5 Movements
2022, New York - USA
5 Movements is a 10 minute immersive audiovisual experience, exploring the relationship of human body movements with space and time, using five different types of motion chiseled by five performers. By capturing fleeing phases of performers’ movements in succeeding phases of motion, the emotion and essence of each motion is incorporated in three dimensions. The experience itself connects the dots between traces of movements, a phenomena that human senses are most often unable to perceive in real time.
I designed and animated one part of the experience and also led the techical aspect of this whole challenging project from the start to end from creating working templates to delivering the gigantic video files to media servers.
Inspired by several different types of dance from traditional tribal dances and ballet to street style, hip-hop and contemporary performances, five movements of music unify various beats of the world, including African, Contemporary Classic, Electronica, Instrumental Hip-hop and Asian. All this diversity from different parts and times of the world becomes one in an immersive motion choreography, through the kinetic displacement of bodies in space with time.
Role: Technical Content Direction, Art Direction, Motion Design
I designed and animated one part of the experience and also led the techical aspect of this whole challenging project from the start to end from creating working templates to delivering the gigantic video files to media servers.
Inspired by several different types of dance from traditional tribal dances and ballet to street style, hip-hop and contemporary performances, five movements of music unify various beats of the world, including African, Contemporary Classic, Electronica, Instrumental Hip-hop and Asian. All this diversity from different parts and times of the world becomes one in an immersive motion choreography, through the kinetic displacement of bodies in space with time.
Role: Technical Content Direction, Art Direction, Motion Design
Type: Immersive Exhibition
Duration: 10' 00"
Location: Hall des Lumières, New York
Commissioned by: Culturespaces Digital
Premiere: Hall des Lumières | New York, USA [2022, Sept 14 - 2023, Jul 16]
Exhibitions: Phoenix des Lumières | Dortmund, GERMANY [2024, Jan - 2025, Jan]
CREDITS
Direction: Nohlab
Production: Culturespaces Digital
Visual Artists: Nohlab, Balkan Karışman, Çağatay Güçlü, Berkay Türk, Fehmican Gözüm, Taha Celal Yıldırım, Yasin Sinik
Music direction, Sound Design & Original Music: Gökalp Kanatsız
Technical Content Direction: Fehmican Gözüm
NOHLAB Team
Creative Directors: Candaş Şişman, Deniz Kader
Producer: Yasemen Birhekimoğlu
Motion Designer: Begüm Tunçer
Performance & Live Video Production: CPMistanbul - Cem Görk
Performance Choreographer: Volkan Ersoy
Performers: Kaya Godfrey, Mine İzgi, Deniz Keskin, Büşra AyFILMING CREW
Director: Cem Terbiyeli
Director of Photography: Ferhat Uzundağ
Costume: Tuğçe Ülkümen
Makeup Artist: Tuğba Çolakoğlu
Compositing: Mustafa Koç
Performance Footage Editor: Teoman Küçükeren
PHotography: Andrew Kelly [Reuters], Massimo Vendola, Özde Karadağ
Video Documentation: Noel Y. Calingasan, Özde Karadağ
Teaser Video >>
Technical Summary >>
Located in the historic Emigrant Industrial Savings Bank building at 49 Chambers Street, the Hall des Lumières in New York City is a groundbreaking digital art space. This venue, with its Beaux-Arts architecture featuring marble columns, stained glass windows, and coved ceilings, has been reimagined as a permanent immersive art destination. The venue showcases large-scale projections that seamlessly integrate with its historic interior, featuring 10m tall visuals mapped precisely to its unique architecture.
As Technical Content Director for a 5-minute-long project presented in this space, I oversaw the creation of advanced content workflows to match the venue's complex requirements. The project utilized a custom-designed 3D simulation template, allowing the creative team to visualize and refine content in real-time. This tool was pivotal in managing the Hall des Lumières’ vast projection area, enabling us to leverage the venue’s full potential as a continuous canvas for certain scenes.
Each segment of the piece was crafted with distinct setups and spectator experiences in mind, requiring sophisticated content direction and a detailed understanding of the venue's immersive capabilities. The combination of the venue's architectural history and cutting-edge technology posed unique challenges, which we met with innovative approaches to both technical design and artistic execution.
As Technical Content Director for a 5-minute-long project presented in this space, I oversaw the creation of advanced content workflows to match the venue's complex requirements. The project utilized a custom-designed 3D simulation template, allowing the creative team to visualize and refine content in real-time. This tool was pivotal in managing the Hall des Lumières’ vast projection area, enabling us to leverage the venue’s full potential as a continuous canvas for certain scenes.
Each segment of the piece was crafted with distinct setups and spectator experiences in mind, requiring sophisticated content direction and a detailed understanding of the venue's immersive capabilities. The combination of the venue's architectural history and cutting-edge technology posed unique challenges, which we met with innovative approaches to both technical design and artistic execution.
3D Simulation Video >>
Technical breakdown timelapse >>
Artistic Summarty >>
For my contribution to 5 Movements, I created the section inspired by instrumental hip-hop. My approach was to reinterpret the vibrant visual energy of late 80s–90s hip-hop culture through a contemporary lens, highlighting rhythm and movement as the central driving forces.
I explored the idea of “slicing time” by deconstructing dance footage into grids, where individual body parts and gestures could be isolated, distorted, and recomposed along the natural flow of the choreography. This technique allowed the movements themselves to generate the visuals, creating a direct dialogue between dance and digital form.
To contrast and complement the other segments of the piece, I embraced bold, saturated colors and vivid textures, amplifying the architectural space with a dynamic, full-bodied atmosphere. The result was a playful yet immersive visual landscape that celebrated rhythm, color, and motion as a unified experience.
I explored the idea of “slicing time” by deconstructing dance footage into grids, where individual body parts and gestures could be isolated, distorted, and recomposed along the natural flow of the choreography. This technique allowed the movements themselves to generate the visuals, creating a direct dialogue between dance and digital form.
To contrast and complement the other segments of the piece, I embraced bold, saturated colors and vivid textures, amplifying the architectural space with a dynamic, full-bodied atmosphere. The result was a playful yet immersive visual landscape that celebrated rhythm, color, and motion as a unified experience.
Artistic Summarty >>
We had 5 different dance concepts to createa 5 minute long piece and every part made by a different motion designer. My part was the insturmental Hiphop part. My approach was to createa contemporary look for 80s-90s hiphop colors and also put forward the rythmic dance moves by slicing time and different parts of body and illustrate them by the dance movements themselves. I managed to put the dance video footage in grid systems and time distord the grid pieces while they follow the splines of the movement.
Everything
2021, Paris, Bordeaux - France
Nohlab’s immersive experience EVERYTHING, observes everything as it is, questions all this existence and suggests new possibilities in three parts. EVERYTHING was on exhibition at Atelier des Lumières & Bassin des Lumières in 2021.
I designed and animated a few minutes of the experience and also led the techical aspect of this whole challenging project from the start to end from creating working templates to delivering the gigantic video files to media servers.
Through the eyes of a candid narrator, who follows the storyline in sync with us, visuals & sound follow a narrative where science, philosophy and metaphysics converge. We observe elements that construct what we call our lives and ways of ascribing meanings to things. This way we can grasp how the vast system of existence enveloping us is prone to many questions.
Shouldn’t we yet start pondering upon what already is? Can we really perceive all there is with our limited senses? Are we at the very end of evolution? Could the system of life we built be not only 0’s or 1’s? Are we held back and entrapped by systems we created? Do we really have free will? Maybe this is only a contingency which our subconscious and evolutionary process carried us to.
Shouldn’t we extend the limits of our awareness yet? What then, could we become? Embracing how much we don’t know might lead us to accept becoming in a constant state of transformation and probabilities. With numerous layers we can neither perceive nor think about with our limited capabilities, there’s still a lot to discover and be fascinated about.
Role: Art Direction, Motion Design, Technical Content Direction
I designed and animated a few minutes of the experience and also led the techical aspect of this whole challenging project from the start to end from creating working templates to delivering the gigantic video files to media servers.
Through the eyes of a candid narrator, who follows the storyline in sync with us, visuals & sound follow a narrative where science, philosophy and metaphysics converge. We observe elements that construct what we call our lives and ways of ascribing meanings to things. This way we can grasp how the vast system of existence enveloping us is prone to many questions.
Shouldn’t we yet start pondering upon what already is? Can we really perceive all there is with our limited senses? Are we at the very end of evolution? Could the system of life we built be not only 0’s or 1’s? Are we held back and entrapped by systems we created? Do we really have free will? Maybe this is only a contingency which our subconscious and evolutionary process carried us to.
Shouldn’t we extend the limits of our awareness yet? What then, could we become? Embracing how much we don’t know might lead us to accept becoming in a constant state of transformation and probabilities. With numerous layers we can neither perceive nor think about with our limited capabilities, there’s still a lot to discover and be fascinated about.
Role: Art Direction, Motion Design, Technical Content Direction
Commissioned by: Culturespace Digital
Studio: NOHLAB
Premiere: Atelier des Lumières | Paris, FRANCE 2021-22
Bassin des Lumières | Bordeaux, FRANCE 2021-22
Exhibitions: Royal Dublin Society | Dublin, IRELAND 2022
Noor Riyadh Light Art Festival | Riyadh, KSA 2022
Milan Art Week & Milan Design Week / Meet Digital Culture Center | Milan, ITALY 2023
Signal Space
| Prague, Czechia 2025
Direction, Design, Concept: NOHLAB
Visual Artists: Tiber Ergür, Alexandre Le Guillou, Fehmican Gözüm, VOID
Sound Artists: Gökalp Kanatsız, Ilgın İçözü
Narrator: Jeanne Barbieri (FR), Melissa Lara Clissold (EN)
Script: Prof. Ebru Yetişkin, NOHLAB, u29dc, Erkan Esenoğlu
Conceptual Research: Prof. Ebru Yetişkin, Candaş Şişman (NOHLAB)
Technical Content Direction: Fehmican Gözüm
Photographers: Roberto Conte, Camille McOuat, Jonathan Mascaro
Videographer: Jonathan Mascaro
Video Editor: Teoman Küçükeren
Teaser Video >>
Aristic Summary >>
Everything consists of three parts — What Is?, What If?, and What Else?
My contribution was to the second section:
WHAT IF?
“Can you sense the frequencies that connect everything? Can my limited perception represent the reality? What if the world changes when I change the ways I see the world? What if I want to break this fabricated reality? What if I don't limit my understanding within binaries. Evolution will continue, perhaps regardless of humans. The question is: How do I contribute to the evolutionary process? How can free will be possible?”
This section begins with the concept of quantum mechanics and the duality of particle states. I approached it by visually interpreting the energy fields of subatomic particles, depicting both their wave and particle forms to explore how perception defines the existence of matter itself.
The sequence culminates in the DNA formation, where these particles converge into structured order — expressing the transformation from pure energy to organized life. Through this progression, I aimed to visualize the shift from abstraction to creation, mirroring the continuous evolution that defines existence itself. The visuals then evolve into a representation of infinite possibilities — points expanding outward from a single origin, symbolizing alternate states and potential realities that emerge from one shared beginning.
My contribution was to the second section:
WHAT IF?
“Can you sense the frequencies that connect everything? Can my limited perception represent the reality? What if the world changes when I change the ways I see the world? What if I want to break this fabricated reality? What if I don't limit my understanding within binaries. Evolution will continue, perhaps regardless of humans. The question is: How do I contribute to the evolutionary process? How can free will be possible?”
This section begins with the concept of quantum mechanics and the duality of particle states. I approached it by visually interpreting the energy fields of subatomic particles, depicting both their wave and particle forms to explore how perception defines the existence of matter itself.
The sequence culminates in the DNA formation, where these particles converge into structured order — expressing the transformation from pure energy to organized life. Through this progression, I aimed to visualize the shift from abstraction to creation, mirroring the continuous evolution that defines existence itself. The visuals then evolve into a representation of infinite possibilities — points expanding outward from a single origin, symbolizing alternate states and potential realities that emerge from one shared beginning.
Technical Summary >>
I
made the technical content direction for Everything which was comissioned to be presented simultaneously across three venues — the main hall for the 2 minute teaser and studio of Atelier des Lumières in Paris, and the Atelier space at Bassins des Lumières in Bordeaux. Each location had completely different projection geometries, scales, and resolutions, from the expansive multi-surface architecture of Paris’ main hall to the more compact box-shaped studios used for contemporary works. This diversity required an adaptable system that could maintain creative consistency while handling unique technical conditions in each space.
To solve this, I designed a unified content system that linked the creative tools directly to the projection environments. We built a real-time simulation pipeline inside After Effects that allowed motion designers and directors to preview the work across all three venues simultaneously, using the exact geometry, warping, and blending data from each site. This meant that every layer of animation could be viewed as it would appear in real life — mapped precisely onto walls, floors, and architectural details. Directors could explore the full immersive environment during production, make immediate creative decisions, and communicate changes clearly to the design team without waiting for rendered previews.
To solve this, I designed a unified content system that linked the creative tools directly to the projection environments. We built a real-time simulation pipeline inside After Effects that allowed motion designers and directors to preview the work across all three venues simultaneously, using the exact geometry, warping, and blending data from each site. This meant that every layer of animation could be viewed as it would appear in real life — mapped precisely onto walls, floors, and architectural details. Directors could explore the full immersive environment during production, make immediate creative decisions, and communicate changes clearly to the design team without waiting for rendered previews.
Time lapse Video of Template Tutorial >>
Simulation vs Photography Samples >>
The same system also generated simulation files for client presentations, allowing us to deliver accurate previews of the final immersive experience long before the installation phase. These simulation outputs matched the projection environment with remarkable precision — when the content was finally installed on-site, it looked exactly as it did in our virtual previews. This eliminated guesswork, minimized adjustments during setup, and made the delivery process exceptionally efficient.
By creating this adaptive and simulation-driven workflow, we transformed a technically demanding, multi-venue production into a smooth, scalable process. The directors gained full visual control throughout development, the designers worked faster with immediate spatial feedback, and the clients could experience the project’s impact well before installation. The system not only ensured visual accuracy and efficiency but also made the work easily adaptable for future immersive environments around the world.
Here are examples of the real photos taken from the performances versus the simulation samples from After Effects we did during the production process before any rehersals.
By creating this adaptive and simulation-driven workflow, we transformed a technically demanding, multi-venue production into a smooth, scalable process. The directors gained full visual control throughout development, the designers worked faster with immediate spatial feedback, and the clients could experience the project’s impact well before installation. The system not only ensured visual accuracy and efficiency but also made the work easily adaptable for future immersive environments around the world.
Here are examples of the real photos taken from the performances versus the simulation samples from After Effects we did during the production process before any rehersals.
Cartier Women’s Pavillion Expo 2020 Dubai
2021, Dubai - UAE
As Animation Supervisor and Technical Content Director with the talented team at MagicBird Studio, Paris, I contributed to the conception and execution of two landmark projection-mapping projects commissioned by Auditoire UAE and Luxury Makers Arabia. These projects marked the opening of the Women’s Pavilion and the International Women’s Day celebrations hosted by Cartier at Expo 2020 Dubai, beneath the iconic Al Wasl Dome — the architectural centerpiece of the Expo and the world’s largest 360° projection surface. Spanning 130 meters in diameter and rising 67.5 meters in height, the dome’s steel trellis and translucent PTFE-coated membrane provided an extraordinary yet technically demanding canvas, requiring the creation of visuals at extreme resolutions and with flawless continuity across a hemispherical 360° field. Over a five-month production process, I led a team of motion designers, designing tailored preview and simulation workflows to ensure accuracy, while coordinating multiple rehearsals at the challenging venue to refine timing, integration, and performance synchronization. Within this monumental space, our visuals became the backdrop to an inspiring program that featured a piano recital by Khatia Buniatishvili, a ballet performance by Diana Vishneva and Denis Savin in perfect harmony with the projections, the evocative spoken-word artistry of Emi Mahmoud, a motivational address from Christine Lagarde on women’s leadership, and a poetic performance by Cartier ambassador Rami Malek. Together, these elements created a celebration of women as global change-makers, embodying the belief that when women thrive, humanity thrives — and I had the privilege of directing the technical and creative content that unified this spectacular event on one of the most ambitious projection stages in the world.
Role: Animation Supervisor, Motion Designer, Technical Content Director
Client: Auditoire UAE and Luxury Makers Arabia
Design Studio: MagicBird Studio
Producer: Julien Leur, Etienne Gerbal
Motion Design: Fehmican Gözüm, Anthony DeJeune, Nicolas Pomet, MagicBird Studio
Sound Design: The Untold / Secession Studios
Project Cordinator:
Production manager: Julie Vifquain
Project manager: Laure Paris
Creative director: Jean-Baptiste Cabrera Casasoprana
Technical Director: Stéphane Simmat
Photo credits of the show : © Saï / Stéphane Aït Ouarab
Music : © The Untold / Secession Studios
Venue: Al-Wasl Dome Dubai Expo 2020
Role: Animation Supervisor, Motion Designer, Technical Content Director
Client: Auditoire UAE and Luxury Makers Arabia
Design Studio: MagicBird Studio
Producer: Julien Leur, Etienne Gerbal
Motion Design: Fehmican Gözüm, Anthony DeJeune, Nicolas Pomet, MagicBird Studio
Sound Design: The Untold / Secession Studios
Project Cordinator:
Production manager: Julie Vifquain
Project manager: Laure Paris
Creative director: Jean-Baptiste Cabrera Casasoprana
Technical Director: Stéphane Simmat
Photo credits of the show : © Saï / Stéphane Aït Ouarab
Music : © The Untold / Secession Studios
Venue: Al-Wasl Dome Dubai Expo 2020
Documentation Video >>
Technical Breakdown >>
The Al Wasl Dome at Expo 2020 Dubai is one of the most ambitious projection surfaces ever created — a 130-meter-wide, 67.5-meter-tall architectural centerpiece that doubles as a translucent 360° canvas. Its intricate steel trellis supports a fiberglass membrane that covers more than 25,000 m², visible both from the interior and the exterior, making it the largest immersive projection dome in the world. To illuminate this monumental surface, 252 pure laser projectors were installed in 42 climate-controlled pods around the perimeter, each pod housing six projectors with automated alignment and servicing systems. The playback infrastructure included 16 media servers, orchestrating content across the dome as if it were a seamless hemispherical screen equivalent to a staggering 27,000 × 6,000-pixel canvas. The result is an immersive, shared visual environment where advanced technology and architecture merge into a singular cultural stage.
Designing content for this canvas presented extraordinary technical challenges. A surface of that size and resolution cannot be approached with conventional pipelines, so I developed a suite of preview, simulation, and export templates that became the backbone of the production. To manage the massive resolution, the dome was divided into 11 mapped segments, with each scene requiring delivery of 44 files along with proxy versions for faster iteration.
The true challenge, however, was enabling a team of motion designers to think and create natively for a 360° spherical environment. To solve this, I built a real-time After Effects preview system that mapped their work directly onto a 3D model of the dome as they animated, letting them see how their content wrapped around the structure in real time. This same template also allowed us to generate accurate simulation files for client presentations during the five-month production process, ensuring alignment between creative intent and technical execution.
Beyond the workflows, I supervised the team through multiple rehearsals at the challenging venue, refining timing and synchronization between visuals and performances, and ensuring flawless integration on site. This combination of custom tool design, pipeline management, and live adaptation was essential to delivering cohesive, high-resolution visuals on a projection surface of unprecedented scale and complexity.
Designing content for this canvas presented extraordinary technical challenges. A surface of that size and resolution cannot be approached with conventional pipelines, so I developed a suite of preview, simulation, and export templates that became the backbone of the production. To manage the massive resolution, the dome was divided into 11 mapped segments, with each scene requiring delivery of 44 files along with proxy versions for faster iteration.
The true challenge, however, was enabling a team of motion designers to think and create natively for a 360° spherical environment. To solve this, I built a real-time After Effects preview system that mapped their work directly onto a 3D model of the dome as they animated, letting them see how their content wrapped around the structure in real time. This same template also allowed us to generate accurate simulation files for client presentations during the five-month production process, ensuring alignment between creative intent and technical execution.
Beyond the workflows, I supervised the team through multiple rehearsals at the challenging venue, refining timing and synchronization between visuals and performances, and ensuring flawless integration on site. This combination of custom tool design, pipeline management, and live adaptation was essential to delivering cohesive, high-resolution visuals on a projection surface of unprecedented scale and complexity.
Simulation Preview Samples >>
Preview Samples >>
Complete Toolkit Template
Tutorail Time Lapse>>
Space & Possibilities
2019, Prague - Czech Republic
As a part of creative team in NOHlab, I participated visual creation of Space & Possibilities, a projection mapping project commisioned by one of the Europe’s leading art and design festival Signal Festival in Prague. We created a 7 min long piece which had been shown for 4 days during the festival at an amazing public area.
Space & Possibilities is an outdoor projection mapping specially designed for Signal Festival 2019, and it unfolds the possibilities inside a space.
The existing identity of a space guides us to the historical function it carries, and the spirit it embodies. Yet this perception is always prone to change. When light and sound alters the spatial form, the physical identity of a space morphs and evolves into different possibilities. While the borders between the space and outside blurs, we can discover the existence of almost another space within the space. Movements of light and shadow creates a choreography which leads to a paradox in perception. Manipulation of impressions carries through modular incarnations slowly interchanging. Time becomes both the action and reaction. This way, the visible surface transforms, and we are able to perceive the inner world it harbours, its deeper layers.
This evolution offers a new futuristic and fluid spatial state. Through the revealed possibilities, the space is expanded and reconstructed into a more formless and timeless identity.
Role: Motion Designer
Client: Signal Festival
Design Studio: NOHlab
Motion Design: Arktk Berkut, Fehmican Gözüm, Necmi Deniz Akinci, Gökalp Gönen, Deniz Kader/NOHlab
Sound Design: Gökalp Kanatsız, Giray Gürkal, Umut Gonca
Project Cordinator: Yasemen Birhakimoğlu
Venue: Church of Cyril and Methodius, Prague
Thanks to: Eva Hoogland, Ufuk Özkardaşlar
Space & Possibilities is an outdoor projection mapping specially designed for Signal Festival 2019, and it unfolds the possibilities inside a space.
The existing identity of a space guides us to the historical function it carries, and the spirit it embodies. Yet this perception is always prone to change. When light and sound alters the spatial form, the physical identity of a space morphs and evolves into different possibilities. While the borders between the space and outside blurs, we can discover the existence of almost another space within the space. Movements of light and shadow creates a choreography which leads to a paradox in perception. Manipulation of impressions carries through modular incarnations slowly interchanging. Time becomes both the action and reaction. This way, the visible surface transforms, and we are able to perceive the inner world it harbours, its deeper layers.
This evolution offers a new futuristic and fluid spatial state. Through the revealed possibilities, the space is expanded and reconstructed into a more formless and timeless identity.
Role: Motion Designer
Client: Signal Festival
Design Studio: NOHlab
Motion Design: Arktk Berkut, Fehmican Gözüm, Necmi Deniz Akinci, Gökalp Gönen, Deniz Kader/NOHlab
Sound Design: Gökalp Kanatsız, Giray Gürkal, Umut Gonca
Project Cordinator: Yasemen Birhakimoğlu
Venue: Church of Cyril and Methodius, Prague
Thanks to: Eva Hoogland, Ufuk Özkardaşlar
Documentation Video >>
Space & Possibilities unfolds the possibilities inside a space.
When light and sound alters the spatial form, the physical identity of a space morphs and evolves into different possibilities. In the end, the visible surface transforms, and we are able to perceive the inner world, the deeper layers.
Through the revealed possibilities, the space is expanded and reconstructed into a more formless and timeless identity
When light and sound alters the spatial form, the physical identity of a space morphs and evolves into different possibilities. In the end, the visible surface transforms, and we are able to perceive the inner world, the deeper layers.
Through the revealed possibilities, the space is expanded and reconstructed into a more formless and timeless identity
Journey
2019, Paris - France
“Journey” is an award winning immersive audiovisual experience telling the story of
photons, primary elements of light, from the moment they approach the
eye until the brain reconstructs them into perceivable forms.
This art work has been commisioned by Culturespaces for the 1st Immersive art Festival competition which took place in famous digital art Museum Atelier des Lumieres, Paris. For the festival, 11 studios around europe created 4 minute long pieces
Using Atelier des Lumiere’s 140 video projectors, 50 speakers, 3,000 m2 of projection surface as a canvas, Journey won the Best Sound design, Special Jury Award and the Grand Spectator Award competing with 9 other international projects, as a part of a truly unique immersive world.
Role: Technical Direction, Motion design
Direction & Design:
Nohlab
Visual Artists:
Nohlab, Deniz Kader
Fehmican Gözüm
Enes Özenbaş
Tiber Ergür
Fuat Değirmenci
Sound Artists:
Gökalp Kanatsız
Zelig Sound
Giray Gürkal
Technical Content Direction:
Fehmican Gözüm
Photography: Camille McOuat
Video Documentation: John Mascaro
Thanks to:
Eva Hoogland
This art work has been commisioned by Culturespaces for the 1st Immersive art Festival competition which took place in famous digital art Museum Atelier des Lumieres, Paris. For the festival, 11 studios around europe created 4 minute long pieces
Using Atelier des Lumiere’s 140 video projectors, 50 speakers, 3,000 m2 of projection surface as a canvas, Journey won the Best Sound design, Special Jury Award and the Grand Spectator Award competing with 9 other international projects, as a part of a truly unique immersive world.
Role: Technical Direction, Motion design
Direction & Design:
Nohlab
Visual Artists:
Nohlab, Deniz Kader
Fehmican Gözüm
Enes Özenbaş
Tiber Ergür
Fuat Değirmenci
Sound Artists:
Gökalp Kanatsız
Zelig Sound
Giray Gürkal
Technical Content Direction:
Fehmican Gözüm
Photography: Camille McOuat
Video Documentation: John Mascaro
Thanks to:
Eva Hoogland
Teaser Video >>
Technical Summary >>
Paris’s famous digital art musem Atelier des Lumieres has an enourmous 3000m2 projection area with approximately 100K resolution in total. Being able to create visuals for this gigantic resolution and imagine the venue as a whole was a great challange in itself. As the technical director, fot this specific project, I made a custom project template which allowed all the team to have a live preview of our content during the creative process as a 3d simulation.
We created different setups for each scene of our 4 minute long piece. And had a different approach for spectators perception for each scene.
By creating this custom template, we had the opportunity to be able to use the Atelier des Lumieres 100K projection area as one whole canvas for some particular scenes.
We created different setups for each scene of our 4 minute long piece. And had a different approach for spectators perception for each scene.
By creating this custom template, we had the opportunity to be able to use the Atelier des Lumieres 100K projection area as one whole canvas for some particular scenes.
Festival Summary >>
The IMMERSIVE ART FESTIVAL is the leading festival devoted to graphic design and immersive digital design.
Digital design involves ‘digital sculpting’, a process of using computer-generated images to design living spaces and create interaction with the public. The projected images, combined with sound design, make it possible to create unique immersive worlds.
The artistic collectives in the festival are some of the most influential collectives in the world of the digital arts. They will present an original work of immersive art, adapted to the Atelier des Lumières. The techniques used by the artists may combine video, photography, motion design, and sound spatialisation.
The works must not only use all the Atelier’s technological power, but also present a completely immersive and original artistic concept.
We received 3 different awards from the jury at the Award ceremony which held at the end day of the festival.
Digital design involves ‘digital sculpting’, a process of using computer-generated images to design living spaces and create interaction with the public. The projected images, combined with sound design, make it possible to create unique immersive worlds.
The artistic collectives in the festival are some of the most influential collectives in the world of the digital arts. They will present an original work of immersive art, adapted to the Atelier des Lumières. The techniques used by the artists may combine video, photography, motion design, and sound spatialisation.
The works must not only use all the Atelier’s technological power, but also present a completely immersive and original artistic concept.
We received 3 different awards from the jury at the Award ceremony which held at the end day of the festival.
