middle of a high-level scientific discussion concerning the different historical theories on things that occurred hundreds of millions of years ago .”
Of course , the other challenge came from trying to recreate images and models of the geologic progress over such a significant span of time . “ And that made it even harder , because nobody was around then to take pictures ,” Larue says with a laugh . “ So we had to recreate and simulate all of these geologic activities , then go back to the scientists for approval , so there was a lot of back-and-forth to get to the final versions of the video content .”
While XYZ can and does create video content in house , for Tektonik , the firm tapped first-time collaborators Fly Studio to handle the visuals . “ We established the story board and wrote everything out ,” Larue clarifies , “ but then handed over the creation to them .” The partnership proved successful , as the two firms have collaborated on some high-profile projects since .
Projection is the key component of several exhibits within Tektonik . XYZ associate Simon Perrier says when it came to designing the exhibits and choosing the technology to realize their visions , the primary goal was do as much as they possibly could within the fixed budget .
One cornerstone of the experience is the expansive 40-ft . x 20-ft . curved projection surface modelled after the rock formations found in Percé , with layered plywood giving the appearance of a cliff face eroding away one layer at a time . Those layered edges created small shadows that were reduced thanks to the careful positioning of the projectors . “ It ’ s so big – like a cinema wall – but the curve and natural-looking texture just make it a very big presence ,” Larue shares .
Another cool component is the “ interactive sandbox ,” where guests are encouraged to play around with the terrain while an Xbox Kinect infrared device overhead is constantly scanning the surface of the sand and projecting images based on its overall levels . The lowest points in the sandbox fill with “ water ” in the form of crystal blue light and the tall peaks take on a mountainous texture , making for a responsive topographical image akin to what one would see using Google Earth ’ s satellite view . Blancan admits that it ’ s one of his favourite parts of the experience .
20 • PROFESSIONAL LIGHTING & PRODUCTION
The climax of the experience is a series of three multimedia shows covering Percé ’ s world-famous geosites . These incorporate vivid lighting effects – including Elation ELAR Q1s being used as tree branches – custom audio , and of course the projected content , along with some smoke machines to deliver an immersive ambiance .
For the grand finale , a giant rock model protrudes about two feet from the projection surface , though it ’ s initially hidden by a motorized curtain with rain projected onto it as the visitors enter the space . The curtain is discreetly drawn once the lighting dims and the show begins , leaving the visitors none the wiser . Then , at the climax of the presentation , the lighting , audio , and video converge to make it seem like the giant boulder is falling down the mountain next to the pavilion housing Tektonik and then comes crashing through the wall , offering a realistic and intense thrill in what ’ s become a favourite feature for ticketholders .
Representatives from the geopark had initially asked that they incorporate actual local rocks into that particular exhibit , though the size and weight of such a stone would ’ ve made that prohibitive . “ We basically would have had to build the room around the rock ,” says Perrier , “ and it would ’ ve made it very difficult if they wanted to change the exhibit down the road .” The compromise came in the form of the 3D models , carefully designed to match the aesthetic of their real-life counterparts but with a lighter colour to contrast with the projections .
“ We worked a lot with the models at first , planning all of the projection angles [ in our facility ] to make sure everything was working with the actual objects ,” Perrier explains . The company relied on Christie ’ s Pandora ’ s Box software for the mapping , though Perrier notes that the projector positioning alone got them 80 per cent of the way there .
Single-chip Christie DWU555-GS 5,400-lumen laser phosphor projectors were used throughout Tektonik instead of their three-chip counterparts . The only exception is a Casio XJ-A252 1 DLP LED laser projector used in tandem with the giant crystal ball , as they only required an output of 3,000 lumens for the desired effect .
As Perrier explains , while budget was of primary concern , Percé ’ s relative isolation from major centres also informed the equipment choice in a few instances . “ Since it ’ s a small community , they wouldn ’ t be expected to have specialists nearby , so we had to think of simple interfaces and low-maintenance equipment ,” he says .
Because of budget constraints , the team had to come up with a crafty solution to have the four projectors used for the show on the