Peter Clarke is Head of Marketing at Pumphouse Productions
Peter Clarke is Head of Marketing at Pumphouse Productions

3D-Projection Mapping has been around for a while and, unless you have been back-packing in the wilds of Northern Canada for the last three years, you would doubtless have seen its usage in high-budget pop-concerts and product launches.

As the technology has increased in popularity, so costs to produce projection-mapped displays have fallen. Now, it is not just the wealthy corporations who have the budget to project their images onto large buildings to launch the latest vodka-derivative drink or hybrid utility vehicle. Entry-level pricing of around £5000 has made 3D-Projection Mapping an affordable consideration for the many rather than a exclusive, highly-coveted medium for the rich.

The technology relies on accurately mapping an animated 3D image onto a 2D surface.

Outdoor projection mapping, otherwise known as ‘Building Mapping’ uses animations, projected onto the surface of a building, to bring large environments to life. Clever graphics, played upon the building, can leave the viewer amazed as seemingly solid and straight walls morph into curves and change colours. Palaces are built brick-by-brick in seconds only to be destroyed and built again.

Brands can interweave a message into the animation, imaginatively presenting a product or service to the awed audience.

(Click on the link to see the incredible transformation of Prague’s astrological tower.)

The use of centrally-located, high-profile buildings is a particular favourite for product launches and PR stunt-delivery. It ticks all the boxes, highly visible, impressive, environmentally friendly and latterly, giving a decent bang for the buck.

In the face-to-face, conference environment, the high-profile building is replaced by a carefully-considered stage set. Whatever set designed, Projection Mapping has the ability to transform it. With so many conferences looking to transform the behaviours and culture of their audiences, the technology readily strikes a resonant chord with many organisers.

And it’s just so engaging – distracting even – as clicking on the link below will prove.

Add PiP (Picture-in-Picture) projection, which inserts more traditional video and presentation assets into the overall treatment and holographic technology to exaggerate the 3D effect, lifting products or people off the screen, closer to the audience, and you are left with a highly engaging, ultra-realistic presentation format.

After all, face-to-face is about the message, delivered in context. If your event’s purpose is to drive meaningful change, by firstly challenging existing beliefs and then making the future dream more easily reachable, then these technologies should be among the first you should explore with Pumphouse Productions.

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2 COMMENTS

  1. The only person who has been back-packing in Northern Canada is Peter. This is old news and, in the grand scheme of things, old technology, not to mention a blatant and ill-advised sales pitch from a company that seems to be trying to sail on yesterday’s wind. Things have moved on from this and audiences aren’t wowed anymore now that they know exactly how it’s done. Getting an audience’s attention needs more sophistication and not a load of tech thrown at them for lack of a better idea. Next, Peter will be telling us about this new-fangled 3D projection thing…

  2. Hi Fred,

    Thank you for your comments.

    I entirely agree with you that retaining audience attention requires sophistication. It’s not just the message, or the medium or the environment that’s important. It’s all three. Creating an event space where each is supported by the others is the constant challenge faced by production companies such as Pumphouse.

    I made a different point from the one you suggest.

    I know these technologies are nothing new, I said as much in the opening sentence, it’s their affordability which has changed. What started as the exclusive province of the wealthy brands can now be enjoyed by the many.

    Best regards and thanks for the comment.

    Peter Clarke

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