Stationary Cinema

[Image: Wallpaper by Studio Carnovsky, via Creative Review].

This wallpaper, designed by Studio Carnovsky, changes images depending on what color light you view it under. As such, it could be an incredibly interesting thing to experiment with in other contexts—including outdoor urban lighting, public signage, and even film animation.

[Image: Wallpaper by Studio Carnovsky, via Creative Review].

In the latter case, imagine a hallway whose wallpaper is printed with six or seven closely related scenes from an animated clip; each “scene” is printed in a different color. A light programmed to move through the appropriate sequence of color changes is then installed in the same corridor; as it flashes from color to color, changing perhaps every half-second, you see what appears to be a moving image on the walls around you.

It would be a kind of unmoving zoetrope—a stationary cinema in printed form (or a stationary cinema in stationery form?).

[Images: Wallpaper by Studio Carnovsky, via Creative Review].

Even if only used for interior decoration, however, the effect is well worth exploring further.

(Thanks to a tip from Tim Maly).

6 thoughts on “Stationary Cinema”

  1. Might be worth experimenting with for sure, but I think it might be hard/impossible to get enough distinct colours of light to produce many frames of animation; I I'm trying to wrap my head around it but I feel like if you used too many different ones there'd be too much 'overlap' ie other unwanted frames would still be semi-visible… i guess there's also a limit to how many different colours you can overlay without it becoming a beige mess? :).

    Not sure what you mean by 'scenes'? But yeah I imagine something like a 8 frame cycle at a fairly low frame rate might work nicely so long as your visitors can mentally withstand being in a room with colour cycling RGB stobe lights. 🙂

    I might try to experiment like this with coloured lights in software some time, it's an interesting notion for sure even if it is only possible to do a few stills.

  2. I have tried and failed to ascertain exactly which if any qualifications Geoff Manaugh has?

    For all the white noise on the internet by this guy there is not one CV.

    Stating ones qualifications is a sign of humility that I miss in this scenster 'my rat story is so much more unknown than your building story' 'if i put references on my google image photos my blog will be so serious' "someone plays guitar, they must be willfully obstructing the careers of people who instead play saxophone" blah blah. ..all makes me cringe.

  3. Anonymous, qualifications for what?

    cemenTIMental, I agree about the color limitations—you'd have a very limited range. But I also wonder what things like blacklight could do here, if anything, as well as what sort of effects you could get if you didn't use colored light at all but sunglasses. Almost a They Live-style hiding of other images inside images, where colored lenses block-out certain parts of the printed scene.

  4. Anonymous' HR department chiming in I see.

    Hmm yeah blacklight could add an extra colour at least and/or other effects… RGB shutter glasses might be a bit of a tall order but interesting idea for sure. Plus it could all be 3D too that way.

  5. I'm trying to get my head around the actual physics here too…in the images it seems that the blue objects in red light are much more sharply defined than the yellow objects in blue light. Any ideas as to why this is? I can only imagine it's something to do with long vs short wavelengths of red/blue light, but I have no idea why that would produce the difference.

  6. This reminds me of an effect Mario Bava used in his first film, I, Vampiri. The evil, beautiful vampire Duchess that is the villain in the film has to age rapidly on screen. This is 1956, so no CGI of course.

    Bava used his practical sfx background to come up with a wonderful effect – the old age makeup was done with red makeup, and a light with a red gel was shone on the actress for the shot, canceling out the red makeup. For the transformation effect he merely dimmed the red gel camera as he simultaneously brought up a second light with a green filter.

    The affect is astonishing, particularly for a black and white no budget italian horror film from 1956. Bava was always coming up with clever effects to offset his miniscule budgets.

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