This page contains a Flash digital edition of a book.
063


THE CONTENT MASKS AND RAW CONTENT


To achieve the best results in content design and visualisation of the media facade, a regulating workflow was developed by UNStudio, ag Licht and LightLife to react to its specific resolution, colour areas, size and format.


The accurate mask is the basis for content-production. It is separated into white low- res (white), RGB low-res (red), RGB mid-res (green) and RGB high-res (cyan).


Composition 1 - animated content in resolution of 2472 x 402 pixels To ensure an easy animation process in one constant image, masking separates the different resolution areas and processes the images in its specific areas.


The original content from composition 1 then gets divided into the four main lamp segments by composition 2. This ensures that filters for the specific resolution and saturation reduction is applied separately.


Composition 2.1 - mask for low-res white LED area.


Composition 2.2 - mask for low-res RGB LED area.


Composition 2.3 - mask for mid-res RGB area. FINAL OUTPUT FOR MEDIA-SERVER


Composition 3 - after the separation of content, all compositions are united and placed in a specific order, which has the same layout as the e:cue patch-file and ensures that each pixel gets grabbed precisely to its fixture. To prevent incorrect pixel-grabbing and colour-mixing by file-compression, each colour-area consists of 3 x 3 pixels with an exact colour-value. The divided arrangement of the several resolu- tion area was done to ensure that each fixture has 3 x 3 pixels available. To eliminate a reduction of colour values by video compressions, the content is played in an uncompressed PNG-sequence with a resolution of 1024 x 768 by the media-server.


Composition 2.4 - mask for high-res RGB area.


E:CUE PATCH LAYOUT & ON-SITE ADJUSTMENT MASK


To control each fixture type (also regarding the different angle types, resulting from the moiree), masks for every area are applied in the playback-software to regulate colours and brightness intensities separately. A special program, called ‘dynamic colour-correction’ is used to ensure that RGB and white LEDs can be set to a similar white value without losing the intensity of the RGB LEDs’ full colour values.


e:cue patch-file same layout as composition 3.


The middle Pixel out of 3x3 is choosen and patched to the specific lamp.


3D VISUALISATION LAYOUT


Composition 4 - for pre-visualising the segmentation of the content, compositions 2.1-4 are united again and placed in their known order, which has the same layout as the facade.


Composition 5 - composition 4 is combined with an exact dotted mask, to create a texture which can be used in the 3D-visualisation software.


Composition 6 - final texture for visualisation.


Composition 7 - after placing the texture in 3D, the mask is added to a layered rendering, which combines the background and backwall of the building with the lamellas of the facade.


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172  |  Page 173  |  Page 174  |  Page 175  |  Page 176  |  Page 177  |  Page 178  |  Page 179  |  Page 180