Several months of hard work flew by in one breath. All stages - from pencil sketches of comics, thinking through the geometry of virtual space, storyboarding to the first experiments on a reduced 1:100 screen layout and final adjustment of effects, ending with the development of the most complex software and music composing - were carried out within our team.

Thinking about the trajectory and moves, we came up with plots and elements that would "shoot" forward with different dynamics so that the plot would not be the same. The content itself was made in four separate stages, in four different software products, because the technology for making such a hologram is much more complicated than editing regular video content.

We worked a lot on textures. We really wanted to create a show in which the audience would think that the objects really fly out of the screen and then return to the "cracks" and "destruction" inside it.

In similar installations around the world, something three-dimensional is most often simply broadcast. But since we wanted faraway "departures" and deep "dips" deep into the screen, even the slightest discrepancies in this geometry would be very noticeable.

Therefore, after live tests on site, we made several more iterations to bring the entire virtual geometry of each scene closer to the ideal.

And now, in order, how we combined all this in one project!

1️) First, we analyzed the complex structure of the screen with its edges, roundings, and gaps, took into account all the nuances of perspective distortion, and created a three-dimensional mathematical model of the geometry of the space inside the screen.

2️) Then we drew a series of sketches by hand, in which the complex surface of the screen "dissolves". We calculated the trajectory along which objects, like Alice through the looking glass, "dive" deep into the screen and realistically jump up from the visual surface.