cultural innovation in interactive, town-scale projection-based artworks, supported by a networked digital cluster of specialist creative businesses.

Find about more about the Borough Council of King's Lynn & West Norfolk's climate change work here including a recent carbon audit for the area, emissions reports and plans to reduce the Council's climate impact.

Artists

Ben Sheppee (b.1978, Bristol, UK) has been part of the visuals and AR scene for over twenty years. His works lean towards minimalist abstraction, creating worlds where the elemental play of structure, light, and icon compete for the leading role, and have been exhibited at major arts venues including Tate Britain, the National Portrait Gallery and the San Francisco MOMA. In addition to working as a practicing artist, Sheppee's career has seen him set up one of the first ever VJ labels, where he produced numerous albums of visual content by 70 artists; develop an online school for audiovisual art and performance, and provide work for clients including the British Museum, the BBC and INTEL. He has also been commissioned for work on National Television in the UK, LA and Japan, and his performances have opened the Hollywood Independent Film Festival. He is currently creative director at his founding company Observatory, where he continues to develop his profile as an artist and director. Having lived and worked in San Francisco, Tokyo and Paris, Sheppee is now based in South East London.

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David Russell - The Fusion Works (https://www.thefusionworks.com)

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Visit King's Lynn to experience DRAWDOWN

# data[].attributes.attachment_link.description
DRAWDOWN by Ben Sheppee highlights ways to reverse the effects of climate change, aiming to provide us all with positive and practical ways to reduce our impact on the world. The work is a series of dynamic animations, projected onto historic buildings that was first shown in King's Lynn from 25 October to 04 November 2020.

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https://panasonic.net/cns/projector/calculator/tdc/

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https://www.collusion.org.uk/projects/drawdown/

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The Corn Exchange : projector positioning

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The Corn Exchange : projector positioning

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College of West Anglia student's Tagtool creations projection mapped onto buildings in King's Lynn

https://www.collusion.org.uk/projects/the-ihl/

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https://www.collusion.org.uk/projects/manifesto/

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https://www.collusion.org.uk/projects/manifesto/

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Collusion presents: King's Lynn R&D Challenge // King's Lynn, Sep 2017

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REVEAL // King's Lynn, Nov 2018 - Jan 2019

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REVEAL // King's Lynn, Nov 2018 - Jan 2019

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https://www.collusion.org.uk/projects/the-ihl/

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" Six œuvres vidéo, chacune projetées sur un bâtiment emblématique de la ville, invitent ainsi le public à une redécouverte de leurs architectures quotidiennes sous de nouveaux visages. Soirée d'ouverture le vendredi 27 Mars à 19 heures à King's Lynn Tuesday Market Place. Les célébrations se poursuivront le 28 Mars, avec des spectacles dans tout le [...]

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Large-Venue

Installation

Portable

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3Chip DLP™

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LCD

Ultra Short Throw

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Ceiling mount bracket

Filter

Optional Wireless Module

Easy wireless stick

DIGITAL LINK Switcher

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Multi Window Processor

Software

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Interactive Software

Multi Monitoring and Control Software (for Windows)

Wireless Software

Content Management Software (for Windows)

Large-Venue LCD Projector Projectors
PT-EX12K
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Component

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PT-EX12K - Panasonic Projector Product Database - Panasonic Global

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Large-Venue Installation Portable Short Throw Space Player Lamp Lens 3Chip DLP™ 1Chip DLP™ LCD Ultra Short Throw Fisheye Lens Ceiling mount bracket Filter Optional Wireless Module Easy wireless stick DIGITAL LINK Switcher Digital Interface Box Multi Window Processor Software Early Warning Software Geometry Manager Pro Interactive Software Multi Monitoring and Control Software (for Windows) Wireless Software Content Management Software (for Windows) Large-Venue LCD Projector Projectors , Component

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Large-Venue

Installation

Portable

Short Throw

Space Player

Lamp

Lens

3Chip DLP™

1Chip DLP™

LCD

Ultra Short Throw

Fisheye Lens

Ceiling mount bracket

Filter

Optional Wireless Module

Easy wireless stick

DIGITAL LINK Switcher

Digital Interface Box

Multi Window Processor

Software

Early Warning Software

Geometry Manager Pro

Interactive Software

Multi Monitoring and Control Software (for Windows)

Wireless Software

Content Management Software (for Windows)

Large-Venue LCD Projector Projectors
PT-EX16K
,
Component

# data[].attributes.attachment_link.title
PT-EX16K - Panasonic Projector Product Database - Panasonic Global

# data[].attributes.attachment_link.description
Large-Venue Installation Portable Short Throw Space Player Lamp Lens 3Chip DLP™ 1Chip DLP™ LCD Ultra Short Throw Fisheye Lens Ceiling mount bracket Filter Optional Wireless Module Easy wireless stick DIGITAL LINK Switcher Digital Interface Box Multi Window Processor Software Early Warning Software Geometry Manager Pro Interactive Software Multi Monitoring and Control Software (for Windows) Wireless Software Content Management Software (for Windows) Large-Venue LCD Projector Projectors , Component

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Calculations of sunrise and sunset in King's Lynn - England - United Kingdom for November 2022. Generic astronomy calculator to calculate times for sunrise, sunset, moonrise, moonset for many cities, with daylight saving time and time zones taken in account.

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Twilight is light produced by sunlight scattering in the upper atmosphere, when the Sun is below the horizon, which illuminates the lower atmosphere and the Earth's surface. The word twilight can also refer to the periods of time when this illumination occurs.

The lower the Sun is beneath the horizon, the dimmer the twilight (other factors such as atmospheric conditions being equal). When the Sun reaches 18° below the horizon, the twilight's brightness is nearly zero, and evening twilight becomes nighttime. When the Sun again reaches 18° below the horizon, nighttime becomes morning twilight. Owing to its distinctive quality, primarily the absence of shadows and the appearance of objects silhouetted against the lit sky, twilight has long been popular with photographers and painters, who often refer to it as the blue hour, after the French expression l'heure bleue.

By analogy with evening twilight, the word twilight is also sometimes used metaphorically, to imply that something is losing strength and approaching its end. For example, very old people may be said to be "in the twilight of their lives". The collateral adjective for twilight is crepuscular, which may be used to describe the behavior of animals that are most active during this period.

Twilight is defined according to the solar elevation angle , which is the position of the geometric center of the Sun relative to the horizon. There are three established and widely accepted subcategories of twilight: civil twilight (nearest the horizon), nautical twilight, and astronomical twilight (farthest from the horizon).

Civil twilight is the period when enough natural light remains that artificial light is not needed.

Morning civil twilight begins when the geometric center of the Sun is 6° below the horizon and ends at sunrise. Evening civil twilight begins at sunset and ends when the geometric center of the sun reaches 6° below the horizon. In the United States' military, the initialisms BMCT (begin morning civil twilight, i.e. civil dawn) and EECT (end evening civil twilight, i.e. civil dusk) are used to refer to the start of morning civil twilight and the end of evening civil twilight, respectively. Civil dawn is preceded by morning nautical twilight and civil dusk is followed by evening nautical twilight.

Under clear weather conditions, civil twilight approximates the limit at which solar illumination suffices for the human eye to clearly distinguish terrestrial objects. Enough illumination renders artificial sources unnecessary for most outdoor activities. At civil dawn and at civil dusk sunlight clearly defines the horizon while the brightest stars and planets can appear. As observed from the Earth (see apparent magnitude), sky-gazers know Venus, the brightest planet, as the "morning star" or "evening star" because they can see it during civil twilight.

Lawmakers have enshrined the concept of civil twilight. Such statutes typically use a fixed period after sunset or before sunrise (most commonly 20-30 minutes), rather than how many degrees the Sun is below the horizon. Examples include when drivers of automobiles must turn on their headlights (called lighting-up time in the UK), when hunting is restricted, or when the crime of burglary is to be treated as nighttime burglary, which carries stiffer penalties in some jurisdictions.

The period may affect when extra equipment, such as anti-collision lights, is required for aircraft to operate. In the US, civil twilight for aviation is defined in Part 1.1 of the Federal Aviation Regulations (FARs) as the time listed in the American Air Almanac.

Morning nautical twilight (nautical dawn) begins when the geometric center of the Sun is 12 degrees below the horizon in the morning and ends when the geometric center of the Sun is 6 degrees below the horizon in the morning.

Evening nautical twilight (nautical dusk) begins when the geometric center of the Sun is 6 degrees below the horizon in the evening and ends when the geometric center of the Sun is 12 degrees below the horizon in the evening.

Before nautical dawn and after nautical dusk, sailors cannot navigate via the horizon at sea as they cannot clearly see the horizon.[failed verification ] At nautical dawn and nautical dusk, the human eye finds it difficult, if not impossible, to discern traces of illumination near the sunset or sunrise point of the horizon ( first light after nautical dawn but before civil dawn and nightfall after civil dusk but before nautical dusk).[citation needed ]

Sailors can take reliable star sightings of well-known stars, during the stage of nautical twilight when they can distinguish a visible horizon for reference (i.e. after astronomic dawn or before astronomic dusk).

Under good atmospheric conditions with the absence of other illumination, during nautical twilight, the human eye may distinguish general outlines of ground objects but cannot participate in detailed outdoor operations.

Nautical twilight has military considerations as well. The initialisms BMNT (begin morning nautical twilight, i.e. nautical dawn) and EENT (end evening nautical twilight, i.e. nautical dusk) are used and considered when planning military operations. A military unit may treat BMNT and EENT with heightened security, e.g. by "standing to", in which everyone assumes a defensive position.

Astronomical dawn is the moment when the geometric center of the Sun is 18 degrees below the horizon in the morning. Astronomical dusk is the moment when the geometric center of the Sun is 18 degrees below the horizon in the evening. After astronomical dusk and before astronomical dawn, the sky is not illuminated by the Sun.

Definition

Morning astronomical twilight begins (astronomical dawn) when the geometric center of the Sun is 18° below the horizon in the morning and ends when the geometric center of the Sun is 12° below the horizon in the morning. Evening astronomical twilight begins when the geometric center of the Sun is 12° below the horizon in the evening and ends (astronomical dusk) when the geometric center of the Sun is 18° below the horizon in the evening. In some places (away from urban light pollution, moonlight, auroras, and other sources of light), where the sky is dark enough for nearly all astronomical observations, astronomers can easily make observations of point sources such as stars both during and after astronomical twilight in the evening and both before and during astronomical twilight in the morning. However, some critical observations, such as of faint diffuse items such as nebulae and galaxies, may require observation beyond the limit of astronomical twilight. Theoretically, the faintest stars detectable by the naked eye (those of approximately the sixth magnitude) will become visible in the evening at astronomical dusk, and become invisible at astronomical dawn.

However, in other places, especially those with skyglow, astronomical twilight may be almost indistinguishable from night. In the evening, even when astronomical twilight has yet to end and in the morning when astronomical twilight has already begun, most casual observers would consider the entire sky fully dark. Because of light pollution, observers in some localities, generally in and near large cities, may never have the opportunity to view anything but the brightest stars, irrespective of the presence of any twilight at all, nor to experience anything close to a truly dark sky.

Observers within 48°34' of the Equator (within 50° of the Equator in May or November, within 57° of the Equator in April or October) and within 72° of the Equator on the equinoxes can view twilight twice each day on every date of the year between astronomical dawn, nautical dawn, or civil dawn, and sunrise as well as between sunset and civil dusk, nautical dusk, or astronomical dusk.[clarification needed ] This also occurs for most observers at higher latitudes on many dates throughout the year, except those around the summer solstice. However, at latitudes closer than 9 degrees (between 81° and 90°) to either Pole, the Sun cannot rise above the horizon nor sink more than 18 degrees below it on the same day on any date, this example of twilight cannot occur because the angular difference between solar noon and solar midnight elevates less than 18 degrees.

At latitudes greater than 48°34' North or South, on dates near the summer solstice, twilight can last from sunset to sunrise, since the Sun does not sink more than 18 degrees below the horizon, so complete darkness does not occur even at solar midnight. These latitudes include many densely populated regions of the Earth, including the entire United Kingdom and other countries in northern Europe and even parts of central Europe.

Civil twilight: between 60°34' and 65°44' north or south (between 62° and 67°10' north or south in May or November, between 69° and 74°10' north or south in April or October). In the northern hemisphere, this includes the center of Iceland, Finland, Sweden, Norway, Faroe Islands and Shetland Island. In the southern hemisphere this includes parts of the Southern Ocean and the northern tip of the Antarctic Peninsula. When civil twilight lasts all night, this is also referred as a white night.

Nautical twilight: between 54°34' and 60°34' north or south (between 56° and 62° north or south in May or November, between 63° and 69° north or south in April or October). In the northern hemisphere this includes the center of Russia, Canada, Estonia, Latvia, Lithuania, and Denmark. In the southern hemisphere this includes the southernmost point of South America, and Ushuaia in Argentina. When nautical twilight lasts all night, this does not constitute a white night.

Astronomical twilight: between 48°34' and 54°34' north or south (between 50° and 56° north or south in May or November, between 57° and 63° north or south in April or October). In the northern hemisphere, this includes the center of Isle of Man, United Kingdom, Belarus, Ireland, Netherlands, Poland, Germany, Belgium, Czech Republic, Bellingham, Washington, Orcas Island, Washington, Vancouver, British Columbia, Luxembourg, Guernsey, Ukraine, and Slovakia. In the southern hemisphere this includes the center of South Georgia and the South Sandwich Islands, Bouvet Island, Heard Island, Falkland Islands. It also includes El Calafate and Río Gallegos in Argentina, and Puerto Natales in Chile. When astronomical twilight lasts all night, this does not constitute a white night.

In Arctic and Antarctic latitudes in wintertime, the polar night only rarely produces complete darkness for 24 hours each day. This can occur only at locations within 5.5 degrees of latitude of the Pole, and there only on dates close to the winter solstice. At all other latitudes and dates, the polar night includes a daily period of twilight, when the Sun is not far below the horizon. Around winter solstice, when the solar declination changes slowly, complete darkness lasts several weeks at the Pole itself, e.g., from May 11 to July 31 at Amundsen-Scott South Pole Station. North Pole has the experience of this from November 13 to January 29.

Solar noon at civil twilight during a polar night: between 67°24' and 72°34' north or south.

Solar noon at nautical twilight during a polar night: between 72°34' and 78°34' north or south.

Solar noon at astronomical twilight during a polar night: between 78°34' and 84°34' north or south.

Solar noon at night during a polar night: between 84°34' and 90° north or south.

At latitudes within 9 degrees of either Pole, as the Sun's angular elevation difference is less than 18 degrees, twilight can last for the entire 24 hours. This occurs for one day at latitudes near 9 degrees from the Pole and extends up to several weeks the further toward the Pole one goes. The only permanent settlement to experience this condition is Alert, Nunavut, Canada, where it occurs for a week in late February, and again in late October.

The duration of twilight depends on the latitude and the time of the year. The apparent travel of the Sun occurs at the rate of 15 degrees per hour (360° per day), but sunrise and sunset happen typically at oblique angles to the horizon and the actual duration of any twilight period will be a function of that angle, being longer for more oblique angles. This angle of the Sun's motion with respect to the horizon changes with latitude as well as the time of year (affecting the angle of the Earth's axis with respect to the Sun).

At Greenwich, England (51.5°N), the duration of civil twilight will vary from 33 minutes to 48 minutes, depending on the time of year. At the equator, civil twilight can last as little as 24 minutes. This is true because at low latitudes the Sun's apparent movement is perpendicular to the observer's horizon. But at the poles, civil twilight can be as long as 2-3 weeks. In the Arctic and Antarctic regions, twilight (if there is any) can last for several hours. There is no astronomical twilight at the poles near the winter solstice (for about 74 days at the North Pole and about 80 days at the South Pole). As one gets closer to the Arctic and Antarctic circles, the Sun's disk moves toward the observer's horizon at a lower angle. The observer's earthly location will pass through the various twilight zones less directly, taking more time.

Within the polar circles, twenty-four-hour daylight is encountered in summer, and in regions very close to the poles, twilight can last for weeks on the winter side of the equinoxes. Outside the polar circles, where the angular distance from the polar circle is less than the angle which defines twilight (see above), twilight can continue through local midnight near the summer solstice. The precise position of the polar circles, and the regions where twilight can continue through local midnight, varies slightly from year to year with Earth's axial tilt. The lowest latitudes at which the various twilights can continue through local midnight are approximately 60.561° (60°33′43″) for civil twilight, 54.561° (54°33′43″) for nautical twilight and 48.561° (48°33′43″) for astronomical twilight.

These are the largest cities of their respective countries where the various twilights can continue through local solar midnight:

Civil twilight from sunset to sunrise: Tampere, Umeå, Trondheim, Tórshavn, Reykjavík, Nuuk, Whitehorse, Anchorage, Arkhangelsk and Baltasound. In the Southern Hemisphere, there are no major permanent settlements far enough south to experience this.

Nautical twilight from civil dusk to civil dawn: Saint Petersburg, Moscow, Vitebsk, Vilnius, Riga, Tallinn, Wejherowo, Flensburg, Helsinki, Stockholm, Copenhagen, Oslo, Newcastle upon Tyne, Edinburgh, Glasgow, Belfast, Letterkenny, Petropavl, Nanortalik, Grande Prairie, Juneau, Ushuaia, and Puerto Williams.

Astronomical twilight from nautical dusk to nautical dawn: Hulun Buir, Erdenet, Nur-Sultan, Samara, Kyiv, Minsk, Alytus, Warsaw, Košice, Paris, Dublin, Zwettl, Prague, Stanley (Falkland Islands), Berlin, Hamburg, Luxembourg City, Brussels, Amsterdam, London, Cardiff, Vancouver, Calgary, Unalaska, Bellingham (largest in the continental USA), Rio Gallegos, and Punta Arenas.

Major cities that near astronomical twilight from nautical dusk to nautical dawn: Khabarovsk (48°29'0"N), Dnipro (48°27'0"N), Victoria (48°25'42"N), Saguenay (48°25′0"N), Brest (48°23′26"N), Thunder Bay (48°22′56″N), Vienna (48°12′30″N), Bratislava (48°8′38″N), Munich (48°8'0"N)

Although Helsinki, Oslo, Stockholm, Tallinn, and Saint Petersburg also enter into nautical twilight after sunset, they do have noticeably lighter skies at night during the summer solstice than other locations mentioned in their category above, because they do not go far into nautical twilight. A white night is a night with only civil twilight which lasts from sunset to sunrise.

At the winter solstice within the polar circle, twilight can extend through solar noon at latitudes below 72.561° (72°33′43″) for civil twilight, 78.561° (78°33′43″) for nautical twilight, and 84.561° (84°33′43″) for astronomical twilight.

Twilight on Mars is longer than on Earth, lasting for up to two hours before sunrise or after sunset. Dust high in the atmosphere scatters light to the night side of the planet. Similar twilights are seen on Earth following major volcanic eruptions.

In Christian practice, " vigil" observances often occur during twilight on the evening before major feast days or holidays. For example, the Easter Vigil is held in the hours of darkness between sunset on Holy Saturday and sunrise on Easter Day - most commonly in the evening of Holy Saturday or midnight - and is the first celebration of Easter, days traditionally being considered to begin at sunset.

Twilight is sacred in Hinduism. It is called गोधूळिवेळ gōdhūḷivēḷ in Sanskrit or गोधूलिवेला godhūlivelā in Hindi, గొధూళివేళ "godhoolivela" in Telugu, literally "cow dust time". Many rituals, including Sandhyavandanam and Puja, are performed at twilight hour. Eating of food is not advised during this time. Sometimes it is referred to as Asurasandhya vela. It is believed that Asuras are active during these hours. One of the avatars of Lord Vishnu, Narasimha, is closely associated with the twilight period. According to Hindu scriptures, a daemonic king, Hiranakashipa, performed penance and obtained a boon from Brahma that he could not be killed during day or night and neither by human nor animal. Lord Vishnu appeared in a half-man half-lion form (neither human nor animal), ended the life of Hiranakashipa during twilight (neither day nor night).

Twilight is important in Islam as it determines when certain universally obligatory prayers are to be recited. Morning twilight is when morning prayers () are done, while evening twilight is the time for evening prayers (Maghrib prayer). Also during Ramadhan, the time for suhoor (morning meal before fasting) ends at morning twilight, while fasting ends after sunset. There is also an important discussion in Islamic jurisprudence between "true dawn" and " false dawn".

In Judaism, twilight is considered neither day nor night; consequently it is treated as a safeguard against encroachment upon either. It can be considered a liminal time. For example, the twilight of Friday is reckoned as Sabbath eve, and that of Saturday as Sabbath day; and the same rule applies to festival days.

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Twilight is light produced by sunlight scattering in the upper atmosphere, when the Sun is below the horizon, which illuminates the lower atmosphere and the Earth's surface. The word twilight can also refer to the periods of time when this illumination occurs.

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The lux (symbol: lx) is the unit of illuminance, or luminous flux per unit area, in the International System of Units (SI). It is equal to one lumen per square metre. In photometry, this is used as a measure of the intensity, as perceived by the human eye, of light that hits or passes through a surface. It is analogous to the radiometric unit watt per square metre, but with the power at each wavelength weighted according to the luminosity function, a standardized model of human visual brightness perception. In English, "lux" is used as both the singular and plural form.

The word is derived from the Latin word for "light", lux.

Illuminance

Illuminance is a measure of how much luminous flux is spread over a given area. One can think of luminous flux (measured in lumens) as a measure of the total "amount" of visible light present, and the illuminance as a measure of the intensity of illumination on a surface. A given amount of light will illuminate a surface more dimly if it is spread over a larger area, so illuminance is inversely proportional to area when the luminous flux is held constant.

One lux is equal to one lumen per square metre:

A flux of 1000 lumens, spread uniformly over an area of 1 square metre, lights up that square metre with an illuminance of 1000 lux. However, the same 1000 lumens spread out over 10 square metres produces a dimmer illuminance of only 100 lux.

Achieving an illuminance of 500 lx might be possible in a home kitchen with a single fluorescent light fixture with an output of 12000 lumens. To light a factory floor with dozens of times the area of the kitchen would require dozens of such fixtures. Thus, lighting a larger area to the same level of lux requires a greater number of lumens.

As with other SI units, SI prefixes can be used. For example, 1 kilolux (klx) is 1000 lx.

Here are some examples of the illuminance provided under various conditions:

The illuminance provided by a light source on a surface perpendicular to the direction to the source is a measure of the strength of that source as perceived from that location. For instance, a star of apparent magnitude 0 provides 2.08 microlux (μlx) at the Earth's surface. A barely perceptible magnitude 6 star provides 8 nanolux (nlx). The unobscured Sun provides an illumination of up to 100 kilolux (klx) on the Earth's surface, the exact value depending on time of year and atmospheric conditions. This direct normal illuminance is related to the solar illuminance constant E sc, equal to 128000 lux (see Sunlight and Solar constant).

The illuminance on a surface depends on how the surface is tilted with respect to the source. For example, a pocket flashlight aimed at a wall will produce a given level of illumination if aimed perpendicular to the wall, but if the flashlight is aimed at increasing angles to the perpendicular (maintaining the same distance), the illuminated spot becomes larger and so is less highly illuminated. When a surface is tilted at an angle to a source, the illumination provided on the surface is reduced because the tilted surface subtends a smaller solid angle from the source, and therefore it receives less light. For a point source, the illumination on the tilted surface is reduced by a factor equal to the cosine of the angle between a ray coming from the source and the normal to the surface. In practical lighting problems, given information on the way light is emitted from each source and the distance and geometry of the lighted area, a numerical calculation can be made of the illumination on a surface by adding the contributions of every point on every light source.

Relationship between illuminance and irradiance

Like all photometric units, the lux has a corresponding " radiometric" unit. The difference between any photometric unit and its corresponding radiometric unit is that radiometric units are based on physical power, with all wavelengths being weighted equally, while photometric units take into account the fact that the human eye's image-forming visual system is more sensitive to some wavelengths than others, and accordingly every wavelength is given a different weight. The weighting factor is known as the luminosity function.

The lux is one lumen per square metre (lm/m ²), and the corresponding radiometric unit, which measures irradiance, is the watt per square metre (W/m ²). There is no single conversion factor between lux and W/m ²; there is a different conversion factor for every wavelength, and it is not possible to make a conversion unless one knows the spectral composition of the light.

The peak of the luminosity function is at 555 nm (green); the eye's image-forming visual system is more sensitive to light of this wavelength than any other. For monochromatic light of this wavelength, the amount of illuminance for a given amount of irradiance is maximum: 683.002 lx per 1 W/m ²; the irradiance needed to make 1 lx at this wavelength is about 1.464 mW/m ². Other wavelengths of visible light produce fewer lux per watt-per-meter-squared. The luminosity function falls to zero for wavelengths outside the visible spectrum.

For a light source with mixed wavelengths, the number of lumens per watt can be calculated by means of the luminosity function. In order to appear reasonably "white", a light source cannot consist solely of the green light to which the eye's image-forming visual photoreceptors are most sensitive, but must include a generous mixture of red and blue wavelengths, to which they are much less sensitive.

This means that white (or whitish) light sources produce far fewer lumens per watt than the theoretical maximum of 683.002 lm/W. The ratio between the actual number of lumens per watt and the theoretical maximum is expressed as a percentage known as the luminous efficiency. For example, a typical incandescent light bulb has a luminous efficiency of only about 2%.

In reality, individual eyes vary slightly in their luminosity functions. However, photometric units are precisely defined and precisely measurable. They are based on an agreed-upon standard luminosity function based on measurements of the spectral characteristics of image-forming visual photoreception in many individual human eyes.

Specifications for video cameras such as camcorders and surveillance cameras often include a minimal illuminance level in lux at which the camera will record a satisfactory image.[citation needed ] A camera with good low-light capability will have a lower lux rating. Still cameras do not use such a specification, since longer exposure times can generally be used to make pictures at very low illuminance levels, as opposed to the case in video cameras, where a maximal exposure time is generally set by the frame rate.

Non-SI units of illuminance

The corresponding unit in English and American traditional units is the foot-candle. One foot candle is about 10.764 lx. Since one foot-candle is the illuminance cast on a surface by a one-candela source one foot away, a lux could be thought of as a "metre-candle", although this term is discouraged because it does not conform to SI standards for unit names.

One phot (ph) equals 10 kilolux (10 klx).

One nox (nx) equals 1 millilux (1 mlx).

In astronomy, apparent magnitude is a measure of the illuminance of a star on the Earth's atmosphere. A star with apparent magnitude 0 is 2.54 microlux outside the earth's atmosphere, and 82% of that (2.08 microlux) under clear skies. A magnitude 6 star (just barely visible under good conditions) would be 8.3 nanolux. A standard candle (one candela) a kilometre away would provide an illuminance of 1 microlux-about the same as a magnitude 1 star.

Unicode includes a symbol for "lx": ㏓ SQUARE LX. It is a legacy code to accommodate old code pages in some Asian languages. Use of this code is not recommended in new documents.

1. ^ SI Derived Units, National Institute of Standards and Technology.

2. ^ "Lux". Lighting / Radiation, quantities and units. International Electrotechnical Commission. 1987.

3. ^ NIST Guide to SI Units. Chapter 9 - Rules and Style Conventions for Spelling Unit Names, National Institute of Standards and Technology.

4. ^ Schlyter, Paul (1997-2009). "Radiometry and photometry in astronomy".
Starlight illuminance coincides with the human eye's minimum illuminance while moonlight coincides with the human eye's minimum colour vision illuminance (IEE Reviews, 1972, page 1183).

5. ^ Kyba, Christopher C. M.; Mohar, Andrej; Posch, Thomas (1 February 2017). "How bright is moonlight?" (PDF). Astronomy & Geophysics. 58 (1): 1.31-1.32. doi:10.1093/astrogeo/atx025.

6. ^ Pears, Alan (June 1998). "Chapter 7: Appliance technologies and scope for emission reduction". Strategic Study of Household Energy and Greenhouse Issues (PDF). Sustainable Solutions Pty Ltd. Department of Industry and Science, Commonwealth of Australia. p. 61. Archived from the original (PDF) on 2 March 2011.

7. ^ Australian Greenhouse Office (May 2005). "Chapter 5: Assessing lighting savings". Working Energy Resource and Training Kit: Lighting. Archived from the original on 15 April 2007.

8. ^ Darlington, Paul (5 December 2017). "London Underground: Keeping the lights on". Rail Engineer. Archived from the original on 16 November 2018.

9. ^ "How to use a lux meter (Australian recommendation)" (PDF). Sustainability Victoria. April 2010. Archived from the original (PDF) on 7 July 2011.

10. ^ "Illumination. - 1926.56". Regulations (Standards - 29 CFR). Occupational Safety and Health Administration, US Dept. of Labor. Archived from the original on 8 May 2009.

11. Jack L. Lindsey, ^ Applied Illumination Engineering, The Fairmont Press, Inc., 1997 ISBN 0881732125 page 218

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The lux (symbol: lx) is the unit of illuminance, or luminous flux per unit area, in the International System of Units (SI). It is equal to one lumen per square metre. In photometry, this is used as a measure of the intensity, as perceived by the human eye, of light that hits or passes through a surface.

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The lumen (symbol: lm) is the unit of luminous flux, a measure of the total quantity of visible light emitted by a source per unit of time, in the International System of Units (SI). Luminous flux differs from power ( radiant flux) in that radiant flux includes all electromagnetic waves emitted, while luminous flux is weighted according to a model (a " luminosity function") of the human eye's sensitivity to various wavelengths. One lux is one lumen per square metre.

The lumen is defined in relation to the candela as

A full sphere has a solid angle of 4π steradians, so a light source that uniformly radiates one candela in all directions has a total luminous flux of

If a light source emits one candela of luminous intensity uniformly across a solid angle of one steradian, the total luminous flux emitted into that angle is one lumen (1 cd·1 sr = 1 lm). Alternatively, an isotropic one-candela light-source emits a total luminous flux of exactly 4π lumens. If the source were partly covered by an ideal absorbing hemisphere, that system would radiate half as much luminous flux-only 2π lumens. The luminous intensity would still be one candela in those directions that are not obscured.

The lumen can be thought of casually as a measure of the total amount of visible light in some defined beam or angle, or emitted from some source. The number of candelas or lumens from a source also depends on its spectrum, via the nominal response of the human eye as represented in the luminosity function.

The difference between the units lumen and is that the lux takes into account the area over which the luminous flux is spread. A flux of 1,000 lumens, concentrated into an area of one square metre, lights up that square metre with an illuminance of 1,000 lux. The same 1,000 lumens, spread out over ten square metres, produces a dimmer illuminance of only 100 lux. Mathematically, .

A source radiating a power of one watt of light in the color for which the eye is most efficient (a wavelength of 555 nm, in the green region of the optical spectrum) has luminous flux of 683 lumens. So a lumen represents at least 1/683 watts of visible light power, depending on the spectral distribution.

Lamps used for lighting are commonly labelled with their light output in lumens and, in many jurisdictions, that is required by law.

A 23 W spiral compact fluorescent lamp emits about 1,400-1,600 lm. Many compact fluorescent lamps and other alternative light sources are labelled as being equivalent to an incandescent bulb with a specific power. Below is a table that shows typical luminous flux for common incandescent bulbs and their equivalents.

On 1 September 2010, European Union legislation came into force mandating that lighting equipment must be labelled primarily in terms of luminous flux (lm), instead of electric power (W). That change is a result of the EU's Eco-design Directive for Energy-using Products (EuP). For example, according to the European Union standard, an energy-efficient bulb that claims to be the equivalent of a 60 W tungsten bulb must have a minimum light output of 700-750 lm.

ANSI lumens

The light output of projectors (including video projectors) is typically measured in lumens. A standardized procedure for testing projectors has been established by the American National Standards Institute, which involves averaging together several measurements taken at different positions. For marketing purposes, the luminous flux of projectors that have been tested according to this procedure may be quoted in "ANSI lumens", to distinguish them from those tested by other methods. ANSI lumen measurements are in general more accurate than the other measurement techniques used in the projector industry. This allows projectors to be more easily compared on the basis of their brightness specifications.

The method for measuring ANSI lumens is defined in the IT7.215 document which was created in 1992. First the projector is set up to display an image in a room at a temperature of 25 °C (77 °F). The brightness and contrast of the projector are adjusted so that on a full white field, it is possible to distinguish between a 5% screen area block of 95% peak white, and two identically sized 100% and 90% peak white boxes at the center of the white field. The light output is then measured on a full white field at nine specific locations around the screen and averaged. This average is then multiplied by the screen area to give the brightness of the projector in "ANSI lumens".

Peak lumens

Peak lumens is a measure of light output normally used with CRT video projectors. The testing uses a test pattern typically at either 10 and 20 percent of the image area as white at the center of the screen, the rest as black. The light output is measured just in this center area. Limitations with CRT video projectors result in them producing greater brightness when just a fraction of the image content is at peak brightness. For example, the Sony VPH-G70Q CRT video projector produces 1200 "peak" lumens but just 200 ANSI lumens.

Color light output

Brightness (white light output) measures the total amount of light projected in lumens. The color brightness specification Color Light Output measures red, green, and blue each on a nine-point grid, using the same approach as that used to measure brightness.

1. ^ The International System of Units (SI) (PDF) (9th ed.). Bureau International des Poids et Mesures. 2019. pp. 137-138.

2. ^ "Conventional CFLs". Energy Federation Incorporated. Archived from the original on 2008-10-14.

3. one example has been found, at URL: ^ https://www.amazon.com/PacLights-Ultra150-Performance-Equivalent-Replacement/dp/B00F9CM49Y

4. Philips Luxeon CoB emitters, specifically LHC1-4090-1208 datasheet ^ http://www.philipslumileds.com/uploads/419/DS115-pdf

5. Philips Luxeon CoB emitters, specifically LHC1-4090-1211 datasheet ^ http://www.philipslumileds.com/uploads/419/DS115-pdf

6. ^ "Energy-saving light bulbs: how to read the packaging". European Commission. Archived from the original on 28 June 2013.

7. ^ "ANSI method of light output measurement". 1993. Archived from the original (doc) on February 26, 2012.

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The lumen (symbol: lm) is the unit of luminous flux, a measure of the total quantity of visible light emitted by a source per unit of time, in the International System of Units (SI).

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Lynn Lumière - GreyfriarsTower - Halida Boughriet

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Artist, Halida Boughriet, has taken her cue from Greyfriar’s Tower’s historical use as a landmark for sailors and the Celtic origins of the town’s name (‘Lin’ meant lake) to develop an enchanting projection based upon the town’s links with water. Water, awesome and powerful, calm and serene appears to fill the tower, in this striking show.

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Lynn Lumière - Vancouver Quarter - Gaëtan Robillard

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Gaëtan Robillard’s creation for 18 New Conduit Street, Baxter’s Plain also explores King’s Lynn’s maritime past. Inspired by the lighthouse-like tower of the building (currently occupied by RBS), he has developed a work based upon the movements of the sea. Gradually, images emerge from the water, uncovering more about King’s Lynn's heritage and inviting people to consider how the past influences our modern world.

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King's Lynn Minster - Lynn Lumière - Amandine Meyer & Julia Dantonnet

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Inspired by the tide or moon clock, seen on one of the west facing towers of King’s Lynn Minster, ‘The Round of Clocks’ by Amandine Meyer and Julia Dantonnet reflects upon human measurement of time and how the mechanisms we use to chart it reveal our vision of the world. This stimulating and surprising installation uses circular shapes and animated rotational movements as well as features of the building, including the magnificent stained glass window.

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Lynn Lumière - King's Lynn Custom House - Julia Dantonnet

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Julia Dantonnet has used light and projection to create Night Sailor which highlights one of King's Lynn's most iconic landmarks, the Custom House. Composed with archive images, geographical and stellar maps, Night Sailors draws on King’s Lynn’s role as a cradle of development for deep-sea navigation in the Middle Ages.

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Tuesday Market Place Lynn Lumière - Guillaume LePoix & Thomas Daveluy

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Focusing on the use of natural resources, Guillaume LePoix and Thomas Daveluy create a fascinating depiction of the construction and de-construction of a building. As plants emerge from the ground, we see how different resources and materials are used to create the fabric and living spaces of the building.

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St Nicholas Chapel - Lynn Lumière - Shantidas Riedacker & Dorian Rigal

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Surprising and striking, this dramatic light show encourages people to take another look at the magnificent architecture of St Nicholas' Chapel. A series of abstract patterns and shapes envelop the spire, disrupting our conventional view of the 19th century structure and drawing new attention to it.

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QED Productions : Creating a cultural splash in Hull 

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QED Productions : Creating a cultural splash in Hull 

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Creating a cultural splash in Hull - Visual System Solutions | Panasonic Business

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One of the biggest challenges for Floe at the Deep was the multitude of different textures on the surface of the building and the surrounding area. A large reflective metal strip across the centre, white concrete, dark concrete, seaweed, algae, rusty corrugated iron, glass and tiles that all needed to accommodated and balanced for brightness and contrast.

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QED Productions | News | Transforming The Deep for Hull UK City of Culture 2017

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Every couple of years a really great project comes along that truly inspires, and for QED Heinrich and Palmer’s Floe was that project. A jaw-dropping building transformation requiring extraordinary creative and technical vision, made possible by utilising the very latest in laser projection technolo…

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Heinrich & Palmer | We are two British artists who work in collaboration and together have a broad, cross disciplinary practice which encompasses installations, interventions, large scale projection events, films and photography

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A large scale projection and soundscape event for The Deep, Hull
Commissioned for Hull UK City of Culture 2017
8 - 10 December 2017

Floe was a major new projection, sound and light event created for Hull's iconic aquarium, The Deep. It was the final major commission in Hull 2017's Look Up series of art works in the public realm.

Floe investigated the nature and inspiration behind The Deep, from its unique design and structure, to its position today as a major visitor attraction and international conservation and research charity. Using film, modelling, mapping and projection we explored the material, form and surface qualities of The Deep, conjuring with the geological and biological processes which inspired the building and the rich aquatic life and environments it houses.

Floe transformed the building, created new identities and hinted at ancient associations, linking to Hull's historical and modern relationship with the sea. Inspiration and content was taken from geological and tectonic processes, ice and rock, marine life and landscapes.

Since The Deep opened in 2002 it has become synonymous with Hull. Sir Terry Farrell and Partners created a dramatic architectural statement sited at the confluence of the Hull and the Humber, and Floe responds to the architect's vision for an expressive building.

Format: Large scale architectural projection mapped across the 100 metre long facade of The Deep Hull with soundscape. Video 8000 x 3500 pixels resolution.

Duration: 15 minutes looped to repeat four times an hour.

Technical support: QED Productions Ltd provided technical support and designed, installed and operated the playback, sound and projection equipment.

Link to full length video documentation of Floe

Link to short video highlights of Floe

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A large scale projection and soundscape event for The Deep, Hull Commissioned for Hull UK City of Culture 2017 8 - 10 December 2017 Floe was a major new projection, sound and light event created for Hull's iconic aquarium, The Deep.

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Find local businesses, view maps and get driving directions in Google Maps.

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VJ Suave has two audiovisual tricycles adapted with a projector, computer, speakers and batteries. They're used so that small narratives with characters and poetry can travel open spaces, lighting the walls on a large scale. The projections illuminate walls, trees, lakes, sidewalks and propose a playful interactivity with the public.

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https://en.wikipedia.org/wiki/Graphics_display_resolution#XGA

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WALKABOUT Projection by PRICKIMAGE. #WALKPro﻿ is a small sexy HD video projection system, that creates disruptive pop-up performances just about anywhere. Projections can roam free outdoors or indoors with no need for cables or screens, in a way that surprises and delights the onlooker, opening fresh dialogue between environment, narrative and perceptions.

WALKPro3D﻿ is manipulated magically by LeapMotion & powered by Unity3D gaming engine allowing real-time interactive control of 3D Logo & 3D Characters. Our technology allows performers to project video and animated characters using portable HD projector systems as they walk among the public at events. The performers manipulate the projected images live, encouraging audience interaction

This sort of technology lends itself to very engaging and creative possibilities when used by teams of performers. Multiple performers with WALKABOUT Projection kits can easily engineer flashmob-style theatrical pop-up, for example.

Having no cables and true portability allows for this kind of spontaneity. This portability is also pointing towards the possibility of powering equipment other than projectors. We are already at the stage where parts of the WALKPro3D kit can be incorporated into a performer's costume. Looking at Wearable Technology and tiny computers, it's not difficult to see that we will be taking projections into previously-undreamed of spaces.

PRICKIMAGE create playful reactive digital visuals full of intrigue. We are based in London and are continually looking for ways to push technology to create optically intoxicating environments.

The selection of core services below complement each other & come together to make for compelling performances that guests & clients remember & share via social media

Selection of our favorite projects here...undercontruction

To make it easier to adapt to your event a few popular sample packages are below, happy to customize to your needs. Trained operators are recruited as performers, or how we like to say Digital Puppet Masters. Optional costumes are available or appropriate party wear worn.

Mr PRICK

WALKPro3D manipulated magically by Leap Motion hand gestures & Unity3D gaming engine characters

Our core #WALKPro3D Family

Shaun PRICKIMAGE

Creative Director

Using reactive projections and installations, Shaun creates distinctive digital visuals for events and brands. #WALKABOUTProjection #WALKPro3D #PRICKIMAGE #EVENTPro #VJ #LIVEVisuals

Want more info or book WALKPro3D?

where are we ? click for map

Keep in touch

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WALKABOUT Projection by PRICKIMAGE. #WALKPro﻿ is a small sexy HD video projection system, that creates disruptive pop-up performances just about anywhere. Projections can roam free outdoors or indoors with no need for cables or screens, in a way that surprises and delights the onlooker, opening fresh dialogue between environment, narrative and perceptions.

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Projection mapping is a projection technique used to turn objects, often irregularly shaped, into display surfaces for video projection. The objects may be complex industrial landscapes, such as buildings, small indoor objects, or theatrical stages.

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Projection mapping of a pattern onto curved surfaces

Projection mapping, similar to video mapping and spatial augmented reality, is a projection technique used to turn objects, often irregularly shaped, into display surfaces for video projection. The objects may be complex industrial landscapes, such as buildings, small indoor objects, or theatrical stages. Using specialized software, a two- or three-dimensional object is spatially mapped on the virtual program which mimics the real environment it is to be projected on. The software can then interact with a projector to fit any desired image onto the surface of that object. The technique is used by artists and advertisers who can add extra dimensions, optical illusions, and notions of movement onto previously static objects. The video is commonly combined with or triggered by audio to create an audiovisual narrative. In recent years the technique has also been widely used in the context of cultural heritage, as it has proved to be an excellent edutainment tool.

Although the term "projection mapping" is relatively new, the technique dates back to the mid-20th century. Josef Svoboda, a Czech scenographer, debuted Lanterna Magika at Expo 58, the 1958 Brussels World Fair. Lanterna Magika was a live performance that featured singers, dancers, and musicians performing against a backdrop of projected film footage. Günther Schneider-Siemssen was a German set designer, who coined the phrase, "painting with light. He used Pani projectors to create large-scale projections for operas. In the late 1960s, audiences referred to projection mapping as, "the Madame Leota effect," based on the use of the technique in Disney's Haunted Mansion. Disneyland debuted a projection effect in 1969, when they opened their Haunted Mansion attraction, which featured singing three-dimensional busts. The singers' faces were filmed on 16mm film and projected onto busts of their faces to make the busts appear animated. Another early example of projection mapping was in the 1967 TV movie Magical Mystery Tour during the Blue Jay Way scene, where images were projected onto George Harrison, including a cat's face and a headless male torso with the words "Magical Mystical Boy" written on its chest.

The next record of projection mapping is from 1980, when installation artist Michael Naimark filmed people interacting with objects in a living room and then projected it in the room, creating illusions as if the people interacting with the objects were really there.

In 1984 the Stephen Sondheim original Broadway production of Sunday in the Park With George, written and directed by James Lapine, was the first known use of projection mapping in a Broadway musical or play. It was used at the end of Act II, in the Chromolume #7 special effects sequence designed by Bran Ferren to project geometrically-correct moving cinematic images onto the surface of the 4' diameter sphere topping the Chromolume device. Due to the brightness limitations of video projection at the time, the images were projected using 7000w xenon-illuminated 35mm motion picture film (at 48 frames per second). The film's images were digitally pre-distorted to map correctly onto the sphere from the high projection angle in the Booth theater.

The first time the concept of projection mapping was investigated academically was at the University of North Carolina at Chapel Hill in the late 1990s, where a team led by Ramesh Raskar worked on a project called Office of the Future, to connect offices in different locations by projecting people into an office space as if they were really there. By 2001, more artists began using projection mapping in artwork, and groups such as Microsoft began experimenting with it as a means of technological advancement.[citation needed ]

The Sydney Opera House during the 2013 Vivid Sydney projection display

After the object which will be projected on is chosen or created, software is used to map the corners of the video to the surfaces. First, one must choose the images or video to project. Each video is then placed on its designated surface. Alternatively, one may map the entire scene in 3D and attempt to project and mask the image back onto its framework. The next step is masking, using opacity templates to actually "mask" the exact shapes and positions of the different elements of the building or space of projection.

In 3D mapping, coordinates are defined for where the object is placed in relation to the projector. The projector's XYZ orientation, position, and lens specification result in a determined virtual scene.

A projection mapping test grid projected onto a building

Adjustments are commonly made by manually adjusting either the physical or virtual scene for best results. Large projectors with 20,000 lumens output or greater are used for large-scale projections such as on city skyscrapers. Due to the scale and brightness some projects require, often large arrays of powerful projectors are combined into a single image through a method known as "edge blending" or "stacking". The result is a much brighter projection that maintains its seamless look. This technique is used for most large projection-mapping shows, and requires skill and patience to be set up with specialised software. For smaller productions, smaller, lower-output projectors are sufficient. In most cases, a 2200-lumen projector is adequate for projections under indoor light or theatrical lighting.

Video mapping software can be used in projects like these, though Adobe Photoshop, Adobe After Effects and other packages can also be used by creative artists. Extensible open-source software frameworks are also available.

Projection mapping can be separated into four categories:

VJ'ing or VeeJay-ing (video Jockeying), where live events are augmented by (often interactive to music) projections which are fully dynamic, controlled live, and consist of pre-programmed videos and combinations of effects and effect overlays

Theatrical, where projections are preset and scenes are cued on demand, usually in a set order, in conjunction with dance or onstage performance, often interactive

Static/Interactive, where a display is set up and loops or interacts with the environment and viewers via programming

Video, where a generally long, non-interactive, segmented show is presented as a single fluid video that plays from beginning to end

Productions, advertisement and art

Projection mapping at Fête des Lumières by P. Warrener in Lyon (2008)

Projection mapping on Cinderella Castle at Walt Disney World

Projection mapping first came to prominence through guerrilla advertising campaigns and video jockeys for electronic musicians. Large companies such as Nokia, Samsung, Unilever Pakistan, Pakistan Tobacco company, Bank Alfalah, Brighto Paints, Benson & Hedges, John Players Gold Leaf and BMW have since used video projections in marketing campaigns in cities across the world, commonly using mapping techniques to project scenes onto the sides of buildings. Projection mapping can also be interactive: Nokia Ovi Maps did a project where projections mimicked people's movements. Projection mapping has been used at conferences as a means of decoration or immersing audience members in an experienced theme. Images can be projected onto a flat surface, or onto an unusual object such as a car or a chair. The festival Fête des Lumières in Lyon, a festival to honour the Virgin Mary, has recently incorporated 3D mapping in their productions, creating the illusion of a giant pinball machine on the side of a building. Common techniques for these performances include 3D mapping and 3D projection to create the illusion of depth, as well as motion, such as crumbling buildings.

It is also being used in technology such as Domes , where it is combined with virtual reality and augmented reality to create 360-degree projections for a more immersive experience.

The use of projection mapping in TV and films is becoming more popular. For the sci-fi film Oblivion (2013), the directors used projection mapping to create an immersive environment. For a 2016 TV commercial, Audi used projection mapping to showcase the technology of the Audi Q7 car. The ad, "Projection of Greatness", was filmed with no CGI and used only content that was caught live in camera.

In the electronic dance music (EDM) community, it is becoming increasingly common for DJs to accompany their music with synced visuals, which can be either prerecorded or played live by a Video Jockey (VJ). Though normal projection screens are commonly used, some visual artists create special 3D installations to project onto. Many EDM artists employ projection mapping techniques. Visual artists also use projection mapping for creative expression, sometimes to enhance existing creative media such as painting and drawing.

Artists may use it as an avant garde form of expression as it is new technology that can turn their creative ideas into 3D projections, connecting with audiences in a new way. Video projections have appeared in urban centres such as New York City and London, where artists have used guerilla projections in public without any necessary approval. This way, artists can show their work in any location as anything and anywhere can be a canvas. Often people also use it as a means of activism; the group Occupy Wall Street has used it to project onto the Verizon Wireless building in New York City as a means to visually spread the word that Occupy Wall Street is still alive. The Japanese theatre play Mysteries of Yoshitsune I&II (2012-14) is notable for the first major use of projection mapping in Japanese theatre stage play.

Projection mapping is frequently used by Walt Disney Imagineering and Walt Disney Creative Entertainment in the Disney Parks. Examples include The Magic, the Memories and You, Disney Dreams!, Celebrate the Magic, Once Upon a Time, Disneyland Forever, Halloween Screams, Believe... In Holiday Magic, Remember... Dreams Come True, Happily Ever After and most recently Sunset Seasons Greetings at Disney's Hollywood Studios.

When Paul Oakenfold became the first DJ to perform live at Stonehenge, projection mapping was used to transform the prehistoric monument into a spectacular light show. To avoid damage to the ancient stones, only 50 of Oakenfold's close friends were invited, and were required to wear noise-cancelling headphones to hear the music above the nearby A303 road.

Projection mapping has also been used as a way to highlight political and social causes by groups such as Greenpeace and Led By Donkeys. The White Cliffs of Dover are frequently used to project messages of protest, support and memorials.

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Projection mapping, similar to video mapping and spatial augmented reality, is a projection technique used to turn objects, often irregularly shaped, into display surfaces for video projection. The objects may be complex industrial landscapes, such as buildings, small indoor objects, or theatrical stages.

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David Russell - The Fusion Works (https://www.thefusionworks.com)

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Collusion's ART // TECH // PLAY video series shares insights from artists about their work with creative technologies, aiming to spark curiosity and act as an introduction for others who would like to incorporate similar techniques into their work and practice.

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ART // TECH // PLAY Michelle Brace on visual mixing

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Shaun PRICKIMAGE on Walkabout Projection

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Shaun PRICKIMAGE on Walkabout Projection

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SuperEverything* @ The Old Market Theatre for Brighton Digital Arts Festival

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Resolume Arena is VJ software that allows the combining of music and video to produce real-time visuals.

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Resolume puts you in charge. You can play your videos when you want, how you want. Forwards, backwards, scratch and adjust tempo to the beat. Mix and match your visuals quickly and easily and play Resolume like an instrument.

Intuitive Interface

Whatever your style is, Resolume offers you an easy interface to rock it. Use as little or as many videos and effects as you like. The only limit is your computer's raw power and your imagination.

From Your Local Club to Main Stage

You can play on any amount of screens. From a simple screen behind the DJ in your local club to main stage at Ultra. As long as your computer can recognise it as an output, Resolume will let you use it.

Resolume plays both audio and video files. Animate pixels and drop beats, combine any video file with any audio file.

Audio Visual Effects

Resolume has both audio effects and video effects. Use them separately or combine them to create exciting new audio visual effects.

Audio Analysis

Make clips and effects dance to the beat. Resolume can analyse audio to make any parameter bounce to the music.

Project video on any type of surface. Complex geometrical structures or whole buildings. Resolume does all the hard work, so you can concentrate on the important part: being creative.

Blend Projectors with Arena

With edge blending you can seamlessly project one beautiful widescreen image with two or more projectors. It can even wrap around for a full 360 degree experience.

Project on Cars, Buildings or Pumpkins

With Arena you can take on any size mapping project. From projecting on DJ booths to cars, buildings and LED mappings on giant stages like Ultra.

Think outside the screen and colour the lights too! With Arena you can send out colours to DMX fixtures and the lights will be in sync with your visuals.

Adjust the scale and position of your clips to suit your needs. Apply effects to drastically change the look of your video. Everything runs on the video card so you get the fastest performance and best image quality possible.

Real Time Rendering

Apply effects, blend, mix, cut and edit, everything happens on the spot.

Audio & Visual Plugins

All visual effects in Resolume are plugins and you can easily add more effects by download 3rd party plugins. You can even program your own using OpenGL. On the audio side you can use VST plugins to play your favourite effects.

Integrate With Other Apps

With Syphon on the Mac and Spout on Windows you can share visuals in real-time between Resolume and other apps running on the same computer. You can even program your own apps that integrate with Resolume.

Liberate yourself from the mouse. Use your favourite MIDI controller or get physical with your iPhone via OSC.

Control from a Lighting Desk

You can control Arena from a lighting desk using DMX. So you can operate the lights and video with the touch of a fader.

With native support for Blackmagic, AJA and Datapath capture cards you can input and output almost any video source.

With NewTek NDI ® you can send and receive video between computers on the same network. Use any resolution you like, with an alpha channel, in high quality and low latency.

Windows

Windows 8

AMD or NVIDIA graphics card

8GB RAM

macOS

OS X 10.11 El Capitan

AMD or Iris Pro graphics card

8GB RAM

Windows

Windows 10

i7 Processor, 6 core, 3.7 GHz

Nvidia RTX 2070

M2 SSD

16 GB Ram

macOS

OS X 10.15 Catalina

AMD or Iris Pro graphics card

Radeon Pro 560X

SSD

16GB RAM

Resolume Avenue for 1 computer € 299 Euro
Resolume Arena for 1 computer € 799 Euro
Licenses are available in the shop.

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Resolume puts you in charge. You can play your videos when you want, how you want. Forwards, backwards, scratch and adjust tempo to the beat. Mix and match your visuals quickly and easily and play Resolume like an instrument. Whatever your style is, Resolume offers you an easy interface to rock it.

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MadMapper is a projection mapping software for MAC & WINDOWS. Create 3D projection mapping and LED Light Mapping

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MadMapper - The projection Mapping software

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THE VIDEO MAPPING SOFTWARE
MadMapper is an advanced tool for video and light mapping
Adapted for various fields, such as architectural video projection, art installation, stage design and live show, MadMapper software made possible hundreds of projects around the globe by an incredibly active user community of Artists looking for a fast, powerful and user-friendly mapping software
Now available on MAC & WINDOWS

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MadMapper — The projection Mapping software

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MadMapper - The Projection Mapping software for MAC & WINDOWS

# data[].attributes.attachment_link.description
MadMapper is an advanced tool for video and light mapping Adapted for various fields, such as architectural video projection, art installation, stage design and live show, MadMapper software made possible hundreds of projects around the globe by an incredibly active user community of Artists looking for a fast, powerful and user-friendly mapping software Now available on MAC & WINDOWS

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Tagtool is a digital drawing app for the iPad that supports fast paced animation of drawings and story telling.

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The basic version of Tagtool is free. It's perfectly suitable for workshops and simple performances. When you're ready to move on to the full Tagtool experience, you can upgrade to the Pro version from within the app.

Unlimited Decks

Organize your Tagtool content in multiple Decks

Multiplayer

Work together with other Tagtool users

And much more

Duplicate, switch panels, offset loops...

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Tagtool - the Visual Live Instrument | OMAi

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Tagtool transforms your iPad into a visual live instrument. Paint with light, create animated graffiti or tell improvised stories...

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https://www.youtube.com/embed/iz8NmgJvhd0?start=357&end=642

4 minute 45 second clip covering:

Message in a Shuttle game development

IHL Portal development using Projection Toolkit

InfoBeamer media player

Intergalactic Synthesizer