Hypervsn is a cutting-edge visual solution that uses a different technique to other holograms. At CES 2018, Kino-mo demonstrated its new product, Hypervsn. While any holograms that have been on the market previously have tended to be expensive, thanks to time-consuming installations and the need for dedicated space, Kino-mo holo-displays provide a cost-effective, scalable alternative. An example of this is courtesy of the British company Kino-mo. The marketing world is often a testbed for innovation and has been an early adopter of holographic technology. Outlined below are some other sectors in which holographic technology is fast-developing: Holograms are frequently used in the museum and tourist industries to enhance displays and exhibitions, but, like Pepper’s Ghost, their use is limited to an illusory novelty rather than a medium in its own right that essentially allows 3D story-telling without the need for glasses. In the modern world it is possible to achieve a greater variety of applications with the addition of a projector instead of an actor. The Victorians placed actors in the orchestra pit and then a piece of glass set at angles on to the stage. This creates the impression of the image being somewhere else. Pepper’s entertainment created the illusion of a ghost able to walk through walls using an image projected onto a surface, often of non-opaque glass at right angles to the projector and the audience. Pepper, lecturer at the Royal Polytechnic Institute, London - famous also for being the birthplace of British cinema. Popularised as a theatrical illusion, “Pepper’s Ghost” was an early technique developed by inventor Henry Dircks and refined by Professor John H. Tracing its roots back to the 1880s, BTH is synonymous with British 35mm film projectors, but the earliest forms of holographic “trick” predated that company by a good 20 years and Gabor’s work by 70 years or so. For his work, Gabor was awarded the Nobel Prize for Physics in 1971. Gabor’s initial experiments used a filtered mercury arc light source, but it wasn’t until the 1960s and the invention of the laser that the modern form of holographic projection was first realised. Holographic technology was first developed by a Hungarian-British physicist, Dennis Gabor CBE, at British Thomson-Houston (BTH) in Rugby, Warwickshire, in 1947, when he was looking for methods to improve the resolution of electron microscopes. Whatever direction the technology takes, the link between holographic projection and cinema is well-established. With new visual technology, higher resolution projectors and displays are we about to see the wider use of holographic projection? Could it be that in the next five years there will be an auditorium next to the IMAX, LED screen, iSense or other PLF offering that will be exclusively reserved for holographic content? And if not there, will it be used elsewhere in the cinema? Does it involve the prospect of a great white shark leaping from the outside of the cinema façade to try and savage you on the pavement, as famously predicted in the holo-poster for Jaws 19 in Robert Zemeckis’ Back to the Future Part II? Or perhaps, when you enter the auditorium, rather than sitting in straight rows, the configuration is more like a theatre in the round, with action taking place centre stage? Maybe you will be greeted by a “holo-usher” that guides you ethereally to your seat? Here Peter Knight argues the case for another possible direction - holographic projection VR is hailed as one of the most promising directions for cinema.
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