AV Spotlight
meticulous mapping and contrast control to ensure every detail was both respected and enhanced. “Te façade is extremely rich in detail, so we worked carefully with 3D models and layered contrasts to bring out every element,” Pulvirenti explained. “At first, the mapping follows the lines of the building, then merges with it – the building breathes, transforms, and eventually disappears.” For the technical team, maintaining that consistency across the
full projection surface was critical. With a pixel size of just 1.48 cm and tightly controlled edge blending, the system delivered a unified image across the entire façade without visible seams or distortion. Tis level of perfection does not happen by chance; operational
efficiency also plays a key role in the project’s success. “When I first used the PT-RQ45, it felt immediately familiar,” says Leroy. “Te interface is intuitive, like moving between different models of the same aircraſt.” “Te integrated 5-inch display also made a huge difference,” he adds.
by Luca Pulvirenti and an original score by Te_diish. Rather than telling a linear story, the piece explored perception and sensation, using the Opera House itself as a living medium. “It is a surreal creation, an immaterial painting,” says Pulvirenti.
“I wanted to represent a condition, a dream-like state rather than a fixed storyline, giving the audience the freedom to experience it in their own way. Tat vision relied heavily on the projector’s ability to deliver precise, natural colour.” He adds: “When the organisers of the festival told us we would
be working with Panasonic, we knew we would have the necessary contrast and colour range to express our vision. We are familiar with the (previous model) RQ35 and therefore adjusted our content in the studio for the best result. Coming on site for the tests prior to the show, the result was better than we hoped – truly amazing. We were actually surprised by the accuracy. Most of the time during the premiere, the creator adjusts the content on-site to match the reality of the terrain – increasing the contrast in specific areas, tweaking the colour grading, pulling the colours to make them more vivid, strengthening some transition effects, and so on – but not this time. With RQ45, the colour rendering is natural and accurate.” With 42,000 lumens of brightness and true 4K resolution, the
system maintained vivid, high-contrast imagery even within the ambient lighting of Lille’s busy city square. “Tere is always a concern with light pollution in an environment like this,” Pulvirenti explains. “But the brightness of the projectors made the surroundings disappear – the audience was completely immersed.” Pulvirenti also explained how his creation required shiſts in the
technology’s intensity. “Te shiſt between the emotional states is at the core of our creation. Some parts are more dramatic, and some are soſt and natural. Shiſting from a surreal to a realistic colour tone, from vividness to lightness. We wanted it to be a gentle breath. And luckily, the effect is there from this projector. It covers the whole colour scope, and the fast processing made the transitions fast and subtle.”
Pixel-perfect precision Te architectural complexity of the façade introduced another layer of challenge. Columns, sculptures, and deep relief required
www.pcr-online.biz September/October 2026 | 43
“In a festival environment, you don’t always have access to external tools, so being able to check settings, test patterns, and content directly on the projector made setup faster and more efficient.” Across its five-minute looping sequence, designed to maintain a
smooth flow of visitors through the square, the installation became a focal point of the festival, attracting large crowds and reinforcing Lille’s reputation as a destination for digital creativity. Furthermore, it demonstrated how advances in projection technology are enabling artists and organisers to think bigger, transforming heritage buildings into living, breathing canvases without compromise. Reflecting on the outcome, Leroy is unequivocal: “Tis is
simply the best colour rendition we have ever experienced. Te combination of brightness, accuracy, and uniformity creates a visual result that stands out immediately.” On witnessing the event first-hand, Florence Antony, Regional
Marketing for Panasonic Visual System Solutions (France), concluded: “Tis entire Festival is such a sight to behold, and we are immensely proud to see such an iconic building in Lille reimagined with Panasonic innovation and the great teams at Rencontres Audiovisuelles and MammasONica. Te PT-RQ45 did more than deliver a projection – it enabled a dialogue between past and present, where historic architecture met contemporary digital expression, and the results were simply fantastic!”
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