Behind the scenes of the world’s largest permanent projection mapping installation on a building


Behind the scenes of the world’s largest permanent projection mapping installation on a building

October 11, 2024

This article is presented with the support of Panasonic Connect.

Xn Québec and Panasonic Connect join forces to bring you the latest trends in technological innovation.

Thirteen thousand nine hundred and five square meters.

Such is the scope of the canvas offered by the Tokyo Metropolitan Government building for the Tokyo Night and Light projection series, launched last February.

That’s the equivalent of about 50 cinema screens.

Seven and a half rinks.

Nearly three football fields.

It’s big enough to display life-size images of Godzilla.

Above all, it’s the world’s largest architectural permanent projection installation.

We caught up with the chief engineer responsible for the project, Matsuki Daizaburo from Panasonic Connect, to find out how he managed to pull off this tour de force.

Projection mapping: a new world record

To create new tourism resources that illuminate the night, the Tokyo Metropolitan Government had the audacious idea of organizing a series of projections on the façade of its offices. To carry out this large-scale project, Panasonic’s team of experts was called in.

“At first, we were surprised by the demand,” recalls Matsuki Daizaburo. However, we were confident that we’d be up to the challenge. We wanted to take the opportunity to show the world what we could do.”

Did he know he was developing the largest permanent architectural projection installation in history?

“No,” he replies with a modest smile. He points out that it was only later, when they compared their work with similar initiatives elsewhere in the world, that they realized they had set a record.

Furthermore, importantly, within approximately seven months of its launch, the “Tokyo Night and Light” series attracted over 350,000 visitors.

Major technical challenges

With the attention to detail that characterizes engineers, Matsuki Daizaburo meticulously explained the techniques employed by his team to bring this major project to fruition.

First and foremost, as the building plans did not include the precise dimensions of the façade, they had to measure it, to the nearest millimeter, with the help of radar. This data was used to create a CAD file, which was then used for the planning and simulations required to install the spotlights.

It was determined that 40 Panasonic high brightness projectors were needed to cover the east side of the building with light: 20 PT-RQ50K and 20 PT-RZ34K models. However, arranging these dozens of fixtures on the roof of the neighboring building was a headache in itself.

Firstly, the building where the spotlights are installed is much lower and quite a distance from the one used as a screen. This means that the projectors pointed at the top of the tower have to be adjusted at a steep angle and far away from the target.

Secondly, the roof, which is already relatively small, is covered with obstacles, limiting the space in which appliances can be mounted.

Thirdly, as Matsuki Daizaburo likes to remind us, at this distance “the slightest change makes a huge difference”. The projectors therefore had to be perfectly fixed by millimeter level and not move. This is why custom-made housings were built to accommodate them and protect them from the elements. As a result, the installation protects from wind, rain, snow. Futhermore, the design considers the impact of typhoons and earthquakes.

It works by itself

Another challenge was that, as the site was not conducive to the installation of a control room, it was decided that the screenings would be managed remotely. As a result, sessions are launched automatically, thanks to the AcroSign digital signage.

The equipment, meanwhile, is monitored remotely using Panasonic Connect technology. Technicians can switch projectors on and off via an online application. They can also check their projector surrounding temperature, hours of use and fan rotation speed operation in real time. What’s more, remote cameras have been installed to keep an eye on projection operational status.

Tokyo Night and Light program

Currently, the “Tokyo Night and Light” series offers 15 types of short experiences, each featuring approximately 15-minute sessions held 5 to 9 times per night. Starting in September, PAC-MAN will also be screened, and a second installment of “Godzilla” is scheduled for release in November.

It’s worth noting that the experiments are accompanied by a surround soundtrack. A total of 11 loudspeakers have been set up on site to thrill spectators.

Among the works on display are the following:

  • Godzilla Attack on Tokyo, a short film by Toho starring the king of monsters.
  • Tokyo Concerto, a work supervised by Michiyuki Ishita in which Toronto studio AVA. Animation & Visual Arts contributed the second movement.
  • Evolution and Synergy, by Belgian artist Maxime Guislain.
  • Lunar Cycle, from Japanese studio COLORs CREATION Co.Ltd.
  • Ukiyo, by German duo John Tettenborn and Kourtney Lara Ross.

Upwards and onwards

Judging by the buzz surrounding the Tokyo Night and Light project, the team led by chief engineer Matsuki Daizaburo has certainly risen to the challenge.

This success will open doors to new projects in the field of landscape projection worldwide. In fact, similar installations are being considered in cities outside of Tokyo to revitalize local districts.

Finally, as a new season of “Tokyo Night and Light” begins, a new projection series will also be launched. It is said that people around the world are interested in experiences inspired by Japan’s famous anime. It would be wonderful if those are released in the future.

If German and Belgian artists have been part of the program in the past, why not Quebec studios in the future?

Author

Avatar photo   David Lamarre

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