The Puma "Lift" ad, produced by Droga5, features 3D projection mapping. You can watch the following video on Vimeo but to see the details, you'll want to watch a higher-quality version on Motionographer--pay special attention to the clothing worn by the two performers and how it changes throughout the ad:
With traditional video projection, the camera simply projects a 2D image. With 3D projection mapping, moving images match the surfaces, contours and shapes of what they are projected on to.
The following video, which I came across on Create Digital Motion, offers a good demonstration of video mapping on to shapes and architectural forms:
And here is an augmented sculpture installation from Pablo Valbuena that uses 3D mapping technology as well:
I would like to find more examples of movement and dance-based 3D projection mapping. If you know of examples, please let me know about them.
Endlicher continues to generate choreography from underlying webcode and explores new approaches to encouraging visitors to participate in this creative process.
Last December, Endlicher and her dancers performed "The Ten Most Visited #6 - www.wikipedia.org" at the LabFactory in Vienna. You can learn about this installation in which movement phrases were generated from Wikipedia HTML tags. And I grabbed screen shots of her video of this December performance to show how the installation was configured.
Visual Guide to The 10 Most Visited: Wikipedia
You can click on the following images to see larger screen shots:
In the foreground a dancer creates the initial movement vocabulary for each HTML tag. To the right, a text description is entered into a database for each tag-based movement. And in the background, dancers perform movements stored in the ever-expanding movement phrase library:
A dancer creates initial movement phrases based on HTML tags that are projected onto a wall:
A person at the computer stand enters a description for each movement phrase and categorizes the choreography by HTML tag:
The contents of the movement library can be browsed to choose movement tags for the dancers to perform:
Dancers perform the indicated phrases from the library and create their own variations, which are also added to the choreographic database:
In the spirit of Wikipedia, visitors to this dance installation are encouraged to be active participants. Visitors can both describe and categorize the HTML-based movement phrases in the database, and they can perform the HTML tags as well:
The Special Player is an interactive, responsive environment where a motion-tracking system is used to monitor the movements of dancers, which then drives the real-time animations projected on the walls of a club.
A Cure for Surveillance addresses the human body through the use of digital media, and is designed both to utilize and critique contemporary technologies of surveillance in our society.
The installation combines live video streams of pedestrians, whose movements are monitored with video-tracking and shape recognition technology, with pre-recorded motion capture loops to create a sense of interactivity inside and outside the gallery space.
"Shadow Monsters" is a high-tech version, with some fun enhancements, of creating shadow puppets by projecting your hand shapes and movements on to a wall. From the Design and Elastic Mind write-up:
Shadow Monsters is based on a custom-design vision-recognition software. With the support of a computer, camera, projector, and light box, the software elaborates on viewers' shadow gestures with sound and animation. Open and close your hands like a mouth, and a wolf with razor-sharp teeth will surface and growl; tongues, eyes, and fins appear; birds squawk and dinosaurs speak.
Flock, inspired by Tchaikovsky's Swan Lake, is a large-scale public installation that premiered in Trafalgar Square in 2007.
As the general public step into Flock they immediately realise that the seemingly innocent space is actually enchanted. The pavement is primed so that the moment a person steps into the space it will react. The technology detects a person's presence and allocates each participant their own personal spotlight. Following the light they cast, each participant reveals a series of ghostly projections. These take participants on a journey through the real physical space and also the emotional narrative of the ghostly swan world.
Chunky Move's artistic director Gideon Obarzanek choreographed the interactive performance "Glow." Software developer Frieder Weiss collaborated on this project.
Beneath the glow of a sophisticated video tracking system, a lone organic being mutates in and out of human form into unfamiliar, sensual and grotesque creature states... Utilising the latest in interactive video technologies a digital landscape is generated in real time in response to the dancer's movement. The body's gestures are extended by and in turn manipulate the video world that surrounds it, rendering no two performances exactly the same.
Additional performance clip and interview with Gideon Obarzanek:
Two dancers and their digital reproduction are the scenographic frame of this humorous and emotional portrait of human relations. Based on rules and structured in a game like manner, the installation makes way for a playful dialog between the man, woman and the digital "footprints" they leave behind.
Ghostcatching, a Compelling Art Installation with Bill T. Jones
Ghostcatching is a digital art installation, first exhibited at The Cooper Union School of Art in 1999, with visual and and sound composition by Paul Kaiser and Shelley Eshkar and motion-captured dance by Bill T. Jones.
Interactive Performance Installation at 2008 Glastonbury Festival
An interactive dance installation that responds to the movements of audience-participants. The "Interactive Pi" installation was set-up at the 2008 Glastonbury Festival.
Standing inside the Pi people were tracked by cameras and saw a silhouette of themselves on the walls of the space. As they moved photons, plasmas and other particles radiated from them and were sent flying around the space. Their movement also controlled sound as one of a series of instruments. Scratching a beat, playing a bass or strumming strings made the audience not only the filling but also the players, conductors and composers of their own collective Pi.
