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Plonger le spectateur dans des peintures immersives grandeur nature
immersif | immersion | metaverse | nft | réalité augmentée | réalité virtuelle |

Franz Fischnaller : I think the solution is to work as the metaverse in these new productions. Because, I mean, the interdisciplinarity is what is happening.

And I will sort of flip through some images here. Can we get the PowerPoint please ?

Where I show, for example, how nowadays there is the possibility to work and how you can get the results. And so, basically what you have to do is to bring…

I’m just showing you here, for example, a project that I’m opening next week, I’m going to Leipzig. I’m director of a museum in Leipzig and I had the honor to start a production of a painting, of an artist which died thirty years ago. And he made a panorama painting of 123 meters large, 14 meters high, all oil on canvas. So we made a gigapixel out of that.

And so I wanted to get away from the normal video mapping and just putting big pictures in this motivation shows of the museums. So I interpreted this – this is just so you see how was generated these photographs.

And this is the whole painting. The painting is about the peasant war in the 15th century, and so it’s a way heavy topic and it is sort of a renaissance and the reformation.

And I’m getting into the details now, but the idea is that it is a very contemporary sort of work. And what we have to do, we have to be very innovative in the way we approach it because I have the rooms in the museum, they are square, so 30 meters by 15 meters and 8 meters high.

But I want to give the illusion of being into a panorama, in a circle. So we have to invent new ways of interpreting this.

These are some scenarios where I try to interpret the special effects – let’s call this special effect as we are speaking special effects – to don’t get the picture only, but to try to stimulate the visitors of what they are looking in the big panorama.

Because I don’t want to make a copy of the panorama, just place it up because we have gigapixels – we can enormously put up these things and there is the “wow” effect of the public -, but I want to stimulate them what in the story is inside and how they can basically interpret theses different places.

So I divided the whole painting in seven chapters and I described each scene in a different way, but everything hangs together, it’s a panoramical view.

And so this is how we make a bidimensional painting. Algorithmically, we made a 3D model, what we would algorithm, we translate the perspectives that you can have a 3D immersive environment because everything has become immersive in this set up that we are doing.

And so this becomes a big challenge of making it totally surrounding, whether in sound as in image, and to basically bring the people into the painting, to bring them after, to see whether the painting in the original – which is not far from the museum – and to get into.

So this is the first project I’m showing you here just to say that the collaboration… this is a very interesting project because I do this project in between San Francisco, Italy, Germany, and we do everything online and we have terabytes of images to send up and down. And so it works perfect. So this is the interdisciplinarity when you work.

Présentateur : Frédéric Josué (Président de 18M.io)
Intervenant : Franz Fischnaller (Creative director, Kunstkraftwerk Leipzig)


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