I have always found it important to consider what I would change if I had more time to continue developing the project, or if I was to do it again. Although I am happy with how the project has evolved and the stage that it is at now; something that I consider to be a finished product, I would like to readdress the original brief that I set myself before the project. I had struggled to find a solution to produce a square column; something that I would like to research further once the project is finished, as I think that it would be a wonderful effect.
The columns that I produced in the end were visually stunning, and worked extremely well. I would have preferred, however, if they could have been brighter with a crisp outer line, something that was compromised for an increased level of control. This was a sensible decision for the project, which would not have been possible without the DMX controlled lights, but it is worth noting that the lights were not completely satisfactory.
My main regret concerning the project was surrounding the research and pre-production stage of the work. I did not use this period as effectively as I could have done, and feel that I should have utilized the time more wisely. This stage could have been used to test and make decisions that instead had to be made conducted during the production period of the project.
Although I enjoyed working on my own, as it granted me flexibility regarding schedule and decisions, I think that it would have been useful to have worked with a partner. Throughout my university career I have found it useful to work with somebody else, as I find it extremely useful to continuously bounce ideas back and forth, something that I was not able to do during this work (except for in a tutorial environment). A partner would have also benefitted my time management, which although I was able to organize myself effectively would probably have had more time to consider the theory behind the project.
Saturday 16 May 2009
Friday 15 May 2009
The Finished Product
I was pleased with the finished product, and how they project has been presented. Although the pictures below will not be able to express the installation to its full ability to does help to highlight how the project works and in particular how the colour appears.
As you can see the colours appear bright and bold, which will be even more apparent in the dark space of the studio. I am particularly pleased with how the interactive aspect of the work. The sensors detect motion well, which allows for the colour changes and on/off to be implemented well.
As you can see the colours appear bright and bold, which will be even more apparent in the dark space of the studio. I am particularly pleased with how the interactive aspect of the work. The sensors detect motion well, which allows for the colour changes and on/off to be implemented well.
Thursday 14 May 2009
Covering the structure
I had originally planned to paint the underside of the structure, which will provide camouflage for the structure, hopefully allowing it to blend into the black of the surrounding room. I was conscious that if the structure had been presented as it was it would have ruined the effect. The structure was constructed in order to house all of the equipment that will be used within the installation (apart from the haze machine), as it would remove the focus on the technology. The structure also provides a well rounded finish; as it means that there no loose wires, or power cables being run across the floor. This would not have been the same if the structure had remained wooden in appearance.
Since this initial decision to paint the structure was made I have since realize that material would provide a better finish. This decision was made as the structure would have required several coats of paint, which would have been extremely, time consuming, and also because the paint wood not have provide a good finish due to the texture of the wood. Fabric can lie across the beams, which will mean that the structure can appear flat, and still house the PIR detectors.
I attempted to find appropriate fabric in a few different fabric shops, but was unable to find something that was suitable and reasonable priced. For this reason I considered using bed sheets, which would large in size, and also relatively cheap. I eventually found a suitable option from Matalan.
Once I had cut the elastic from the edge of the sheets I was able to staple the material to the structure, ensuring to keep it pulled tightly, therefore appearing flat. I hope that once this will prevent the structure from being completely visible, and will enhance the idea that the lights are dissecting the presentation environment. I think the fabric provides a good finish, something that would have been lower quality if I had used paint.
Unfortunately the PIR detectors did not work properly through the material and as a result I had to cut holes, allowing them to be exposed but consequently work correctly. I also had to cut holes to allow the light through the material.
Since this initial decision to paint the structure was made I have since realize that material would provide a better finish. This decision was made as the structure would have required several coats of paint, which would have been extremely, time consuming, and also because the paint wood not have provide a good finish due to the texture of the wood. Fabric can lie across the beams, which will mean that the structure can appear flat, and still house the PIR detectors.
I attempted to find appropriate fabric in a few different fabric shops, but was unable to find something that was suitable and reasonable priced. For this reason I considered using bed sheets, which would large in size, and also relatively cheap. I eventually found a suitable option from Matalan.
Once I had cut the elastic from the edge of the sheets I was able to staple the material to the structure, ensuring to keep it pulled tightly, therefore appearing flat. I hope that once this will prevent the structure from being completely visible, and will enhance the idea that the lights are dissecting the presentation environment. I think the fabric provides a good finish, something that would have been lower quality if I had used paint.
Unfortunately the PIR detectors did not work properly through the material and as a result I had to cut holes, allowing them to be exposed but consequently work correctly. I also had to cut holes to allow the light through the material.
Health and Safety Issues
There have been several health and safety issues raised during the production of this project. As the installation will be shown to the public I have had to take each concern extremely seriously, enabling me to avoid injury to people moving around the structure.
The main concerns have involved suspending the structure from the ceiling and allowing users to walk underneath it, whilst all of the necessary equipment is stored on top of it. Following a meeting with Robert Belton (studio manager) and John Viney (set technician) I have been informed that it would be sensible to make a few minor changes in order to make the structure safer. This includes a change from the supporting hooks, to closed hoops, and also the introduction of carabineers at the end of the chains.
Unfortunately the carabineers that I had purchase were too large for the chains and I was unable to find small enough ones to fit the chains, as a result I decided to use D shackles, which will work just as well as they offer a closed link to the chains that cannot come undone.
This will make it certain that the chain could not slip from the structure even with any sudden jerks. The hooks can then be used as a secondary support; this will give the users enough time to move away from underneath the structure if one of the closed hoops or chains fails.
Whilst moving the lights into place I was aware that two lights located in the middle of an area where two plywood sheets meet, may appear unsecure, although the wood would support the weight. As a result I decided to add a further two cross beams to support these sections of the structure, again adding to the safety of the installation. As well as these supporting beams I have introduced supporting brackets that will hold the lights in place. Even though the lights are flat fronted and are unlikely to move, I wanted to make their stability certain, something which the brackets now guarantee. I have also made sure to bolt all of the equipment down to the structure. I first secured all of the equipment to another board using cable ties, and this board has been bolted to the structure preventing it from moving.
Throughout the construction of the frame and supports etc I have been sure to wear a mask, as the dust from the woodcuttings can be extremely fine and be breathed into the lungs.
Although many follow spots become fairly hot during use the one that I am using does not, due to its size and power. As a result there is no problem with securing the lights against the wood, which will have fabric secured on to it. The cooling fan that is built into each light is located near the back of the light, which will not be obstructed in any way, allowing for the light to keep cool.
Another concern that I have had since the start of the project has been the damage that haze can have on humans. However, the haze fluid that I am using is water based, and consequently does not pose any risks for the user’s health, even with long exposure the haze will not cause any problems.
Every care has been taken to make sure that the structure is safe and that the presentation will pose extremely small risk for the users involved.
The main concerns have involved suspending the structure from the ceiling and allowing users to walk underneath it, whilst all of the necessary equipment is stored on top of it. Following a meeting with Robert Belton (studio manager) and John Viney (set technician) I have been informed that it would be sensible to make a few minor changes in order to make the structure safer. This includes a change from the supporting hooks, to closed hoops, and also the introduction of carabineers at the end of the chains.
Unfortunately the carabineers that I had purchase were too large for the chains and I was unable to find small enough ones to fit the chains, as a result I decided to use D shackles, which will work just as well as they offer a closed link to the chains that cannot come undone.
This will make it certain that the chain could not slip from the structure even with any sudden jerks. The hooks can then be used as a secondary support; this will give the users enough time to move away from underneath the structure if one of the closed hoops or chains fails.
Whilst moving the lights into place I was aware that two lights located in the middle of an area where two plywood sheets meet, may appear unsecure, although the wood would support the weight. As a result I decided to add a further two cross beams to support these sections of the structure, again adding to the safety of the installation. As well as these supporting beams I have introduced supporting brackets that will hold the lights in place. Even though the lights are flat fronted and are unlikely to move, I wanted to make their stability certain, something which the brackets now guarantee. I have also made sure to bolt all of the equipment down to the structure. I first secured all of the equipment to another board using cable ties, and this board has been bolted to the structure preventing it from moving.
Throughout the construction of the frame and supports etc I have been sure to wear a mask, as the dust from the woodcuttings can be extremely fine and be breathed into the lungs.
Although many follow spots become fairly hot during use the one that I am using does not, due to its size and power. As a result there is no problem with securing the lights against the wood, which will have fabric secured on to it. The cooling fan that is built into each light is located near the back of the light, which will not be obstructed in any way, allowing for the light to keep cool.
Another concern that I have had since the start of the project has been the damage that haze can have on humans. However, the haze fluid that I am using is water based, and consequently does not pose any risks for the user’s health, even with long exposure the haze will not cause any problems.
Every care has been taken to make sure that the structure is safe and that the presentation will pose extremely small risk for the users involved.
Wednesday 13 May 2009
Columns of Colour
As the three couloured beams are such a major part of this installation i thought it was important to look at the associations people may make with each coloured beam.
Red:
When looking at the red beam I believe that the first connotations that will come to mind are those of lasers and infrared technology. It is common to find in many hollywood films the use of red beams to connote a large security system. Furthermore these red beams may be associated to the use of a weapon, for example the sight on a gun or a laser pen. Regarding technology, many may link the red beams to that found with computer components such as a key board or a mouse.
Green:
Regarding a green beam of light, i believe that science fiction connotations will be the first to surface. Throughout science fiction, green beams are used to connotate something other wordly. For example, these may be the beams from a spaceship or another alien object. The green light also connotates an eeiry feeling which may be linked to science fiction. As well as science fiction associations, green lasers are also seen at music shows, such as dance, techno and drum and bass. The green lights are very visually pleasing and add an extra element to the music.
Blue:
When looking at the blue columns of light, we can agin consider lasers. Although many associate the colour red with lasers, blue lasers are also commonaly used. Following on from the connotations with lasers, many also associate a blue beam with lightsabers as seen in the blockbuster films, Star Wars.
White:
With white beams of light, the most obvious connotations are with religion and deity. Throughout history, a white beams of light have been seen in art and literature surrounding religions. Many associate it with the pureness and goodness of religion and its advocates, a white light shining down from heaven, showing happiness and peace. This alo has links to the Sun and connotation linking to sunbeams. The use of spotlights and torches may also link to a white column of light, conjuring up connotations of rescue and security. Furthermore, the uses of spotlights in the theatre and stage productions may be thought of. Finally, the association with warships and searching spotlights may connotate a more hostile and dangerous connotation.
Although the connotations of white columns of light have been covered before, i felt it was important to look at all the connotations together so that each meaning could be studied in comparision to each other.
Red:
When looking at the red beam I believe that the first connotations that will come to mind are those of lasers and infrared technology. It is common to find in many hollywood films the use of red beams to connote a large security system. Furthermore these red beams may be associated to the use of a weapon, for example the sight on a gun or a laser pen. Regarding technology, many may link the red beams to that found with computer components such as a key board or a mouse.
Green:
Regarding a green beam of light, i believe that science fiction connotations will be the first to surface. Throughout science fiction, green beams are used to connotate something other wordly. For example, these may be the beams from a spaceship or another alien object. The green light also connotates an eeiry feeling which may be linked to science fiction. As well as science fiction associations, green lasers are also seen at music shows, such as dance, techno and drum and bass. The green lights are very visually pleasing and add an extra element to the music.
Blue:
When looking at the blue columns of light, we can agin consider lasers. Although many associate the colour red with lasers, blue lasers are also commonaly used. Following on from the connotations with lasers, many also associate a blue beam with lightsabers as seen in the blockbuster films, Star Wars.
White:
With white beams of light, the most obvious connotations are with religion and deity. Throughout history, a white beams of light have been seen in art and literature surrounding religions. Many associate it with the pureness and goodness of religion and its advocates, a white light shining down from heaven, showing happiness and peace. This alo has links to the Sun and connotation linking to sunbeams. The use of spotlights and torches may also link to a white column of light, conjuring up connotations of rescue and security. Furthermore, the uses of spotlights in the theatre and stage productions may be thought of. Finally, the association with warships and searching spotlights may connotate a more hostile and dangerous connotation.
Although the connotations of white columns of light have been covered before, i felt it was important to look at all the connotations together so that each meaning could be studied in comparision to each other.
Tuesday 12 May 2009
Wiring Everything Together
During the final set-up there were several extra features that were added to the structure, many of them are small details, but will add to the final presentation.
The first details was to drill holes in position that the wires from the PIR detectors can be run through, meaning that the wires are not exposed. Once all of the wires had been put in place, and wired in, I used cable ties to tie the wires from each PIR detector together, making the appearance neater and also will mean that organizing the equipment on top of the structure will be easier, as there want be as many loose wires.
Once everything was was wired into place, I decided to attach all of the components to a board, which could then be bolted to the mains structure, meaning that nothing would move during the presentation, helping to improve the health and safety.
The PIR detectors come with a LED fitted which turns on when the sensors detect movement, enabling it to be seen when the sensors on. Although this was useful during testing, I wanted to remove the LEDs, so that the LED did not ruin the effect during the presentation. Fortunately, this can be easily done as each detector has a switch enabling them to be turned off.
The first details was to drill holes in position that the wires from the PIR detectors can be run through, meaning that the wires are not exposed. Once all of the wires had been put in place, and wired in, I used cable ties to tie the wires from each PIR detector together, making the appearance neater and also will mean that organizing the equipment on top of the structure will be easier, as there want be as many loose wires.
Once everything was was wired into place, I decided to attach all of the components to a board, which could then be bolted to the mains structure, meaning that nothing would move during the presentation, helping to improve the health and safety.
The PIR detectors come with a LED fitted which turns on when the sensors detect movement, enabling it to be seen when the sensors on. Although this was useful during testing, I wanted to remove the LEDs, so that the LED did not ruin the effect during the presentation. Fortunately, this can be easily done as each detector has a switch enabling them to be turned off.
Monday 11 May 2009
New name?
I had initially decided to call the project 'Seeing is Believing' which played on the idea that light can't bend, and in order to believe it was happening you would have to see it. Since moving away from bending light, and with the adoption of colour I decided that it was necessary to change the name of the project. I also wanted to do this as I wanted the title to be more professional than the original idea. Whilst thinking of possibilities I was keen to think of something the the three columns could be represented in, for example a word with three "I's" and three "L's" as these could represent the columns in a logo format. I was also keen to think of something that explained the project, without necessarily given away the secrets to it. For example, I wanted it to be apparent that this was a piece concerning light, but didn't want to reveal the use of colour or on/off feature, or in fact that there were three columns, as these were features that I wanted to become apparent once the user was in the installation.
Whilst considering titles, the name illuminate came to mind, as it fits all of the criteria that I wanted from a title. I think it also considers the idea that light can be more than a means to illuminate, providing an antonymous adjective. I also liked the way that the word could appear with three columns in it "Illuminate" but how this would also go unnoticed until after the user had been in the installation.
Whilst considering titles, the name illuminate came to mind, as it fits all of the criteria that I wanted from a title. I think it also considers the idea that light can be more than a means to illuminate, providing an antonymous adjective. I also liked the way that the word could appear with three columns in it "Illuminate" but how this would also go unnoticed until after the user had been in the installation.
Sunday 10 May 2009
Where does this project lie?
During the supporting research to this project I considered several similar projects. This allowed me to analyse my work in relation to other work within in the field and deliberate where ‘Illuminate’ stands. One of significant differences between my work and other light projects that I have seen is the level of interaction that is apparent in the piece. I think that it is this feature of my work that extends the exploratory sense surrounding light presented in this way. It is unusual to see light presented in such a manner, appearing solid in its own right, and consequently is something that an audience would like to explore. The level of interaction, which aims to surprise and please the users, further increases the sense of the unknown. As well as providing a exploratory sense the installation appears as art in its own right. I think that even if the project were a still piece it would still be extremely stunning due to colours that have been used. Although I cannot take all of the credit for this, as I had no control over the colours that the lights produce, I think it was a good decision to use the lights within the installation. The installation also promotes experimental art, as it combines uses of an object that can be normally found within the physics realm. The fact that light is not normally presented in this way suggests that the installation sits in a field that questions the normal ideologies of what art can be, and how it can be received.
I can imagine this work to be shown in a similar institution to the science museum, or somewhere that promotes hands on learning.
I can imagine this work to be shown in a similar institution to the science museum, or somewhere that promotes hands on learning.
Saturday 9 May 2009
Frames to Hold Lights in Place
As part of the health and safety issues associated with having the structure supported in the air, I have to be certain that nothing will fall from the structure, including the lights, which are the heaviest items supported. Although the lights have a flat face, which enables them to be rested on their front, I have decided to produce a beam support that will secure them in position, making the structure even safer.
The supports were quite simple to make. The first step was to measure how high the supporting bracket on the light was. From this I was able to measure how high the wooden support should be.
1. The first step was to make the feet for the structure:
This was done using a band saw and then chiseling out the middle, to form a grove that the uprights could then sit in.
2. To make the uprights I simply cut
3. Screw the upright into the foot
4. Make the joining section, with half tenon joints.
5. Assemble with screw and glue.
6. Then drill a hole in the central joining section, which can then be bolted to the light.
7. Align with lights on the structure, and drill through the feet. Bolt in position.
Although these were quite simple to make, they will provide enough extra support to make the lights secure and safe throughout the presentation. This will provide increased peace of mind, and will also fulfill health and safety regulations.
The supports were quite simple to make. The first step was to measure how high the supporting bracket on the light was. From this I was able to measure how high the wooden support should be.
1. The first step was to make the feet for the structure:
This was done using a band saw and then chiseling out the middle, to form a grove that the uprights could then sit in.
2. To make the uprights I simply cut
3. Screw the upright into the foot
4. Make the joining section, with half tenon joints.
5. Assemble with screw and glue.
6. Then drill a hole in the central joining section, which can then be bolted to the light.
7. Align with lights on the structure, and drill through the feet. Bolt in position.
Although these were quite simple to make, they will provide enough extra support to make the lights secure and safe throughout the presentation. This will provide increased peace of mind, and will also fulfill health and safety regulations.
Wednesday 6 May 2009
Renewed Budget
As the project has changed greatly since the original plan, so has the budget. The original figures revolved around using different sensors, and different lights. I have decided to recalculate the figures, and refresh the original budget.
Tag strips:£0.94 x 3 = £2.82
Lucar connectors:£1.29 per pack £1.29 x 2 = £2.58
PIR detectors:£14.99 each £14.99 x 5 = £74.95
Light hire: £30 each per week
Bulb: £12 each x 3 = £36
Haze machine hire: £60 per week
Haze machine fluid: £2.80
USB DMX controller: £59.99
USB interface (PIR controller): £34.99
USB Hub: £6.99
Wooden structure: £85.00
Wiring: £8 per roll £8 x 2 = £16
Bell Wire: £7.00 100m
Soldering iron: £7.99
Cable ties: £0.40 & £1.40 (two different sizes)
Book on Robotics: £17.99
Power tip for power adapter: £0.80
Power socket for PIR power: £0.80
Servo motor: £7.99
Servo controller: £51.14 including postage
Total: £567.63
Although this may seem expensive I am confident that everything that I have used was necessary and has played a vital role within the project. Although the costs of the servo motor and controller could have been avoided, this was something that I was not aware of at the time. I am also hoping that I will be able to sell these components on for a slightly reduced price.
Tag strips:£0.94 x 3 = £2.82
Lucar connectors:£1.29 per pack £1.29 x 2 = £2.58
PIR detectors:£14.99 each £14.99 x 5 = £74.95
Light hire: £30 each per week
Bulb: £12 each x 3 = £36
Haze machine hire: £60 per week
Haze machine fluid: £2.80
USB DMX controller: £59.99
USB interface (PIR controller): £34.99
USB Hub: £6.99
Wooden structure: £85.00
Wiring: £8 per roll £8 x 2 = £16
Bell Wire: £7.00 100m
Soldering iron: £7.99
Cable ties: £0.40 & £1.40 (two different sizes)
Book on Robotics: £17.99
Power tip for power adapter: £0.80
Power socket for PIR power: £0.80
Servo motor: £7.99
Servo controller: £51.14 including postage
Total: £567.63
Although this may seem expensive I am confident that everything that I have used was necessary and has played a vital role within the project. Although the costs of the servo motor and controller could have been avoided, this was something that I was not aware of at the time. I am also hoping that I will be able to sell these components on for a slightly reduced price.
Tuesday 5 May 2009
Masking off the PIR detectors
Although the PIR detectors were working well during testing, the field of detection was too large, detecting motion from a 120-degree range. In order to have more control over the motion detection, and consequently the interaction behind the project, I decided to mask the sensors to reduce the field of detection. I felt that it was a good idea to have a test run (without the lights set-up) with the PIR detectors secured in place. Although I had an idea of how the PIR detectors would work, I felt that it was necessary to check whilst they were in the correct position, which included securing the platform at the right height, as a change in height would have affected their sight. Whilst concentrating on one sensor at a time I determined through movement where the sensors were detecting, and if this field was too large in terms of where the lights would be positioned, I reduced it with black masking tape.
This was a process of trial and error as the sensors could detect at different distances depending on the height of the movement i.e. if I moved a hand in the air 6 feet from the sensor it wouldn’t detect it, but if it was a foot it would, due to the differences in height.
After some thorough testing I was able to mask of all of the sensors so that they would provide the best possible detection. I had concentrated on at least two sensors being able to see one light at a time, so that it possible to deduce which side of the column the user is located in.
This was a process of trial and error as the sensors could detect at different distances depending on the height of the movement i.e. if I moved a hand in the air 6 feet from the sensor it wouldn’t detect it, but if it was a foot it would, due to the differences in height.
After some thorough testing I was able to mask of all of the sensors so that they would provide the best possible detection. I had concentrated on at least two sensors being able to see one light at a time, so that it possible to deduce which side of the column the user is located in.
Wednesday 29 April 2009
Building a Frame
I had originally planned to use trussing to support the lights and had planned to use this to secure the PIR detectors in position and also to cable tie the wiring to. Although this would probably have been the easiest option considering it is the standard for stage lights, such as the follow spots that I plan to use. I was considering methods of how I would be able to hide or cover the trussing so that all it is not completely visible, and consequently will make it appear that the lights are coming out a blank space. I don’t want the technologies and equipment behind the project to be visible, as I feel that it will cause distraction from the light and the relationship between the user and the light. Although, as mentioned earlier, interaction cannot not be entirely sub-conscious I would like to remove the idea of ‘communication with a machine’ as much as possible. As a result I have decided to construct a platform the can be suspended that will house most of the equipment involved with the project. This will include, the lights, the PIR detectors, the wiring, the DMX controller, the PIR controller and the laptop that will control all of the processes. Although this may sound like a lot of equipment to secure, it is relatively lightweight, and should not pose a problem in terms of weight.
The structure will be similar to the flats that are used in the university studios, but will be slightly smaller and more lightweights. The structure will be built out 37mm by 63mm (approximately 1.5 inches by 2.5inches) CLS construction timber, which is extremely sturdy, and supportive. The beams will be 2400mm in length (which is approximately 7"10) and will form a square. Four extra beams that will be secured across the width will then support the square. Over this beamed structure I will secure 6mm plywood boards, acting as a skin upon which the equipment can be secured. Holes will then be cut into this skin, which will allow the lights, which are secured above, to emit the beam. In order for this to be safe as possible batons will be used to securely hold the lights in place. The entire structure will then be supported from the ceiling via welded steel chains that will be connected to the structure with 30mm steel hooks. The structure will be made in a way that will enable it to disassemble easily and then be reassembled once in the studio. This will be made easy by cross dowelling bolts. All of the equipment that is necessary for this to be built is available at Homebase or B&Q. I will then paint the underside of the structure in matt black paint so that it is more camouflaged with the darkness of the structure. Fortunately for me my stepfather is a budding carpenter and offered to help with the construction of the structure. This was beneficial, as although the build would not have been too complicated to produce it would mean that it would be as safe as possible. Health and safety is a big consideration for a structure such as this, something that will be considered later in this text.
Pricing:
Here is a breakdown of the pricing of the materials needed for the structure:
CLS construction timber beams: £1.79 each £1.79 x 8 = £14.32 (homebase)
Welded steel chains: 10m x 8mm = £14.49 each (screwfix)
6mm Plywood Sheets: 2440 x 1220 = £14.86 x 2 = £29. 72 (homebase)
Cross dowelling bolts: £1.90 per pack of 50 (screwfix)
Cross dowels: £1.99 per pack of 50 (screwfix)
Steel Hooks: £2.29 per pack of 5 (used 8) £2.29 x 2 = £4.58 (screwfix)
Black fabric: £18.00 (Matalan)
TOTAL: £85.00
Construction:
1) As the wood already came in lengths of 2400m this dictated the size of structure. In order to produce a square Cut the two side lengths slightly shorted enabling the pieces to be bolted together.
2) Cut recesses (grooves) in left and right lengths, which the cross middle support could then be supported in.
3) Repeated this process with the other two supports.
4) Bolted in position with cross dowels, allowing for easy disassemble.
5) Attached plywood skin to the structure using screws
6) Added small feet to the underside of the structure to allow the platform to be raised slightly of the ground, which prevented the PIR detectors from being damaged.
Health and Safety:
As you can probably imagine there are large health and safety risks associated with a structure such as this, especially considering that it will be hanging from a ceiling and users will walk underneath it. In order to properly assess this I contacted Robert Belton who is the studio manager and organised a meeting between, him, John Viney (the set technician) and myself.
The weight of the structure is the main determining factor of safety and how the structure can be supported from the ceiling. In order to consider this I need to consider the total weight of what would need to be supported. Firstly each light is 10kg (30kg for all lights), the PIR detectors are 80g each (400g for all PIR detectors), the laptop that will be used is approximately 3kg, the structure is wooden structure is 40kg, and I would allow for additional 5kg to cover the weight of both controllers, the wiring, batons to hold the lights in place, power cables, extension leads and everything else that would be housed on top of the structure. The total of all of this comes to 78.4kg, which I will round up to 80kg, to be extra safe.
This is a generous calculation, as I think that it is better to be over the actual weight than under, as any calculations considering the supports will then certainly be safe.
The structure will be similar to the flats that are used in the university studios, but will be slightly smaller and more lightweights. The structure will be built out 37mm by 63mm (approximately 1.5 inches by 2.5inches) CLS construction timber, which is extremely sturdy, and supportive. The beams will be 2400mm in length (which is approximately 7"10) and will form a square. Four extra beams that will be secured across the width will then support the square. Over this beamed structure I will secure 6mm plywood boards, acting as a skin upon which the equipment can be secured. Holes will then be cut into this skin, which will allow the lights, which are secured above, to emit the beam. In order for this to be safe as possible batons will be used to securely hold the lights in place. The entire structure will then be supported from the ceiling via welded steel chains that will be connected to the structure with 30mm steel hooks. The structure will be made in a way that will enable it to disassemble easily and then be reassembled once in the studio. This will be made easy by cross dowelling bolts. All of the equipment that is necessary for this to be built is available at Homebase or B&Q. I will then paint the underside of the structure in matt black paint so that it is more camouflaged with the darkness of the structure. Fortunately for me my stepfather is a budding carpenter and offered to help with the construction of the structure. This was beneficial, as although the build would not have been too complicated to produce it would mean that it would be as safe as possible. Health and safety is a big consideration for a structure such as this, something that will be considered later in this text.
Pricing:
Here is a breakdown of the pricing of the materials needed for the structure:
CLS construction timber beams: £1.79 each £1.79 x 8 = £14.32 (homebase)
Welded steel chains: 10m x 8mm = £14.49 each (screwfix)
6mm Plywood Sheets: 2440 x 1220 = £14.86 x 2 = £29. 72 (homebase)
Cross dowelling bolts: £1.90 per pack of 50 (screwfix)
Cross dowels: £1.99 per pack of 50 (screwfix)
Steel Hooks: £2.29 per pack of 5 (used 8) £2.29 x 2 = £4.58 (screwfix)
Black fabric: £18.00 (Matalan)
TOTAL: £85.00
Construction:
1) As the wood already came in lengths of 2400m this dictated the size of structure. In order to produce a square Cut the two side lengths slightly shorted enabling the pieces to be bolted together.
2) Cut recesses (grooves) in left and right lengths, which the cross middle support could then be supported in.
3) Repeated this process with the other two supports.
4) Bolted in position with cross dowels, allowing for easy disassemble.
5) Attached plywood skin to the structure using screws
6) Added small feet to the underside of the structure to allow the platform to be raised slightly of the ground, which prevented the PIR detectors from being damaged.
Health and Safety:
As you can probably imagine there are large health and safety risks associated with a structure such as this, especially considering that it will be hanging from a ceiling and users will walk underneath it. In order to properly assess this I contacted Robert Belton who is the studio manager and organised a meeting between, him, John Viney (the set technician) and myself.
The weight of the structure is the main determining factor of safety and how the structure can be supported from the ceiling. In order to consider this I need to consider the total weight of what would need to be supported. Firstly each light is 10kg (30kg for all lights), the PIR detectors are 80g each (400g for all PIR detectors), the laptop that will be used is approximately 3kg, the structure is wooden structure is 40kg, and I would allow for additional 5kg to cover the weight of both controllers, the wiring, batons to hold the lights in place, power cables, extension leads and everything else that would be housed on top of the structure. The total of all of this comes to 78.4kg, which I will round up to 80kg, to be extra safe.
This is a generous calculation, as I think that it is better to be over the actual weight than under, as any calculations considering the supports will then certainly be safe.
Tuesday 28 April 2009
Introduce Sound?
Although I haven’t given the use of sound much consideration during the planning and production of the project, it is something that I would like to consider. I have worked with sound in sensory projects before this and it has always proven to be a valuable asset to the piece. Sound works extremely well in interactive pieces as it gives the user a clear indication that an action/input has been registered. For example, when a user of a computer uses a mouse, a press is acknowledged with a click noise. This is a sound that could be avoided, but is employed as it adds certainty to an action. If the click did not sound then the user could be left wondering if they had clicked adequately.
I am confident that the changes in light, whether colour or on/off, will highlight a change adequately. I like the idea of introducing sound, not only as a method of highlighting change, but also as it helps to engage more senses, making the piece more engrossing.
It is important however that the sound does not distract from the main ideas of the piece, which I still want to be fully focused on the light and how it reacts to touch. The introduction of sound will add a recognition system and another aspect to the relationship between the user and the installation.
As I have already mentioned I do not want the sound to detract from the lights. This means that the sound should be kept to a minimum, maybe introducing a single noise when movement is detected. This could be something as a simple as a click, a tap or knocking. It is a decision that I cannot jump into as although it won’t act as the main output of the installation it will still be extremely noticeable, and if it is the wrong sound it will change the entire dynamic of the piece.
I have also highlighted in earlier entries the interactive aspect of the project is extremely integral to the work, and this is something that could be depicted with the choice of sound. One of predominant ideas that has featured in all of my work since working with new media has been to investigate different methods of computer control, rather than simple using a mouse and a keyboard. As I have mentioned a mouse click is an important method of recognition for a user, as it highlights that a command has been registered. I think it would be quite effective to use this sound within the installation. The sound will play every time that motion is detected.
I am confident that the changes in light, whether colour or on/off, will highlight a change adequately. I like the idea of introducing sound, not only as a method of highlighting change, but also as it helps to engage more senses, making the piece more engrossing.
It is important however that the sound does not distract from the main ideas of the piece, which I still want to be fully focused on the light and how it reacts to touch. The introduction of sound will add a recognition system and another aspect to the relationship between the user and the installation.
As I have already mentioned I do not want the sound to detract from the lights. This means that the sound should be kept to a minimum, maybe introducing a single noise when movement is detected. This could be something as a simple as a click, a tap or knocking. It is a decision that I cannot jump into as although it won’t act as the main output of the installation it will still be extremely noticeable, and if it is the wrong sound it will change the entire dynamic of the piece.
I have also highlighted in earlier entries the interactive aspect of the project is extremely integral to the work, and this is something that could be depicted with the choice of sound. One of predominant ideas that has featured in all of my work since working with new media has been to investigate different methods of computer control, rather than simple using a mouse and a keyboard. As I have mentioned a mouse click is an important method of recognition for a user, as it highlights that a command has been registered. I think it would be quite effective to use this sound within the installation. The sound will play every time that motion is detected.
Monday 27 April 2009
Minimaforms: Memory Cloud
Memory Cloud was an transient light environment that was exhibited in London's Trafalgar Square in October 2008 that I was fortunate enough to see. Memory Cloud was based on smoke signals, which is one of the oldest forms of visual communication. The public were invited to participate in the installation by sending text messages that were then converted into plumes of smoke. In reality the text messages were projected through clouds of smoke, but gave the illusion that the messages were in fact in cloud form.
The light acted as a virtual ink scrawling through the smoke that perceptually wrote and then erased. This work was extremely relevant to my project, as the main features revolved around smoke and light. It was fascinating how vibrant the text looked as it was projected across the square. Although some texts were not as visible as others, especially when the wind picked up and blew the necessary smoke away from the light, it helped to enrich the idea of smoke signals. As my project is planned to be shown in an enclosed area, wind should not pose a problem, however it is something to consider, obviously not external wind, but any breezes or movement that could effect the movement of the smoke. If the smoke is seen to be moving around the space it could ruin the solidity of the columns.
The light acted as a virtual ink scrawling through the smoke that perceptually wrote and then erased. This work was extremely relevant to my project, as the main features revolved around smoke and light. It was fascinating how vibrant the text looked as it was projected across the square. Although some texts were not as visible as others, especially when the wind picked up and blew the necessary smoke away from the light, it helped to enrich the idea of smoke signals. As my project is planned to be shown in an enclosed area, wind should not pose a problem, however it is something to consider, obviously not external wind, but any breezes or movement that could effect the movement of the smoke. If the smoke is seen to be moving around the space it could ruin the solidity of the columns.
The above picture was taken from the Minimaforms website as I felt that it help to support my own photos from the installation.
Saturday 25 April 2009
Soldering/DMX controller
Although the USB controlled DMX controller was going to make the project easier to finish (enabling the use of DMX to be controlled by Visual Basic) it did pose another problem. The kit that I has purchased from Maplin was not assembled, and required relatively expert soldering for a total of 119 solder points (shown in the picture below, every gold circle corresponds to a solder point). Although I had some experience with soldering it had been several years since I had last used one, I think the last time would have been during sixth form college.
I first had to buy a soldering kit, which I luckily found cheaply in a home furnishings shop, for only £7.99. The kit came with everything necessary to complete the solderin; a soldering iron, a solder extractor, a spare head to the iron, a holder for the iron and solder.
This was a challenge that I was not particularly looking forward to as the board was imperative to the project and had been relatively expensive therefore it was not something that I wanted to get wrong. I decided that it would be wise to do several test and retune my soldering technique by testing on a spare piece of board and some wire.
Although the solder points probably aren't up to an expert's level I was confident that they would be adequate, which was pleasing as it meant that I would not have to pay somebody to do it for me.
The instructions for the procedure were extremely thorough and easy to follow. Upon starting I was pleasantly surprised with the joints, which were neat, and well placed, shown below. I tested the joints with a digital multimeter as a continuity tester, which confirmed that the joints were satisfactory to support a current.
With my confidence levels increased by these initial joints I proceeded with slightly less caution, but it was a long process.
After I had finished soldering the initial components, including the diodes and resistors I was pleased with the progress, and confident that the finished product would be suitable and would work sufficiently.
Although the initial joints had worked extremely well, it became more difficult once I had to operate closely to other joints, as I had to make sure that the solder did not touch the solder of another component, which would prevent the board from operating properly. As a result I had to use a solder extractor, to remove the touching solder from the joint, which meant that the whole process would take even longer.
This became especially relevant once I started to connect the IC sockets, which have several pins, some of which are not suppose to touch and some are. This meant that I needed to carefully following the schematic diagram in the instruction booklet.
Following approximately an hour and a half of concentration the board was finished and was able to be secured into the case that is provided with it.
At this point there was a real sense of achievement, but I was dubious about whether it would work or not. Much to my amazement it did work first time, and I was soon able to control a light through the the software that was provided, simply with the click of a mouse. This was an exciting breakthrough with the project.
I first had to buy a soldering kit, which I luckily found cheaply in a home furnishings shop, for only £7.99. The kit came with everything necessary to complete the solderin; a soldering iron, a solder extractor, a spare head to the iron, a holder for the iron and solder.
This was a challenge that I was not particularly looking forward to as the board was imperative to the project and had been relatively expensive therefore it was not something that I wanted to get wrong. I decided that it would be wise to do several test and retune my soldering technique by testing on a spare piece of board and some wire.
Although the solder points probably aren't up to an expert's level I was confident that they would be adequate, which was pleasing as it meant that I would not have to pay somebody to do it for me.
The instructions for the procedure were extremely thorough and easy to follow. Upon starting I was pleasantly surprised with the joints, which were neat, and well placed, shown below. I tested the joints with a digital multimeter as a continuity tester, which confirmed that the joints were satisfactory to support a current.
With my confidence levels increased by these initial joints I proceeded with slightly less caution, but it was a long process.
After I had finished soldering the initial components, including the diodes and resistors I was pleased with the progress, and confident that the finished product would be suitable and would work sufficiently.
Although the initial joints had worked extremely well, it became more difficult once I had to operate closely to other joints, as I had to make sure that the solder did not touch the solder of another component, which would prevent the board from operating properly. As a result I had to use a solder extractor, to remove the touching solder from the joint, which meant that the whole process would take even longer.
This became especially relevant once I started to connect the IC sockets, which have several pins, some of which are not suppose to touch and some are. This meant that I needed to carefully following the schematic diagram in the instruction booklet.
Following approximately an hour and a half of concentration the board was finished and was able to be secured into the case that is provided with it.
At this point there was a real sense of achievement, but I was dubious about whether it would work or not. Much to my amazement it did work first time, and I was soon able to control a light through the the software that was provided, simply with the click of a mouse. This was an exciting breakthrough with the project.
Wednesday 22 April 2009
USB DMX controller interface
Although DMX can be controlled using a DMX controller, I need the system to be able to be pre-programmed using Visual Basic, and consequently need a method of connecting the DMX lights to a PC. I was informed by the lighting company that I hired the lights from that such converters do exist. Following a quick search I discovered that Maplin stock a controller, but it does not come assembled. However, I was certain that this component would be vital to the installation, as I would not be able to control the lights without it.
Specifications:
- connected and powered through USB
- 512 DMX channels with 256 levels each
- 3 pin XLR-DMX output connector
- optional 9V battery needed for stand alone test mode
- solid state - fuse protection on DMX output
- dimensions: 106 x 101 x 44.5mm / 4.2 x 4 x 1.75"
http://www.velleman.be/downloads/0/illustrated/illustrated_assembly_manual_k8062_rev3.pdf
The DMX controller converts the signals and commands that the PC sends through USB into a format that the lights can understand. Without the controller the lights would not be able to understand the signals that are sent from the computer. As mentioned the the unit comes with test software, as well as a DLL (Dynamic Link Library) library of code that can be loaded and linked into the executing program, which means that the DMX controller can be called upon without having to program it yourself.
This unit had everything that I would need in order to make it work within the installation, the only problem that it would pose was concerning the soldering aspect, something that I have not done for years. I was confident however, that following some practice I would be able to sufficiently solder in order to connect everything to the circuit board. As well as practicing my soldering techniques I need to get on with the software side of the project, which is now the main focus for the remainder of the time.
Specifications:
- connected and powered through USB
- 512 DMX channels with 256 levels each
- 3 pin XLR-DMX output connector
- optional 9V battery needed for stand alone test mode
- solid state - fuse protection on DMX output
- dimensions: 106 x 101 x 44.5mm / 4.2 x 4 x 1.75"
http://www.velleman.be/downloads/0/illustrated/illustrated_assembly_manual_k8062_rev3.pdf
The DMX controller converts the signals and commands that the PC sends through USB into a format that the lights can understand. Without the controller the lights would not be able to understand the signals that are sent from the computer. As mentioned the the unit comes with test software, as well as a DLL (Dynamic Link Library) library of code that can be loaded and linked into the executing program, which means that the DMX controller can be called upon without having to program it yourself.
This unit had everything that I would need in order to make it work within the installation, the only problem that it would pose was concerning the soldering aspect, something that I have not done for years. I was confident however, that following some practice I would be able to sufficiently solder in order to connect everything to the circuit board. As well as practicing my soldering techniques I need to get on with the software side of the project, which is now the main focus for the remainder of the time.
Tuesday 21 April 2009
Atmosphere of the Installation
It is useful to consider the atmosphere of the installation, and how I want the installation to 'feel' during the presentation. The installation will be presented in studio 1 at university, which is a large space. This will affect how the project is perceived and how the users see the light. The space will also be relatively quiet which will also effect the presentation.
As the users enter the space they will be greeted by the structure with one column of light dissecting the darkness of the rest of the room. I hope that this will be quite enchanting and appealing, and the users will then be invited (one at a time) to move towards the light and explore the space. The light will appear quite mysterious, especially as the rest of the room will appear misty due to the use of haze. I hope that the quietness will add to the exploratory sense of the work, as the user will feel quite alone in the darkness, with only the columns of light to explore. I have been involved in other sensory projects and have found that such works offer the user a more rewarding experience when they are on their own, as they generally feel freer to explore. I think that the piece will appear quite magical and connote ideas of science fiction. The light will hopefully appear crisp, which will be visually stunning. I want the users to want to explore the light, to move towards the columns at investigate them further.
As the users enter the space they will be greeted by the structure with one column of light dissecting the darkness of the rest of the room. I hope that this will be quite enchanting and appealing, and the users will then be invited (one at a time) to move towards the light and explore the space. The light will appear quite mysterious, especially as the rest of the room will appear misty due to the use of haze. I hope that the quietness will add to the exploratory sense of the work, as the user will feel quite alone in the darkness, with only the columns of light to explore. I have been involved in other sensory projects and have found that such works offer the user a more rewarding experience when they are on their own, as they generally feel freer to explore. I think that the piece will appear quite magical and connote ideas of science fiction. The light will hopefully appear crisp, which will be visually stunning. I want the users to want to explore the light, to move towards the columns at investigate them further.
Sunday 19 April 2009
DMX Controlled Lights/ Chauvet Followspot 400g
As mentioned in the previous post I have discovered a follow spot that can be controlled by DMX, the Chauvet Followspot 400g. The Followspot 400G is a 2-channel DMX spotlight featuring 7 dichroic colors, a variable electronic dimmer, variable mechanical iris, variable mechanical focus and has a single gobo slot. The light is also smaller than other follow spots that I have seen and does not get as hot, which will mean it is easier to handle during testing, set-up and the actual presentation than if I was using a full sized follow spot.
The specifications are as follows:
2-channel DMX-512 followspot
7 dichroic colors + white: (red, blue, green, yellow, orange, magenta, UV purple)
Variable electronic dimmer (0-100%)
Variable mechanical iris
Variable mechanical focus
Single gobo slot with 4 free gobos
Beam angle: 2 ° - 12°
Lux: 48,420 @ 1m
Light Source: ENX 82V 360W 75hrs
Power and current: 120V, 60Hz:326W, 3A operating, 8.2A inrush, PF0.92
AC power: 115V/60Hz or 230V/50/Hz
Weight: 20.6 lbs (9.34kgs)
Size: 22.5in x 11.5in x 6.38in
572mm x 292mm x 162mmm
User Manual: http://www.chauvetlighting.com/products/manuals/tfx-fs360_ug-159.pdf
As you can see the beam angle can be as little as 2 degrees, which is the narrowest that I have seen whilst I have been considering stage lights. This will mean that the beam will be almost perfectly collimated, which will hopefully avoid the light from looking like a spotlight and more like a architectural column. Although the light is not completely controllable through DMX, the two options that are available are colour and dimness, which can effectively control if the light is on or off. These are the two options that I wanted to be able to control for the installation.
There are, however, some disadvantages to the 400g. As it is a smaller light it is not as powerful as standard followspots, so the light that it produces will not be as bright as a larger model. This will effect the columns, as the contrast between the light and the darkness will not be as vast, meaning that the columns may not appear as shape and distinctive as they possibly could have been. The beam of light that is produced is also not as sharp as it could be, which will also mean that the columns aren't as distinctive as they could have been if a different light was used. Another disadvantage of the lights is the bulb life. Each bulb lasts for only 120 hours, and the company that I hired from suggested changing the bulb after every 100 hours in order to keep a sharp beam. Although this will not present a problem for the presentation, which will only last for a couple of hours, it may pose a problem when exhibiting the installation in the final year show.
Although the lights do have disadvantages, the advantages greatly out-weigh these, providing a narrow beam with the flexibility that I was looking for.
The specifications are as follows:
2-channel DMX-512 followspot
7 dichroic colors + white: (red, blue, green, yellow, orange, magenta, UV purple)
Variable electronic dimmer (0-100%)
Variable mechanical iris
Variable mechanical focus
Single gobo slot with 4 free gobos
Beam angle: 2 ° - 12°
Lux: 48,420 @ 1m
Light Source: ENX 82V 360W 75hrs
Power and current: 120V, 60Hz:326W, 3A operating, 8.2A inrush, PF0.92
AC power: 115V/60Hz or 230V/50/Hz
Weight: 20.6 lbs (9.34kgs)
Size: 22.5in x 11.5in x 6.38in
572mm x 292mm x 162mmm
User Manual: http://www.chauvetlighting.com/products/manuals/tfx-fs360_ug-159.pdf
As you can see the beam angle can be as little as 2 degrees, which is the narrowest that I have seen whilst I have been considering stage lights. This will mean that the beam will be almost perfectly collimated, which will hopefully avoid the light from looking like a spotlight and more like a architectural column. Although the light is not completely controllable through DMX, the two options that are available are colour and dimness, which can effectively control if the light is on or off. These are the two options that I wanted to be able to control for the installation.
There are, however, some disadvantages to the 400g. As it is a smaller light it is not as powerful as standard followspots, so the light that it produces will not be as bright as a larger model. This will effect the columns, as the contrast between the light and the darkness will not be as vast, meaning that the columns may not appear as shape and distinctive as they possibly could have been. The beam of light that is produced is also not as sharp as it could be, which will also mean that the columns aren't as distinctive as they could have been if a different light was used. Another disadvantage of the lights is the bulb life. Each bulb lasts for only 120 hours, and the company that I hired from suggested changing the bulb after every 100 hours in order to keep a sharp beam. Although this will not present a problem for the presentation, which will only last for a couple of hours, it may pose a problem when exhibiting the installation in the final year show.
Although the lights do have disadvantages, the advantages greatly out-weigh these, providing a narrow beam with the flexibility that I was looking for.
Friday 17 April 2009
Change in Lights: Goodbye Motors
I have recently been in Cheltenham, as I find it easier to work there. However, I was aware that I would need to do some further testing, and begin to make final decision, adjustments and amendments concerning the lights. As the lights that I was planning to use are located in London, I decided to try and locate some in the local area. Whilst discussing this with a firm called 'New Day' I was informed that they had a DMX controlled follow spot in stock. This was something that I had not heard of before; I was under the impression that all follow spots were manually operated. Although I have been planning to use motors to move filters across the face of a follow spot, it sounded like a DMX controlled system would be easier to use, program and would greatly reduce construction time, as it would mean that I would not have to spend hours aligning and positioning motors. Although I was not certain that DMX could be controlled in Visual Basic, the programming language that I am using throughout this project, I decided that these lights would be worth a closer inspection. I was informed that the lights were Chauvet Followspot 400g.
Once I had actually seen the lights, tested them, and talked the ideas through with the staff at New Day I was confident that this would be a better option for the installation than the manually operated follow spot that I had planned to use before hand.
Once I had actually seen the lights, tested them, and talked the ideas through with the staff at New Day I was confident that this would be a better option for the installation than the manually operated follow spot that I had planned to use before hand.
Thursday 16 April 2009
Structure of the presentation
I had originally planned to construct a box like structure out of the studio flats. The flats would create an enclosure that would prevent the user from seeing the winches that support the trussing and the lights. This enclosure would also act as a means to contain the haze that would otherwise disperse. In order for this to be suitable for the presentation, the enclosure would have to be quite large, as I want the users to be able to walk around the lights freely, with at least a 1-meter radius, and at this stage I plan to have the lights approximately 1.5 meters apart from one another. Although I did like the idea of producing a solid structure I still want the presentation to be quite free, i.e. I don’t want the user’s movements to be restricted.
As a result I have decided to use a different sort of structure, one that can be suspended from the ceiling. The structure will be hung approximately 8 feet from the ground, and will house all of the equipment (apart from the haze machine) that will be used within the presentation. As a result this will not be able to be seen by the users, rendering it more ambiguous than if it was all supported by a trussing structure. As well as the PIR detectors, controllers, and wiring the structure will also support the lights, and will have sufficient holes in place to allow the lights to shine through, which will give the appearance that the lights are coming from the wooden structure, almost like they are dissecting it. I will also paint the structure black so that does not stand out from the rest of the room, hopefully allowing it to be slightly camouflaged.
As the structure will be supported from the ceiling it will mean that there is more freedom for users to move around the structure. It does mean however that there will not be a wall to prevent the haze from dispersing. Although, this may present a problem following further testing I am confidant that if the haze machine is placed in the correct position then it will provide a large enough quantity of haze to allow the beams to be fully seen. The studio also has large curtains in it, so if the structure can be placed relatively near these, they will act as a make shift wall, stopping some of the haze from escaping into the rest of the room.
The studio that I plan to show the presentation in is a large room, and as a result I would like to use one of the larger studio flats to split the room into two, which will prevent the users from being able to see the structure as they enter the room. At first I would like the users to explore the piece one at a time, and then once each user has explored I think it would be interesting to watch others explore the piece from a distance.
There are health and safety implications attached to this idea of hanging the structure that will have to be considered and discussed with the studio manager and technicians.
As a result I have decided to use a different sort of structure, one that can be suspended from the ceiling. The structure will be hung approximately 8 feet from the ground, and will house all of the equipment (apart from the haze machine) that will be used within the presentation. As a result this will not be able to be seen by the users, rendering it more ambiguous than if it was all supported by a trussing structure. As well as the PIR detectors, controllers, and wiring the structure will also support the lights, and will have sufficient holes in place to allow the lights to shine through, which will give the appearance that the lights are coming from the wooden structure, almost like they are dissecting it. I will also paint the structure black so that does not stand out from the rest of the room, hopefully allowing it to be slightly camouflaged.
As the structure will be supported from the ceiling it will mean that there is more freedom for users to move around the structure. It does mean however that there will not be a wall to prevent the haze from dispersing. Although, this may present a problem following further testing I am confidant that if the haze machine is placed in the correct position then it will provide a large enough quantity of haze to allow the beams to be fully seen. The studio also has large curtains in it, so if the structure can be placed relatively near these, they will act as a make shift wall, stopping some of the haze from escaping into the rest of the room.
The studio that I plan to show the presentation in is a large room, and as a result I would like to use one of the larger studio flats to split the room into two, which will prevent the users from being able to see the structure as they enter the room. At first I would like the users to explore the piece one at a time, and then once each user has explored I think it would be interesting to watch others explore the piece from a distance.
There are health and safety implications attached to this idea of hanging the structure that will have to be considered and discussed with the studio manager and technicians.
Wednesday 15 April 2009
Structure of Lights
As I mentioned several times during my consideration of architecture the structure of the lights is extremely important to the installation. I want to make sure that I utilize the space of the structure that the lights will be contained within in, as well as considering how the structure will appear. When columns are used in architecture they are normally equally spaced apart from one another, something that will be apparent with the placement of my columns.
With this is mind I consider several different options. In order to do this I decided how big the the installation space would be, (8ft by 8ft), and drew a square regarding how this would appear. I divided it into equal sections, as this enabled me to better place the lights in terms of distance from one another. I eventually decided upon a final six option (seen below):
Whilst considering the the floor plan I imagined that the user would enter from the left hand side, making the right side the back of the installation. I wanted the user to walk into the structure and to the back of the installation, as I don't think it would be right to walk in and straight away be greeted by a column. This will allow the user to become fully submerged within the installation. Once this light has turned off I would like the next column to be relatively close to the first, with a simple turn taking the user to its side. finally I would like the third column to be positioned as far as possible from this light, (near the entrance side of the installation) requiring more movement from the user. I think such a route will provide the optimum use of space and allow the user to fully explore. I think that these placements will also provide an increased level of surprise as the user will have their back to each of the columns that turn on. I have therefore decided upon the positions outlined in the first diagram, as they fit perfectly into the needs that I have just specified.
With this is mind I consider several different options. In order to do this I decided how big the the installation space would be, (8ft by 8ft), and drew a square regarding how this would appear. I divided it into equal sections, as this enabled me to better place the lights in terms of distance from one another. I eventually decided upon a final six option (seen below):
Whilst considering the the floor plan I imagined that the user would enter from the left hand side, making the right side the back of the installation. I wanted the user to walk into the structure and to the back of the installation, as I don't think it would be right to walk in and straight away be greeted by a column. This will allow the user to become fully submerged within the installation. Once this light has turned off I would like the next column to be relatively close to the first, with a simple turn taking the user to its side. finally I would like the third column to be positioned as far as possible from this light, (near the entrance side of the installation) requiring more movement from the user. I think such a route will provide the optimum use of space and allow the user to fully explore. I think that these placements will also provide an increased level of surprise as the user will have their back to each of the columns that turn on. I have therefore decided upon the positions outlined in the first diagram, as they fit perfectly into the needs that I have just specified.
Sunday 12 April 2009
Controlling the Servos
Servo motors rely on electronic pulses to control them. The pulses that they receive are extremely rapid, one is expected every 20 milliseconds, and are measured in length to determine how far the motor works. For example, if a pulse of 1.5 milliseconds is received the motor will turn 180 degrees. I am uncertain, however, that the I will be able to generate pulses this quickly using the system that I plan to use. For this reason I have been researching into servo controller. Unfortunately I was unable to find any in any shops, so had to resort to online for one. There were several options, but most of which had to be shipped internationally, either from Europe or America. As I was slightly pressed for time, I continued to try and find a suitable one located within the UK. Eventually I settled on one from Technobots.co.uk. The Pololu Serial 16-Servo Controller allows you to control up to sixteen RC servos from almost any robot controller or computer.
The interface to the servo controller is a standard RS-232 serial port, which meant that it would be possible to control it using the PC that I had planned to use in the installation. Multiple servo controllers can be connected to a single serial line, and they are compatible with servo controllers, meaning that almost an arbitrary number of servos and motors can be controlled with one serial line.
The unit cost £51.14 including the VAT and shipping, which although was relatively expensive was necessary to make the project work successfully. Upon arrival I was considered about the unit, as it was extremely small, and was not pre-assembled, meaning that there would be lots of precise soldering connections, something that I did not like the idea of.
http://www.technobots.co.uk/Data%20Sheets/3800-103.pdf
The interface to the servo controller is a standard RS-232 serial port, which meant that it would be possible to control it using the PC that I had planned to use in the installation. Multiple servo controllers can be connected to a single serial line, and they are compatible with servo controllers, meaning that almost an arbitrary number of servos and motors can be controlled with one serial line.
The unit cost £51.14 including the VAT and shipping, which although was relatively expensive was necessary to make the project work successfully. Upon arrival I was considered about the unit, as it was extremely small, and was not pre-assembled, meaning that there would be lots of precise soldering connections, something that I did not like the idea of.
http://www.technobots.co.uk/Data%20Sheets/3800-103.pdf
Friday 10 April 2009
How would the Servos Work?
The follow spot that I plan use, like most follow spots, has a colour magazine attached to the front of the light. This magazine allows colour filters to be moved in front of the light, consequently changing the colour.
Unfortunately this system is a manual system and cannot be controlled by a computer. As a result I have decided to construct a method of controlling the motors using servo motors. I have already highlighted how a servo motor works; pulse coded modulation controls how far the motor will move. In order to harness this ability I will have to send a pulse to the servo every 20 milliseconds. I am uncertain however that the computer that I am using will be able to generate pulses that quickly. This is something that will have to be tested. If the computer is able to generate pulses this rapidly I will be able to control the length of the pulse that is sent to the servo thus controlling how it moves. If this can be controlled, I will then be able to attach a metal arm, which can be attached to the colour filters. As I have tried to highlight on the picture below the colour filters rotate around a central point, moving into place in an arcing motion (represented by the arrow).
I will then be able to attach an arm to the motor that will move the colour filter into place and back again. In order for such a system to work each arm would have to a motor attached to it. Although I will need to make a final decision about the colour scheme I am currently thinking that I will use red, green and blue. If I stick to this plan I will have to have four motors for every light, which will amount to twelve. There will be four motors per light as I also plan to utilize the metal sheet at the front of the magazine, which will make the little appear to turn on or off. This may prove to be a problem, as the experimental interface board that I am using to detect the signals from the PIR detectors only has 8 digital outputs, so I would need to purchase another one in order for this plan to work. As you can see there are several potential problems with this idea that will have to be tested. I will also have to test how the arms can be attached to the motor, and if I can gain the necessary movement from them. If this system cannot be implemented properly I will have to find another solution to control the colour filters.
Unfortunately this system is a manual system and cannot be controlled by a computer. As a result I have decided to construct a method of controlling the motors using servo motors. I have already highlighted how a servo motor works; pulse coded modulation controls how far the motor will move. In order to harness this ability I will have to send a pulse to the servo every 20 milliseconds. I am uncertain however that the computer that I am using will be able to generate pulses that quickly. This is something that will have to be tested. If the computer is able to generate pulses this rapidly I will be able to control the length of the pulse that is sent to the servo thus controlling how it moves. If this can be controlled, I will then be able to attach a metal arm, which can be attached to the colour filters. As I have tried to highlight on the picture below the colour filters rotate around a central point, moving into place in an arcing motion (represented by the arrow).
I will then be able to attach an arm to the motor that will move the colour filter into place and back again. In order for such a system to work each arm would have to a motor attached to it. Although I will need to make a final decision about the colour scheme I am currently thinking that I will use red, green and blue. If I stick to this plan I will have to have four motors for every light, which will amount to twelve. There will be four motors per light as I also plan to utilize the metal sheet at the front of the magazine, which will make the little appear to turn on or off. This may prove to be a problem, as the experimental interface board that I am using to detect the signals from the PIR detectors only has 8 digital outputs, so I would need to purchase another one in order for this plan to work. As you can see there are several potential problems with this idea that will have to be tested. I will also have to test how the arms can be attached to the motor, and if I can gain the necessary movement from them. If this system cannot be implemented properly I will have to find another solution to control the colour filters.
Monday 6 April 2009
Motor from CD-ROM
A CD-ROM drive, from a standard PC, has a stepper motor secured in it that pushes the draw backwards and forwards at the push of a button. As I had an old CD-ROM that wasn't being used I decided to try and take it apart to see how it worked, if it could be reused for my project.
I started by removing the casing around the CD-ROM, which simply involved unscrewing some small screws. Once inside the drive, it was clear that although the motor was visible from the side that it could not be easily accessed. In order to get closer to the motor, the tray and some of the circuitry had to be removed, which although it was a risk that it would break the drive, was still necessary. As predicted one of the circuit boards broke, but this did allow access to the motor. It was interesting to see how small the motor was (pictured below), but then it only has to provide a small amount of torque to be able to power the movement of the tray.
Although, I don't think that the motor will be able to be used in the project it was interesting to see how it works, in terms of the cogs that are attached and it was a visual way of understanding the operation of the motor, i.e. the chain of operation.
I started by removing the casing around the CD-ROM, which simply involved unscrewing some small screws. Once inside the drive, it was clear that although the motor was visible from the side that it could not be easily accessed. In order to get closer to the motor, the tray and some of the circuitry had to be removed, which although it was a risk that it would break the drive, was still necessary. As predicted one of the circuit boards broke, but this did allow access to the motor. It was interesting to see how small the motor was (pictured below), but then it only has to provide a small amount of torque to be able to power the movement of the tray.
Although, I don't think that the motor will be able to be used in the project it was interesting to see how it works, in terms of the cogs that are attached and it was a visual way of understanding the operation of the motor, i.e. the chain of operation.
Sunday 5 April 2009
Motors: Stepper Vs Servo
Stepper motors:
A stepper motor's shaft has permanent magnets attached to it. Around the body of the motor is a series of coils that create a magnetic field that interacts with the permanent magnets. When the coils are turned on and off the magnetic field causes the rotor to move and it is this sequence of on and off that determines whether the motor rotates forwards in reverse. This sequence is known as the phase pattern and there are several types of patterns that will cause the motor to turn. Common types are full-double phase, full-single phase, and half step.
In order for a stepper motor to rotate, the coils must be constantly turned on and off. If only one coil is energized the motor will just jump to that position and stay there resisting change. This energized coil can pull the full current, without moving. This ability to stay rigidly in position is often considered to be one of the main advantages of stepper motors. The torque at standstill is called the holding torque. As stepper motors can be controlled by turning coils on and off they are easy to control with digital circuitry and microcontroller chips. The controller simply energizes the coils in a certain pattern and the motor will move accordingly. At any given time the computer will detect the position of the motor, as it is easy to track the number of steps that are moved. Most stepper motor control systems will have a home switch associated with each motor that will allow the software to determine the starting or reference "home" position.
Servo motors:
Although there are several different types of servo motors a normal DC motor has one coil with 2 wires. If a charge is connected to the wires the motor will spin, unlike a stepper, which will move a step, and then stay stationary until the coil is turned on and off again.
Servo motors have control circuits, and a potentiometer (a variable resistor, aka pot) that is connected to the output shaft, which allows the control circuitry to monitor the current angle of the servo motor. If the shaft is at the correct angle, then the motor will shut off. If the circuit finds that the angle is not correct, it will turn the motor the correct direction until the angle is correct. A normal servo is used to control an angular motion of between 0 and 180 degrees; the mechanical stop, built on the output gear, will prevent it from turning any further.
The amount of power applied to the motor is proportional to the distance it needs to travel. So, if the shaft needs to turn a large distance, the motor will run at full speed. If it needs to turn only a small amount, the motor will run at a slower speed, a process that is known as proportional control.
RC Servos:
The type of servo motor that I will be considering for this project is the type that is commonly found in hobby airplanes and cars, known as RC (remote controlled) servo motors. Although such motors are housed in small boxes, they contain a complete servo system, including; a motor, a gearbox, feedback device (pot), servo control circuitry, and a drive circuit.
Unlike DC motors, RC servos normally have 3 wires: +v, ground, control. The control wire is used to communicate the angle, which is determined by the duration of a pulse that is applied to the control wire. This is called Pulse Coded Modulation. The servo expects to receive a pulse every 20 milliseconds (.02 seconds) and it is the length of the pulse that will determine how far the motor turns. For example, a 1.5 millisecond pulse will make the motor turn to the 90 degree position (often called the neutral position). If the pulse is shorter than 1.5 ms, then the motor will turn the shaft to closer to 0 degrees and if the pulse is longer than 1.5ms, the shaft will turn closer to 180 degrees.
A stepper motor's shaft has permanent magnets attached to it. Around the body of the motor is a series of coils that create a magnetic field that interacts with the permanent magnets. When the coils are turned on and off the magnetic field causes the rotor to move and it is this sequence of on and off that determines whether the motor rotates forwards in reverse. This sequence is known as the phase pattern and there are several types of patterns that will cause the motor to turn. Common types are full-double phase, full-single phase, and half step.
In order for a stepper motor to rotate, the coils must be constantly turned on and off. If only one coil is energized the motor will just jump to that position and stay there resisting change. This energized coil can pull the full current, without moving. This ability to stay rigidly in position is often considered to be one of the main advantages of stepper motors. The torque at standstill is called the holding torque. As stepper motors can be controlled by turning coils on and off they are easy to control with digital circuitry and microcontroller chips. The controller simply energizes the coils in a certain pattern and the motor will move accordingly. At any given time the computer will detect the position of the motor, as it is easy to track the number of steps that are moved. Most stepper motor control systems will have a home switch associated with each motor that will allow the software to determine the starting or reference "home" position.
Servo motors:
Although there are several different types of servo motors a normal DC motor has one coil with 2 wires. If a charge is connected to the wires the motor will spin, unlike a stepper, which will move a step, and then stay stationary until the coil is turned on and off again.
Servo motors have control circuits, and a potentiometer (a variable resistor, aka pot) that is connected to the output shaft, which allows the control circuitry to monitor the current angle of the servo motor. If the shaft is at the correct angle, then the motor will shut off. If the circuit finds that the angle is not correct, it will turn the motor the correct direction until the angle is correct. A normal servo is used to control an angular motion of between 0 and 180 degrees; the mechanical stop, built on the output gear, will prevent it from turning any further.
The amount of power applied to the motor is proportional to the distance it needs to travel. So, if the shaft needs to turn a large distance, the motor will run at full speed. If it needs to turn only a small amount, the motor will run at a slower speed, a process that is known as proportional control.
RC Servos:
The type of servo motor that I will be considering for this project is the type that is commonly found in hobby airplanes and cars, known as RC (remote controlled) servo motors. Although such motors are housed in small boxes, they contain a complete servo system, including; a motor, a gearbox, feedback device (pot), servo control circuitry, and a drive circuit.
Unlike DC motors, RC servos normally have 3 wires: +v, ground, control. The control wire is used to communicate the angle, which is determined by the duration of a pulse that is applied to the control wire. This is called Pulse Coded Modulation. The servo expects to receive a pulse every 20 milliseconds (.02 seconds) and it is the length of the pulse that will determine how far the motor turns. For example, a 1.5 millisecond pulse will make the motor turn to the 90 degree position (often called the neutral position). If the pulse is shorter than 1.5 ms, then the motor will turn the shaft to closer to 0 degrees and if the pulse is longer than 1.5ms, the shaft will turn closer to 180 degrees.
Wednesday 1 April 2009
Colour and on/off
As the project has progressed the initial ideas have developed and consequently I am now trying to something that is quite different from the original plan. As previously outlined it became unlikely that I would find a method of producing a square beam of light, and also to make it bend or contract. Since then I have discovered follow spots, which can produce a relatively collimated beam over the distance that I intend to throw it over. On the follow spot that I tested there was a magazine fitted to the front that contained 5 different colour filters, and a metal disk that could be moved into place that would give the impression that the light had been turned off.
This led me to the idea of having three separate light columns that would be able to change colour and turn on or off (similarly to Siegrun Appelt) as users moved around them. In order for this to be achievable the sensors would have to be connected via a computer to a system that could move the filters back and forth in front of the lights. Such a system would allow for three columns of light to change colour and to appear (turn on) or disappear (turn off). Although this is quite different from the original plan I feel confidant that this would be an effective piece of work.
What Colour?
As there are three columns of light I wanted to keep the colour scheme to three colours as well. The most common colour model is RGB (red, green and blue). Red, green, and blue are the primary stimuli for human color perception and are the primary additive colors. The relationship between the colors can be seen in this illustration below:
The secondary colors of RGB, cyan, magenta, and yellow, are formed by the mixture of two of the primaries and the exclusion of the third. Red and green combine to make yellow, green and blue make cyan, blue and red make magenta.
The combination of red, green, and blue in full intensity makes white. White light is created when all colors of the EM spectrum converge in full intensity. This is something that I can consider with the order of colour changes within the installation.
RGB as a color model relates very closely to the way that we perceive color with the r g b receptors in our retinas. RGB is the basic color model used in television or any other medium that projects the color. It is the basic color model on computers and is used for Web graphics, but it cannot be used for print production.
Due to the importance of RGB, and the fact that in full intensity they make white light, the other form of light present in the installation, I think that it is highly appropriate to use the colour scheme in the installation.
This led me to the idea of having three separate light columns that would be able to change colour and turn on or off (similarly to Siegrun Appelt) as users moved around them. In order for this to be achievable the sensors would have to be connected via a computer to a system that could move the filters back and forth in front of the lights. Such a system would allow for three columns of light to change colour and to appear (turn on) or disappear (turn off). Although this is quite different from the original plan I feel confidant that this would be an effective piece of work.
What Colour?
As there are three columns of light I wanted to keep the colour scheme to three colours as well. The most common colour model is RGB (red, green and blue). Red, green, and blue are the primary stimuli for human color perception and are the primary additive colors. The relationship between the colors can be seen in this illustration below:
The secondary colors of RGB, cyan, magenta, and yellow, are formed by the mixture of two of the primaries and the exclusion of the third. Red and green combine to make yellow, green and blue make cyan, blue and red make magenta.
The combination of red, green, and blue in full intensity makes white. White light is created when all colors of the EM spectrum converge in full intensity. This is something that I can consider with the order of colour changes within the installation.
RGB as a color model relates very closely to the way that we perceive color with the r g b receptors in our retinas. RGB is the basic color model used in television or any other medium that projects the color. It is the basic color model on computers and is used for Web graphics, but it cannot be used for print production.
Due to the importance of RGB, and the fact that in full intensity they make white light, the other form of light present in the installation, I think that it is highly appropriate to use the colour scheme in the installation.
Saturday 28 March 2009
Smoke/Haze/Fog Machines
Smoke, fog or haze machines have long been used to maximize the effect of lighting effects, as most modern lighting effects rely on beams of light moving around. This effect is hugely enriched when the light hits the smoke or haze particles, making the beams more pronounced and visible.
There are generally 2 common ways in which fog effects are produced in stage productions. The first is to use equipment that utilizes the properties of “dry ice”, however the more practical and popular option is to use a fog machine that uses a specially manufactured water based fog fluid or fog “juice”, these are often referred to as smoke machines as the effect often looks like smoke however these machines do create liquid droplets as in fog not smoke which is made up of dry particles, consequently I will refer to them as fog machines.
Dry Ice:
One method of producing thick fog is through the use of “dry ice”, generally available from ice manufacturing plants and is relatively inexpensive to purchase. Dry ice however is difficult and dangerous to handle, transport and store and great care is required to avoid contact with unprotected human skin. This means that protective clothing, heavy duty gloves, must be worn at all times when handling it. Dry ice can also only be used in well-ventilated areas, and can pose problems whilst transporting it. Although, the effect can be quite interesting, commonly seen in old horror films, dry ice has many disadvantages that mean the fog machines will be appropriate for my project.
Fog Machines:
The basic operation of a fog machine is to heat the fog fluid or juice in order to create fog. Fog machines use a fluid sometimes referred to as fog juice that is pumped into a thermostatically temperature controlled heat exchanger that vaporizes the fluid into thick clouds of fog. The fluid is a mixture of pharmaceutical grade propylene glycol, triethylene glycol and distilled water that is mixed by the manufacturer, often specifically for their own machines.
All fog machines require a warm up period when switched on generally around five minutes. This can act as a problem, especially amongst budget products. As although they will generate fog for a short period they will then need to pause to reheat before they can make fog again. This is generally a continual automatic cycle during their operation. More expensive models, however, can generate fog continuously without the reheat cycle in between, meaning that there aren’t any gaps in fog distribution. The wattage (power rating) of the heating element in the machine can be a good indicator of how well a fog machine will perform. Most budget fog machines generally range from 400 to 1300 watts. With a higher wattage rating the fog machine can not only produce more fog but equally as important it will not have to go into a re-heat cycle as often because the heat exchanger has more power available.
Most fog machines come with a remote control either in the form of a simple single push button on the budget machines or a remote timer controller in the more expensive machines. From this the volume of fog can be controlled as well as operation duration timer and rest duration timer, allowing the user to set intervals at which the fog will be distributed, volume, thickness or the duration.
Fog machines make some noise while then they operate, usually produced by the pump as fluid is pumped from the reservoir to the heat exchanger. The fog expanding out of the nozzle can also produce enough sound, which is something that should be considered whilst choosing a machine.
Haze Machines:
Although the most common machines on the market are fog, there is also another option that has been popular in the theater for several years, haze machines. Haze machines combine a low output auto cycling fog machine with a small chamber containing a fan, which can produces much the same effect as a fog machine, but is far less obtrusive.
The major difference between a fog machine and a true haze machine is that a fog machine vaporizes the fluid with heat and a haze machine does it in a compression chamber without heat. In a fog machine, the fluid is pumped through the heater core where it vaporizes and is forced out the front in it's vaporized state. When the temperature of the heater core drops below the temperature necessary to vaporize the fluid, the pump is disabled so you can't shoot out hot liquid on the crowd. A fog machine also creates low-lying fog that usually doesn't go above your knees
In a haze machine, however, the fluid is pumped into an enclosed chamber where an air compressor (similar to what you inflate your tires with) blasts the fluid into a vapor, which is then blown out by a small fan in the form of a vapor. A haze machine never shoots out a thick cloud like a fogger can. In fact, you rarely see haze in the air. A hazer generally uses mineral oil and creates a fine haze that hangs for long periods of time in the air. It is a cold process as there is no heat involved. This sounds like it would be more suitable to use with the PIR detectors, as the fog produced by a fog machine will be warm and may set the PIR detectors off. There is a worry that a haze machine will produce cold vapor that will also set the PIR off, but as it is finer it is more likely to work. I would also prefer an effect that can relatively unnoticed, as I want the columns to appear solid and still, something that will be ruined by clouds of swirling fog.
Health and Safety:
There is currently no published research that suggests that there are any side effects on people’s lungs from fog produced by Glycol/water based fluids. It is generally accepted that sometimes the fog produced can cause problems for asthmatics, however nothing has been proven conclusively and due to the nature as asthma it is possible that symptoms could be psychosomatic. I will be sure, however, to tell the users before they enter the space that a haze machine will be used. I imagine that the users will only be in the installation space for a maximum of five minutes, which will further reduce the possibility of irritation.
The particles produced by fog machines will set off ionization type smoke detectors. Generally this is only a problem with ionization or optical type detectors as they sense the fog particles as smoke. I will be sure to check the studio space before using a haze machine, but I am confidant that there will not be a problem.
I have researched into different machines and have arrived at a few possibilities for machines. I will, however, be hiring the machine so it will depend on what haze machines the hire company have.
Possible Machines:
Smoke machine - High End F100 or one of the Antari line
Hazer - DF50, Star Hazer or Antari HZ400
There are generally 2 common ways in which fog effects are produced in stage productions. The first is to use equipment that utilizes the properties of “dry ice”, however the more practical and popular option is to use a fog machine that uses a specially manufactured water based fog fluid or fog “juice”, these are often referred to as smoke machines as the effect often looks like smoke however these machines do create liquid droplets as in fog not smoke which is made up of dry particles, consequently I will refer to them as fog machines.
Dry Ice:
One method of producing thick fog is through the use of “dry ice”, generally available from ice manufacturing plants and is relatively inexpensive to purchase. Dry ice however is difficult and dangerous to handle, transport and store and great care is required to avoid contact with unprotected human skin. This means that protective clothing, heavy duty gloves, must be worn at all times when handling it. Dry ice can also only be used in well-ventilated areas, and can pose problems whilst transporting it. Although, the effect can be quite interesting, commonly seen in old horror films, dry ice has many disadvantages that mean the fog machines will be appropriate for my project.
Fog Machines:
The basic operation of a fog machine is to heat the fog fluid or juice in order to create fog. Fog machines use a fluid sometimes referred to as fog juice that is pumped into a thermostatically temperature controlled heat exchanger that vaporizes the fluid into thick clouds of fog. The fluid is a mixture of pharmaceutical grade propylene glycol, triethylene glycol and distilled water that is mixed by the manufacturer, often specifically for their own machines.
All fog machines require a warm up period when switched on generally around five minutes. This can act as a problem, especially amongst budget products. As although they will generate fog for a short period they will then need to pause to reheat before they can make fog again. This is generally a continual automatic cycle during their operation. More expensive models, however, can generate fog continuously without the reheat cycle in between, meaning that there aren’t any gaps in fog distribution. The wattage (power rating) of the heating element in the machine can be a good indicator of how well a fog machine will perform. Most budget fog machines generally range from 400 to 1300 watts. With a higher wattage rating the fog machine can not only produce more fog but equally as important it will not have to go into a re-heat cycle as often because the heat exchanger has more power available.
Most fog machines come with a remote control either in the form of a simple single push button on the budget machines or a remote timer controller in the more expensive machines. From this the volume of fog can be controlled as well as operation duration timer and rest duration timer, allowing the user to set intervals at which the fog will be distributed, volume, thickness or the duration.
Fog machines make some noise while then they operate, usually produced by the pump as fluid is pumped from the reservoir to the heat exchanger. The fog expanding out of the nozzle can also produce enough sound, which is something that should be considered whilst choosing a machine.
Haze Machines:
Although the most common machines on the market are fog, there is also another option that has been popular in the theater for several years, haze machines. Haze machines combine a low output auto cycling fog machine with a small chamber containing a fan, which can produces much the same effect as a fog machine, but is far less obtrusive.
The major difference between a fog machine and a true haze machine is that a fog machine vaporizes the fluid with heat and a haze machine does it in a compression chamber without heat. In a fog machine, the fluid is pumped through the heater core where it vaporizes and is forced out the front in it's vaporized state. When the temperature of the heater core drops below the temperature necessary to vaporize the fluid, the pump is disabled so you can't shoot out hot liquid on the crowd. A fog machine also creates low-lying fog that usually doesn't go above your knees
In a haze machine, however, the fluid is pumped into an enclosed chamber where an air compressor (similar to what you inflate your tires with) blasts the fluid into a vapor, which is then blown out by a small fan in the form of a vapor. A haze machine never shoots out a thick cloud like a fogger can. In fact, you rarely see haze in the air. A hazer generally uses mineral oil and creates a fine haze that hangs for long periods of time in the air. It is a cold process as there is no heat involved. This sounds like it would be more suitable to use with the PIR detectors, as the fog produced by a fog machine will be warm and may set the PIR detectors off. There is a worry that a haze machine will produce cold vapor that will also set the PIR off, but as it is finer it is more likely to work. I would also prefer an effect that can relatively unnoticed, as I want the columns to appear solid and still, something that will be ruined by clouds of swirling fog.
Health and Safety:
There is currently no published research that suggests that there are any side effects on people’s lungs from fog produced by Glycol/water based fluids. It is generally accepted that sometimes the fog produced can cause problems for asthmatics, however nothing has been proven conclusively and due to the nature as asthma it is possible that symptoms could be psychosomatic. I will be sure, however, to tell the users before they enter the space that a haze machine will be used. I imagine that the users will only be in the installation space for a maximum of five minutes, which will further reduce the possibility of irritation.
The particles produced by fog machines will set off ionization type smoke detectors. Generally this is only a problem with ionization or optical type detectors as they sense the fog particles as smoke. I will be sure to check the studio space before using a haze machine, but I am confidant that there will not be a problem.
I have researched into different machines and have arrived at a few possibilities for machines. I will, however, be hiring the machine so it will depend on what haze machines the hire company have.
Possible Machines:
Smoke machine - High End F100 or one of the Antari line
Hazer - DF50, Star Hazer or Antari HZ400
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