Summary of the first Meeting

Quick recap

This was the opening session of The NODE Institute’s course on creating content for immersive rooms, led by Stefan Kraus with assistance from CeCe. The session began with introductions from participants representing diverse backgrounds including architecture, media art, game development, and VJing, many of whom were based in different countries including Germany, France, Argentina, and the United States. Stefan provided an overview of immersive room technology, discussing the technical challenges of working with high-resolution projections across large surfaces, and shared insights from specific projects including work at Kunstkraftwerk Leipzig and the Sixth Sense immersive room in India. The discussion covered historical context of immersive media from panorama displays to modern planetariums, as well as practical considerations around projection mapping, spatial audio, and the importance of contrast and darkness in creating effective immersive experiences. Participants shared additional insights about commercialization trends in the immersive art space and the challenges of balancing artistic vision with technical constraints.

Next steps

Stefan: Figure out and communicate the process for rendering out final resolutions for participants who do not have the machines/licenses, on an individual basis during the case study phase.
Franz: Set up a machine running a pre-project that can receive NDI streams for previewing content at Kunstkraftwerk, and test NDI streaming capabilities (especially for full resolution across all walls).
All participants (optional homework): Take the quad reproject demo file, adapt it to the measures of the Sixth Sense immersive room, and test compatibility as a preparatory exercise before the next session.

Summary

Immersive Room Foundations Course Introduction

Stefan Kraus introduced himself as the course conductor and explained the structure of the foundations session for immersive room creation, which is part of a larger collaboration with Kunstkraftberg-Leipzig. He outlined his background in architecture, 3D animation, and VJing, and described how he transitioned into using TouchDesigner for spatial installations. Stefan invited participants to introduce themselves, sharing their names, backgrounds, and expectations for the course, with the first participant being “Admin.”

TouchDesigner Immersive Spaces Course

The meeting consisted of introductions from participants in a TouchDesigner immersive spaces course. Stefan welcomed attendees and explained that the course would focus on conceptual aspects rather than detailed TouchDesigner instruction. Participants shared their backgrounds, including Agustin’s work in virtual heritage, Carolina’s stage design experience, Elif and Franz’s work at Kunstkraftwerk, and Natalia’s transition from game development to artistic projects using TouchDesigner. The group included professionals from various fields including architecture, medicine, sound design, and game development, all interested in creating immersive experiences.

Immersive Media Course Overview

Stefan welcomed participants to the immersive media course and provided an overview of the topic. He noted that while there is significant commercial interest in immersive experiences, creating them is technically demanding due to high resolution requirements. The course will focus on the technical aspects of immersive room setups rather than interactivity, with participants sharing their diverse backgrounds in creative technology and media production.

Immersive Projection Mapping Challenges

Stefan discussed the challenges and opportunities of creating immersive experiences in projection mapping, particularly focusing on two case studies: the Kunstkraftwerk in Leipzig and an industrial hall used for immersive shows. He explained the importance of speed in creating emotional responses, noting that content that moves too fast or too slow can lose its impact. Stefan highlighted TouchDesigner’s advantages in real-time performance, cost-effectiveness, and interactivity, while cautioning against over-reliance on technical effects at the expense of architectural narrative. Agustin contributed insights about historical approaches to immersive spaces, suggesting that modern creators could learn from ancient techniques of hiding technology and creating enveloping experiences.

Immersive Media History and Challenges

Stefan discussed the history and practical considerations of immersive media, focusing on spaces like the Kunstkraftwerk and the challenges of creating content that can be distributed across different venues. He explored various historical examples of immersive media, including panoramas, planetariums, and Total Theater designs from the 1920s, highlighting how these early formats laid the groundwork for modern immersive experiences. Stefan also addressed the current state of immersive media, noting the revival of interest in planetariums and immersive rooms, while expressing concerns about the quality of content in the market and the lack of critical discussion around immersive media experiences.

Art Exhibition Commercialization Strategies

Elif discussed the commercialization of art exhibitions, noting how museums often prioritize aesthetic appeal over experimental content to sell tickets. Stefan shared his experience with a 2012 performance that demonstrated the potential of live performances in showcasing technical art, suggesting that showing the creative process could help audiences appreciate more complex content. They also discussed a Nike-commissioned fitness project that used projection mapping and interactive elements to create an immersive experience, highlighting the technical challenges involved in creating such installations.

Immersive Art Installation Evolution

Stefan discussed the evolution of an immersive art installation project at the Kunstkraftwerk venue, highlighting the shift from a static generative content approach to one involving VJs for greater interactivity and adaptability throughout the evening. He emphasized key learnings, such as the importance of content variety, the flexibility in using identical content across walls, and the challenges of managing high-resolution projections. Stefan also shared insights from a live performance by Pauric Freeman, who strategically used a smaller section of the wall to maintain creative control and audience engagement. The discussion concluded with a brief overview of the venue’s history and a plan to review technical documentation and address questions in the next segment.

Kunstkraftwerk Venue Projection Mapping

Stefan presented on the Kunstkraftwerk venue, explaining its transformation and its first exhibition in 2016. He detailed the technical specifications for projection mapping, including the use of multiple projectors, projection masks, and the WatchOut system. Stefan emphasized key considerations for working in such venues, highlighting the importance of proper dimensions, contrast, and avoiding excessive brightness to create an immersive experience.

Projection Mapping Challenges and Solutions

Stefan and Franz discussed the challenges of projection mapping, particularly regarding soft edges and blending issues. They explained that while textured walls can hide soft edges well, the quality depends on the projector’s black level and the material being projected on. Stefan shared insights about creating content in TouchDesigner, emphasizing the importance of setting up a previs using 3D models and highlighting different animation approaches based on UV map layouts. He noted that the choice of template significantly affects how content can be animated, and different approaches may be needed depending on the specific content idea and layout requirements.

Immersive Room Content Design Discussion

Stefan discussed the technical aspects of designing content for immersive rooms, emphasizing the importance of considering architectural elements and pixel density when creating animations. He explained the use of TouchDesigner for pre-visualization and rendering, highlighting its advantages over other software for certain tasks. The group addressed challenges with NDI streaming for real-time previewing, noting that while it works well at reduced resolutions, full resolution may not be feasible. Stefan clarified that all final case studies must be pre-rendered due to time and resource constraints, and recommended participants stay in Berlin for the course duration.