On 14 October 2011, the Pan-American Games kicked off with a spectacular Opening Ceremony in the Omnilife Stadium in Guadalajara, Mexico. An estimated 130 million people watched the event on television as a range of meticulously planned scenes and parades linked together to form one festive celebration. Centre-stage large-scale projections formed the core of the creative direction, showing figurative as well as abstract content relating to history and nature of Mexico.
PRG Belgium, who were commissioned to take care of the total production by creative design & production company Five Currents, chose to use d3 not only for its 3D pre-visualisation capabilities but above all for its extreme mapping features using Projector Simulation and frame-locked outputs between multiple d3 servers.
With a 25 meter wide circular stage placed 4 meters above the surrounding ground floor, the total projection area was a 50 meter wide circular space. 24 Barco FLM R20+ projectors were positioned at the very top edges of the brand new Omnilife Stadium, creating extreme projection angles.
Despite these challenging angles, d3 could line up the projectors perfectly using the Projector Simulation feature, as well as handling all soft-edging and automatic masking.
1×4U d3 Master, 4 x4U d3 Slaves and 1xd3 4U Understudy were configured in a master-slave network allowing the master machine to control the slave machines in perfect sync. During the line-up process a mobile laptop connected to the d3 network was used to line up, feed-warp and soft-edge the outputs of the four slave machines from any point inside the arena. Considering the extreme weather conditions and the limited time for line-up, the laptop proved to be the ultimate solution for this demanding environment.
During showtime d3 was slaved to timecode as well as receiving an Artnet signal reporting the expansion rate of the cylindrical projection surface, controlled by conventional media servers. As d3 completely works in a 3D environment, the expansion level of the cylindrical screen acted as a real-time mask allowing the content on the stage (controlled by d3) to be gradually masked off as the cylindrical screen came closer and closer to the floor of the stage. d3 also received live camera SDI-inputs and was sequenced on the timeline, as any other media clip.
Proving yet again to be the ultimate tool for large-scale ceremonial events, d3 contributed to the show’s success by showing pre-visualisation is key and the requirement for a top-quality lineup is of absolute essence – no matter the conditions or positioning of kit.