Friday, October 28, 2011
Recently I came across these videos on Eileen Borgeson and myself that a friend, Zion Estes, had produced in Hawaii and posted on YouTube four years ago covering some of the activities we've been involved with in the past.
Thursday, September 29, 2011
What’s it like to come in contact with a Holographic Avatar?
How does it ‘feel’ to have your actual hand pass through a Holographic Avatar’s virtual hand or body? Holography has and will continue to present us with new, sometimes radically new, imaging, concepts and applications that are going to challenge our past belief systems and ‘truths’ about what we thought was and will be possible.
Holography’s ability to record (or store) within a two dimensional plane then re-create (or re-construct) fourth dimensional (and multi-dimensional) visual reality opens up an array of possibilities in entertainment and educational experiences.
Holographics (applied Holography) will redefine what entertainment and educational ‘experiencing’ is and offer new portals of possibilities. Space can be created where it wasn’t before, and then occupied with virtual people and imagery. The virtual ‘outer’ space can be stored in the real ‘inner’ space of the holographic substrate.
Holography opens up the possibilities of creating environments and experiences that support a ‘post-terrestrial’ mind-set, freeing the participants to have a more total experience during each moment of their personal interaction and immersion in the HoloZone.
This video shows the Holographic Avatar (Mime) coming to life through a light and projecting out in front of the holographic image plane. For all observational and interactivity purposes, this Holographic Mime really does visually exist in and occupies space. Notice when First Contact is made with this Holographic Avatar my hand literally goes through the Mime’s outstretched virtual hand.
Next-gen imaging techniques inspired by this holographic capability will be folded into the HoloZone experiences we’re creating at Virtual Live Stage Entertainment and Holographics.com , including the images themselves being ‘triggers’ for the participant’s ability to interact with and change the experience.
This 3D journey into a ‘First Contact with a Holographic Avatar’ was taken and created by Eileen Borgeson and Jeff Allen using Sony’s Bloggie 3D camera. The holographic imagery was entirely reconstructed with the light source of the 3D camera.
Wednesday, September 28, 2011
Real-Time 4D Reconstruction and Recording of Holographic Images using only the Light from the 3D Camera
We’re so used to seeing print, photographic, video and digital images and symbols in 2D (shapes, contrast, and color) that when we see a hologram it’s hard to understand how can the images look so real compared to most other imaging techniques. The simple answer is that when a light source is directed onto a hologram at selective “reference” angles, it literally, reconstructs, with its own light, all the visual properties of the pre-programmed holographic image (s).
I was recording, in 3D, some ‘holographic techniques’ that we, (Virtual Live Stage Entertainment) will be ‘fusing’ into our initial HoloZone-hybrid (HoloDeck-like) Experiences, when I noticed an interesting capability. The light source emanating from the 3D camera itself was actually strong enough to recreate a fairly bright holographic image from a ‘pre-recorded’ hologram and the resulting image was capable of actually being recorded by the camera itself.
This felt like an excellent opportunity to demonstrate a most important principle… that holographic images are created entirely by light. This is why a hologram can ‘communicate’ directly to the viewer/participant’s eyes the exact description (information), in forth dimensions (space/time), of the object/scene recorded on/in the hologram. In addition, this particular hologram enabled the demonstration of viewing separate ‘holographic universes’, created within the same hologram, as shown by noticing how two entirely different images/scenes are visually reconstructed in 3D by the movements of the camera.
Notice the minute details of the images and how their highlights and perspective change with the viewing perspective. Notice how the holographic images completely disappear when the camera's light is switched off and an entirely new image or perspective appears when switched back on.
Eileen Borgeson ‘filmed’ this video with a Sony 3D Bloggie Camera and the light from it. David Bowie’s “TVC15” song is playing in the background. It’s about a Holographic ‘hologrammic (Bowie’s term)’ television and its ‘captivating’ capabilities.
Monday, September 19, 2011
3D video of Pete Sarenana wailing at Kathy McNamara's Birthday Party - If your don't have red and cyan (blue) glasses click 3D and choose non-3D viewing)
Virtual Live Stage (VLS) Entertainment - 'Behind the Scenes’ blog series
Of course there’re ‘real’ individuals behind VLS Entertainment’s ‘virtual’ performers. “The Spirit of Rock & Roll” Virtual and Holographic Avatar is based on the passion, talent and spirit of Pete Sarenana.
Pete is a die hard enthusiast of Rock & Roll music who wails like no body else on guitar and synergistically combines his sounds and talent with others in the Carry On Band. He personifies the “Spirit of Rock & Roll” that many of us have for ‘down and dirty’ Rock and Roll.
VLS Entertainments has started capturing the images, nuances and essence of “The Spirit of Rock & Roll” Avatar in Randy Martinez’s studio. Of course “The Spirit of Rock & Roll” Avatar will not be bound by terrestrial restraints. “The Spirit of Rock & Roll” will be able to change form and shape at will…at least at our will.
In the spirit of Rock and Roll, Pete brought his Carry On Band (Mark Prudeaux, Adam Ponce and Rik Cruz) together with some very special guest stars and performed for his wife’s, Kathy McNamara, birthday party. Kathy was enthusiastically dancing the night away. Playing from their amphitheater in Pete and Kathy’s backyard, the music blasted ‘til the early morning hours. (Pete also has a full on recording studio on premise.)
Attending Kathy’s birthday celebration were many interesting characters and celebrities, including: Lou Pizarro, star of TV’s, ‘Operation Repo’, Jerry Salas of El Chicano (who performed all evening), Rudy Esquivel of G&R Entertainment and VLS Entertainment, artist, Eileen Borgeson and music producer, Gerry Gallagher.
A holographic installation was also set up showcasing Rob Taylor’s full color holographic woman with fan, which, as usual, fascinated the partiers with her seductive movements.
As for me, besides celebrating Kathy’s birthday, I found the evening to be a much needed ‘blast from the past’ with driving loud, live music taking me to a period before Holography where I was full time involved with music, managing groups and producing concerts.
Thursday, August 11, 2011
Eileen Borgeson and my foray into the Commercial Spaceflight Community at the International Space Development conference in 2006
This video was shown behind the stage proceeding the launch and presentation of the Dennis Tito Award for private space explorers who visited the International Space Station for a week 'vacation'.
Below is an article titled: "Eileen Borgeson’s Historic ‘Orbit Awards’ Poster Commemorating Space Tourism and Space Development is available for Free to all Earth Citizens" published following the event.
The ‘Orbit Awards’ Poster commemorates the 25th Anniversary of the International Space Development Conference (ISDC06) held last month in Los Angeles at the Sheraton Gateway. The event coincided with the 25th Anniversary of the National Space Society, the 10th Anniversary of the Space Tourism Society, and the 5th Anniversary of Dennis Tito’s historic flight to the International Space Station. He was the first private space tourist and he, along with 17 other space travelers, pioneers, entrepreneurs and visionaries were honored at the ‘Orbit Awards’ Dinner in May. The ISDC06 event was co-hosted by The National Space Society and The Planetary Society.
To create the central art for the ‘Orbit Awards’ Poster, Eileen Borgeson combined the imagery of her ‘Orbit Awards’, (AKA ‘the Dennis Tito Award’) with the “Portrait of the Milky Way”, an impressive artistic depiction by artist, Jon Lomberg. Rising from the center of the Milky Way, the ‘Orbital Muse’ a four sculpture assemblage, seems to move through space and come to rest under several ethereal rays flanked on either side by the faceted Holographic Crystals…visuals of the Awards that Eileen co-designed with Holography Pioneer, Jeff Allen. (The Milky Way painting is in the permanent collection of the Smithsonian Institute’s National Air and Space Museum.)
To always be remembered, the Space Tourist honorees and ‘Orbit Award’ winners are all listed on the left side of the Poster: Dennis Tito, Mark Shuttleworth, Dr. Gregory Olsen, Dr. Buzz Aldrin, Sir Richard Branson, Colonel Rick Searfoss, Robert Bigelow, Paul Allen, X Prize Foundation, Zero Gravity Corporation, Scaled Composites, Eric C. Anderson, The Ansari Family, Leonard David, Henry Vanderbilt, Tsuyoshi Saotome and Peter Wainwright.
On the right side of the Orbit Poster, the notable speakers have their own place of honor: Burt Rutan, Elon Musk, Dr. Buzz Aldrin, Dr. Peter Diamandis, Dr. Gregory Olsen, Rusty Schweickart, Rick Searfoss, Shana Dale, Charles Elachi, Bill Nye, Gen. Pete Worden and Rep. Diane Rohrabacher.
The Orbit Awards Poster celebrates the major space developments evolving from the private sector. “From an educational viewpoint, it seemed appropriate to initially release a poster that could be downloaded free to the global community.” Eileen Borgeson continues, “If more people can become aware and understand the scope of this emerging industry they may exchange their apprehension for excitement and enthusiasm as so many others have done”.
The ‘Orbit Awards’ poster can be downloaded directly from Eileen’s ‘Virtual Gallery’ home page at www.EileenBorgeson.com. Also watch a short video shown at the Orbit Awards historic event.
The Orbit Poster’s artistic image was influenced by the composition of ‘The Universe Within’, a hologram currently being produced by Jeff Allen. The viewer of the hologram will see Eileen Borgeson’s sculptural ‘Orbital Muse’ and Jon Lomberg’s computer generated, ‘Universe’, alternately projecting and floating in the same holographic virtual space.
The Orbit Poster combined the talents of three accomplished artists in their fields.
Eileen Borgeson is an artist’s artist who creates art in every medium. Her art is in collections worldwide, including: B. B. King, Elton John, Aerosmith, Hugh Hefner, Dalai Lama plus the major television networks, who are all recipients of her Promax ‘Muse of Creativity’ Awards. You can get a visual taste of the variety of Eileen’s artwork at her ‘virtual gallery’; EileenBorgeson.com.
Jon Lomberg is one of the world’s most distinguished artists inspired by astronomy and has won an Emmy for his work on PBS’s Cosmos series. Lomberg was the principal artistic collaborator of astronomer Carl Sagan. Lomberg’s illustrious career can be sampled at JonLomberg.com.
Jeff Allen has participated in many holographic breakthroughs. The holograms on the VISA and MasterCard credit cards and National Geographic magazine covers are a direct outgrowth of some of these early efforts. Articles chronicling Allen’s experience can be viewed at Holographics.com.
Saturday, July 2, 2011
[Pics: Eileen Borgeson Rock Star Avatar, Pete Serenana’s Avatar appears in Chicago by JR Horsting, “Holographic Portrait of Queen Elizabeth II” by Chris Levine, Dr John Perry, Rob Munday, Jeffrey Robb]
It’s amazing how communications now enable us to communicate and create virtually…even if it’s Virtual Avatars. Last week, with the help of real people we had an Avatar shooting session. Me in Hawaii…them in San Fernando Valley (my birth place.)
Three ‘actors’ were ‘filmed’ by Randy Martinez for three developing Virtual and Holographic Avatars: “HoloHost”, “Spirit of Rock and Roll”, “(Secret)” Avatars. The actors were Pete Sarenana, Rudy Esquivil and Randy Martinez. The digital files from the ‘session’ are now being converted into virtual avatars by ‘computer and imagination’ wiz, JR Horsting. The Virtual Avatars will then be ‘choreographed’ into a motion memory to evolve into HoloExperiences through virtual and holographic projection in a HoloZone-hybrid for Stage. We will be ‘folding’ these Virtual and Holographic Avatars into Live and Virtual Stage performances and performers.
The first Holographic Avatars will be created in what I call ‘magic window’ holograms because you look through a window and see suspended imagery moving and floating in front of and behind the ‘holographic window’ Holography legend, Steve Benton, referred to Holography by his quote: “A Hologram Is a Window With a Memory”. The Queen of England was created into a portrait ‘Holographic Avatar’ through this technique.
Lloyd Cross, another Holography Legend, will be consulting on the creation of the Holographic Avatars. Lloyd was the holographer who created Salvador Dali’s, ‘Alice Cooper’ hologram, using his Multiplex holographic technique that he developed in the earlier seventies. Eileen Borgeson will also in involved in an artistic stylist capacity as she is also creating and developing different Avatars, including a ‘Rock Star’ Avatar
The timing is ripe to ‘Go Virtual’ and Holography is the "Holy Grail" of 3D. The public’s fascination and interest in virtual entertainment and entertainers is growing exponentially as is evidenced by Japan’s virtual pop star, Hatsune Miku, who is performing ‘live’ tonight at a sold out performance at the Nokia Theater in Los Angeles during the Anime Expo.
Sunday, May 29, 2011
[Visuals descriptions: E-Holograms: Eileen Borgeson’s Holographic A&E Magazine Cover, Holographic Hangtag with overt and covert security features by Eileen Borgeson and Jeff Allen and Eileen Borgeson’s Asteroid E-Hologram Card.]
Past Articles/Press Releases 'Revisited'
Jan 31, 2010 – “If you want to predict the future…invent it.” - Dennis Gabor – Nobel Prize winner in Physics for the invention of Holography.
Holographer pioneer Jeff Allen and world-renown artist Eileen Borgeson announce a Teaming Arrangement that will bring a new generation of mass-produced Holographic Optical ‘Read-Only’ Memory Chips (E-HoloChips). These E-HoloChips will offer both overt and covert security features to the high growth security and brand identification industry through the creation of E-HoloMasters.
This ‘Art and Technology’ collaboration results from the merge of the seasoned experience and expertise of holographer Jeff Allen (www.Holographics.com) and artist Eileen Borgeson (www.EileenBorgeson.com) to offer hybrid holograms that bridge the gap between commercial display and security holography and create a formidable presence in these rapidly growing markets.
For almost forty years Jeff Allen has been active in pioneering optical holography beginning with his involvement in the invention and the obtaining of basic patents on the color correction for diffractive optics as well as an historic breakthrough which produced the world’s first successful high efficiency white-light viewable replicated holograms on plastic with both static and moving imagery.
More recently Allen was involved with the development and marketing of a patented holographic technique covering the optical geometry to mass produce instant composite holographic imagery which initially included biometrics, or the visual identification & recognition for ID Card/Smart Card holders.
Eileen Borgeson is an artist’s artist and has been creating classic artistry her entire life. More recently, she has translated her art/sculptures into seven different types of holograms. She draws from her vast fine art experience working in an extensive array of mediums and continues to demonstrate proven artistic abilities in creating recognizable imagery and icons for branding. Just a few of the companies that have utilized her ‘fine art branding’ capacities are: Warner Bros., Disney, Fox, Universal and Sony.
For more than a decade Borgeson has been involved in creating many different E-HoloGrams working together with various holography companies and holographers incorporating such holographic techniques as: pulsed laser, dichromate, integral, embossed, dot-matrix and computer generated. Besides being used for fine art editions, her E-HoloGrams have generated much media interest and have been used for holographic magazine covers & magazine inserts that were distributed throughout the global television and computer gaming industries. In addition to her long-time association with Allen, she has known and been friends with holographic legends and visionaries, Lloyd Cross and the late Steve Benton.
E-HoloMasters are a breed unto themselves. E-HoloMasters are created by Borgeson and Allen in collaboration with their strategic marketing, design and technology alliances including multiple holography companies and holographers globally. E-HoloMasters are protected by copyrights, patents and trade secrets, and can employ a vast array of holographic imagery and techniques that utilize conventional and unique holographic manufacturing processes.
E-HoloMasters are used to inexpensively mass produce Holographic Optical ‘read-only’ Memory Chips (E-HoloChips) which will become recognizable Icons/Imagery to continually and effectively communicate a message or brand identity directly to the viewer on an interactive and personal basis while providing brand authenticity. Each proprietary E-HoloMaster offers a custom mix of recognition, aesthetics and overt and covert authenticity features which could also include Internet Interfacing.
These HoloChips, apart from visual HoloBranding and Brand Recognition applications, can also be programmed for personalization to include a wide array of custom security options, such as: Biometrics, Bar Codes, Encryption Codes, Medical information, as well as offering other features devised to meet project specifications. E-HoloChips can also be programmed from Photographic or Computer Generated Digital Sources, either locally or remotely, and can function with a Visual Interface, Hardware (Reader) Interface or both.
Allen and Borgeson’s initial marketing campaign targets their global digital entertainment network, including every major television network, cable and satellite company as well as the individuals and companies that service this industry.
Allen and Borgeson are reaching out to expand their holography alliances to include companies and individuals in new territories in order to more efficiently serve the marketing, promotional, branding and security needs of the global digital entertainment industry.
Territorial breakdowns are defined by the locations that receive Borgeson’s licensed Promax/BDA Muse Award at conferences and award events held annually in North America, India, Asia, Australia, Europe, UK, Latin America, China & the United Emirates.
Allen and Borgeson are available to collaborate and discuss the most effective ways of communicating/translating your client’s message or brand into a sophisticated, re-viewable E-HoloChip that offers a level of product/brand recognition and protection that’s unparalleled in today’s market.
Allen, after almost four decades of holography involvement, is still of the opinion that “we have only scratched the surface of holography’s potential and I believe we can expedite its evolution through collaboration within the global holographic community and by actively pursuing the creation of new holographic techniques, applications and entirely new markets.”
Jeff Allen and Eileen Borgeson’s Mission Statement is “Create…Rather than Compete.”
Forging a better future by creating new dimensions in holographic imagery, techniques, applications and markets through Collaboration…rather than Competition.
Please contact Jeff Allen directly at Jeff@Holographics.com, to:
• Ask for a complete E-HoloMaster and E-HoloChip package to be sent to you,
• Inquire about HoloBranding opportunities that exist in your territory,
• Receive examples of their current marketing campaign press releases, articles and ads,
• Obtain a list of their current holography and creative alliances.
• Discuss current branding or product security projects you may have,
• Request seeing examples of Borgeson’s E-Holograms,
• Help service their network of entertainment companies in your territory or
• Offer your services through their global network
Wednesday, May 18, 2011
Alice Cooper’s ‘No More Mister Nice Guy’ Hologram Record Story or, ‘the Almost Launch of Holographic Records’
[Images: 1) Mick Mashbir of Alice Cooper on the chartered BDB tour plane at the start of the Billion Dollar Babies tour, 2) Mick Mashbir on stage with Billion Dollar Babies tour, 3) Salvador Dali’s Portrait of Alice Cooper’s Brain Multiplex hologram by Lloyd Cross]
There have been many news stories circulating lately about Alice Cooper being a hologram...and...here’s another one.
I was collaborating with Capitol Records around 1973 testing a process to create holograms on 45 and 78 vinyl records at the same time the music is ‘pressed’ into them.
My partner in CR&D Corporation, Michael Foster, had created a way to ‘transfer’ the holographic visual data and mastering capabilities to the lacquer that the companies ‘carve in’ their sound/audio data and, from that, make an embossing master to then mass produce 'holographic' records.
I proposed that Capitol Records could use existing manufacturing capabilities to mass-produce holograms; such as putting 3D portraits of their artists or actual holograms directly onto the surface of the record itself. After an initial discussion with the Chairman, I was invited to their board meeting. They unanimously agreed to see where we could take this and I was put in touch with two individuals: one, the person in head of production to produce the first prototype and two, Dennis Killen (Director of Merchandising and Advertising) in preparation for its use.
Grand Funk Railroad, their top group at that time, was slated to use the process when Richard Perry also heard of this activity from publicist Michele Elyzabeth Blanchard. Richard was working on an album with Ringo Starr, who was also with Capitol Records. I met with both Richard and Ringo and discussed holography and embossed holography and my ‘prototyping’ involvement with Capitol.
Well, they loved the idea and stormed into Dennis Killen’s office one day to discuss the project. Of course, in historic matters, everyone wants to be first and poor Dennis got caught in the middle of one of their top groups, Grand Funk Railroad and Ringo Starr, a former Beatle, who, of course, made Capital a Lot of $$. When the dust settled both projects were put off.
During that time Shep Gordon, manager of Alice Cooper, got wind of the holographic record process and wanted to use it. During the same time Alice had been the subject/actor of Salvador Dali’s “Portrait of Alice Cooper’s Brain” a First Cylindric Crono-Hologram, commonly known as a Multiplex hologram or Cross hologram. This was a type of hologram that created moving holograms from motion picture film invented by a friend Lloyd Cross. I just talked with Lloyd the other day and he shared how he ‘virtually’ oversaw the production from San Francisco with Technical Consultant Selwyn Lissack in New York City over the phone while Salvador Dali was producing the film shooting session, Lloyd created the hologram later from the film footage that Dali had selected to use for the hologram.
The album Alice Cooper was working on was “Billion Dollar Babies” and the single Warner Bros decided to press as a prototype was “No More Mister Nice Guy”. My good friend Mick Mashbir was the lead guitarist for the album. I don’t have any pics of our holographic record prototype so I called Mick and he sent me some shots of him during the Billion Dollar Babies tour to use with this blog entry.
A disagreement between Cooper and Warner Bros about using the holographic process on their record came to a head at one point and I was told it was one of the biggest fights they had with WB.
WB had evidently already pressed 500,000 albums and wasn’t too thrilled about trashing that much vinyl. Well Cooper still wanted the release to be holographic but WB played the final trump card, and said the sound quality was affected by the holographic process. Of course, Cooper didn’t want any compromise in the sound quality and the plain 45 and album were released without the hologram. Also of course, the sound quality wasn’t really affected because the holographic information is on the record surface where the ‘sound grooves’ aren’t with no affect on the needle.
I was also talking with Tony Smith manager of Genesis about putting a hologram on Genesis’ “Lamb Lies on Broadway”. I met Tony while leaving a Seals and Croft concert at the Universal Amphitheater as a guest of Joe Smith, then president of Warner Records (later president and CEO of Capitol Records.) We were both waiting for a taxi and only one made it through the mass of departing cars…so we shared it. I mentioned I was involved with holography and he mentioned he had some holograms in his hotel room. Without him saying which holograms he had I told him which ones he had. It was easy; we had the only embossed (of commercial quality) holograms in the world. We talked about putting a hologram on the album and moved toward that end.
I’m still not sure what happened but was told later by a friend Peter Kuys, then owner of Stallion Records, who knew Tony Smith that a miscommunication with them by a third party had waned their interest. This was one of my saddest moments as this album is still one of my favorites and I would have loved to have contributed to its overall message.
Note: For historic completeness, Peter Kuys had optioned the use of this process for a record during this time period.
As with some other early marketing efforts I realized this ‘record technique’ as well as the ‘embossing method’ had just been invented and the whole process was probably a bit a head of its time so I directed my energy otherwise.
The ‘jinx’ finally lifted and 6 years later when Split Enz used the technique on their “True Colours” hologram 1979 with A&M records. Next “Superman II” soundtrack 1980, Styx “Paradise Theater” released in 1981, then cassettes and CDs which wouldn’t use this process to enhance their ‘records’.
Since then many holographic CD covers and as well as holograms on the CDs themselves have been used.
Back to Alice Cooper, now in the holography's media limelight again, he and most of his original group appeared virtually last week’s at Jagermeister’s London event ‘billed’ as "UK's first 'holographic' 4D rock gig”...well, at least, they're trying. But stay tuned as I'm consulting on a virtual stage entertainment project which will be incorporating true holographic space and imagery with virtual and live performances.
Saturday, May 14, 2011
(Image - Embossed on plastic 'Diver' transmission hologram, circa 1972-73, by Michael Foster and Jeff Allen)
It’s been said the Guru is there when you need him (or her.) I was thinking of a significant experience in my life that seemed somewhat like that.
In the early seventies I was buying a ‘manual hologram replicator’ (known back then as a ‘manual clothes wringer’ for washing machines) when a chance remark by a sales boy has stuck with me ever since. He asked me, (at that time I was looking very ‘early seventies Hollywood’ with long hair) why was I buying a hand roller. The place was a car wash supply store in Los Angeles, one of the few places that still sold the ancient wringers, but in this case, they were for drying chamois used for washing cars, not clothes drying. Well, I didn’t look like an employee or owner of a car wash so his question seemed reasonable.
It was one of those perfect, memorable moments. To answer his question, I reached into my black leather side bag for a newly created embossed hologram and lifted it into his field of view, illuminating it with a very bright halogen light which just happened to be above him. What he saw was a suspended image of a diver with his hand projected inches in front of the physical transparent hologram.
I know at this stage in the holography game only a minimal amount of people on the planet had even seen a hologram, let alone even heard the word. Little did he know he was seeing a piece of holographic history. ‘The Diver’ was our 3rd hologram in the ‘prototyping of the white light embossed holograms’. Today, embossed holography is now a multi-billion dollar industry.
‘The Diver’ is one of CR&D's (Mike Foster and my R&D corporation then) four earliest embossed holograms in the MIT Museum Collection. I recently donated ‘David’, which completed their set of CR&D's early white light embossed holograms, except for one, titled, ‘Randi’. (More info Link to MIT blog entry - http://eartholographics.blogspot.com/2011/02/david-my-white-light-embossed-hologram.html)
So here, the sales boy in a car wash supply shop is witnessing a suspended 3D solid looking image of a diver floating above my hand. When I told him the answer to his question, “why was I buying a wash wringer?”…my answer was “to mass produce holograms like this one.” In what must have been a surrealistic moment for him, he paused, and then reflectively said: “God, I’m glad someone is still thinking!”
I thanked him quietly in my mind for reminding me that there are times when we’re ‘awake’ and using the creative abilities and experience capabilities we have, while we’re still ‘thinking’ about all the infinite possibilities waiting to be created and experienced.
As to how the chamois wringer mass produced embossed holograms, let me just say that Michael Foster, the inventor, was a very clever man.
Now, when I see an amazing collection of art or a truly innovative technological achievement…I think, “God, I’m glad someone is still thinking.”
Saturday, April 9, 2011
[Visuals: Jeff Allen and Eileen Borgeson 'brainstorming' at Gary Stice's Point House in Kealakekua Bay with Captain Cook's Monument in background and Jeff Allen’s HoloTheater Complex Concept and Floorplan]
Each new project is its own adventure into creative manifestation. Since December, while on the Mainland, I’ve been working with Rudy Esquivel, of G&R Entertainment since he approached me to design a HoloZone possible of ‘projecting’ a virtual entertainer onto a stage with live musicians.
Rudy and his brother, comedian Gilbert Esquivel, have been pioneering ‘comedy with live music’ events for a while now. Wanting a ‘creative edge’, we discussed the evolution of his concept to include Holographic and Holographic-Hybrid Experiences with live entertainment and comedy to offer into the entertainment industry.
From my involvement in holographic R&D laboratories as well as producing holographic shows experienced by millions across the US and into Canada, I have distilled a wealth of knowledge and imaging techniques (holographic, 3D, CGI) on how to create immersive and interactive environments. From Comdex parties at Caesars’ Palace to Warner Bros. back lot parties, to State and County Fairs I’ve offered the ‘HoloZone’ experience to a whole spectrum of individuals and age groups.
Now I’m back in Hawai’i and currently at my favorite place for inspiration, Gary Stice’s Point House in Kealakekua Bay. Several breakthroughs occurred last night with a ‘brainstorming session’ with Eileen Borgeson about HoloZone launch strategies, dealing with types of HoloExperiences and HoloAvatars to create for Entertainment performances and methods to approach global markets from the start. When you’re at one of the most beautiful places on the planet…you tend to think on a global scale.
This creative ‘brainstorming’ influenced our perspective on the types of HoloExperiences that could be offered with ‘Rudy’s’ HoloZone-Hybrid model, ‘VLS’. Working ‘virtually’ with Rudy through the phone and Internet, we continue to massage our plans, define our goals and are moving forward with them.
Under strict confidential arrangements, preparations are being made to start building a HoloZone for stage applications, targeting this Summer to begin producing the custom performances. The HoloExperiences themselves are now being story-boarded, scripted and the ‘imaging capturing’ studio sessions are being scheduled.
This HoloZone-Hybrid VLS will enable a true 21st Century HoloExperience in ‘post-terrestrial’ in multi-dimensional perspectives...a ‘Live’, engaging experience beyond today’s 3D television and theater offerings. Our initial focus will be fusing ‘virtual’ entertainers with ‘live’ entertainers for stage performances.
With the advent of faster computational power, higher resolution imaging, sophisticated optical arrays, new breakthroughs in digital holographics combined with ‘tweaked’ existing holographic techniques, we are getting closer to the ‘proverbial’ Holodeck experience shown in Star Trek Television and movie episodes.
Friday, April 1, 2011
From Jolee’s Kona ‘Light House’ to Holographic/Art Editions that Illuminate Our Lives with ‘Light’…We Rediscover the Big Island, Hawai′i
[Visuals - Eileen Borgeson and Jackie Simon at Jolee's Light House and a Kona Zebra]
Back from the mainland...Chance meetings open up portals of new experiences, paths and friendships. One day at our Vacationland digs, a whirlwind of energy named Jolee artfully slinked in and darted through the palm filled property with the grace and intent of a panther in the jungle with her ‘being in nature every moment of sunshine’ tanned body glistening in the sun.
And very shortly thereafter we ended up renting Jolee’s Ohana in her Kailua-Kona ‘Light House’ accented home, surrounded with the tools of the active lifestyle she lives and shares with all who ask…kayaks, stand-up paddleboards, boogie boards, snorkels, fins, mopeds, bicycles and more. We’re always searching out new locations to keep fresh with our approach to artistic and holography projects, ideas and concepts and hadn’t investigated this part of the island yet. Jolee’s quick LA departure to continue honing her lifesaving life skills provided us another chance meeting with her close friend, Jackie Simon, another free spirit just back from months in Thailand adventuring and educating others on one of her many paths of life.
We head back to the east side of the island with stops at our friend Violet’s enchanted fern forest cottage (and Unicorn corral) in Volcano…then another cottage next to Tony’s geodesic ‘recording studio’ dome with an extended visit with Tony Selvage himself…our ‘violin virtuoso’ buddy.
A delightful afternoon with Ariya and grandbaby, Naiya De, at the warm ponds…he’s a 2 ½ yr. old constant smiling little Buddah baby-fish.
Back to the Kona side…stopping for a Zebra proudly displaying his stripes. Eileen took a pic of him with a donkey either looking on or waiting to be painted for a Zebra gig in Tijuana.
Next…to the City of Refuge and then decided it was time to see, first hand, the aftermath of the Japan Tsunami at Kealakekua Bay. Kealakekua’s our favorite spot on the West side of the Island and we stay there as often as possible swimming with Dolphins and creating art and virtual business.
We visited Willa Martin and David Carlin’s…their house came through it unscathed and Gary Stice’s Point Houses were luckily spared with just some structural damage. It’s amazing and shocking to see the power and the inter-connectiveness of events occurring thousands of miles away. We’ve so many memories and projects created in all these places. Last year the ‘artist sign-off’ Lumiere sculpture was finished by Eileen Borgeson at Willa’s right before it was rushed off to R. S. Owens to be cast in the nick of time for the inaugural Int’l. 3D Society’s awards show.
So we’re now back in Kona discovering the White Sands Beach and rediscovering Kua Bay with those huge aqua waves crashing a bit too hard today for our comfort. We’re ready to immerse ourselves into HoloZones, Marilyn Monroe licensing and Artistic creative sessions, expressions and impressions. One HoloZone coming up…with concepts for live/virtual stage acts.... and illuminated glass editions emerging from the Atascadero Atelier where Eileen Borgeson and Butch Young create crystal magic.
Wednesday, February 23, 2011
[Visuals- Eileen Borgeson's and Butch Young's "Leap of Faith" Luminaires.]
Bringing in excellence once again, the two experienced and strong talents of Eileen Borgeson and Butch Young have come together, this time to create a delicately carved and aggressively sculpted image designed by Eileen and carved by Butch entitled, ‘Leap of Faith’. Inspired by Eileen’s sculpture, ‘Lumiere’ that she created as the ‘Oscar’ for the International 3D Society (of which ‘Avatar’ received 5 award sculptures last year), ‘Leap of Faith’ is made of the finest quality German optical crystal. The futuristic yet classic feminine image is captured in light ascending from the base of Butch’s rough hewn sculpted forms.
Whenever the two of them get together to create it’s always ‘Museum quality’ that results. Their 25 year collaborations have resulted in works for museums, airports, casinos, private homes and galleries in N.Y., S.F. and Beverly Hills which include images created for Erte, the John Lennon Estate, R.C. Gorman and numerous other international artists.
They are both perfectionists, Eileen thinking in mixed media, designing and translating her detailed images into many different sculptural mediums and Butch, the teacher and focused master, who spends hour upon hour on just a torso or wing getting just the right sculpted shape and depth. Only the finest glass and crystal combined with state of the art illumination and base materials will satisfy these two.
‘Leap of Faith’ is a “Sneak Preview” of a limited edition series soon to be released. As each piece is personally sculpted by hand, no two will be exactly alike, keeping each image a unique original.
To view works or contact Eileen Borgeson and Butch Young:
Eileen@EileenBorgeson.com - 707-367-9051
Butch: www.theSandwitch.com .
email@example.com - 805-286-7575
Saturday, February 12, 2011
“David”, the First “White-Light Embossed” hologram, to join MIT Museum’s other ‘Historic Holography Firsts’
["David" white-light-viewable embossed 3D hologram made in early seventies]
I’ve been communicating with Seth Riskin, Manager, Holography and Spatial Imaging and Emerging Technologies Initiatives, in the arrangements to donate my ‘David’ white-light-viewable embossed hologram to MIT Museum’s extensive collection of historic holograms which includes the former New York Museum of Holography’s collection.
This week the MIT Museum’s committee “…was unanimous (and excited) in accepting the donation… Thank you once again Jeff for this generous, donation, important to this collection.”
“David” was the first in a series of white-light-viewable holograms created by Mike Foster and myself in our early pioneering efforts of holography at our Cottonwood Research and Development Corporation. The MIT Museum will now have all in this series except for the ‘Randi’ hologram. All of these holograms used Steve Benton’s ‘Rainbow’ holographic technique which eliminated one axis of parallax but enabled the reconstruction of the holographic images with non-laser light (white-light.)
Below is an overview of some history of the “David” hologram.
The First ‘White-Light-Viewable’ Embossed Hologram
Donated to MIT by Jeff Allen - 2011
• An embossed hologram of “David” from a sculptural copy of Michelangelo’s masterpiece
• “David” was the first ‘White-Light-Viewable’ embossed hologram
• “David” is also a transmission hologram viewed with rear illumination
• “David” was created in 1972-73 at Cottonwood Research & Development Corporation (CR&D) in Salt Lake City, Utah
• Holographic Master and Composition of ‘David’ was by Mike Foster
• The Hologram of ‘David’ was physically embossed by Jeff Allen
• The 4” x 5” Hologram of “David” was embossed onto a 5” x 6” sheet of clear acetate
• “David” incorporates Steve Benton’s ‘Rainbow/Slot’ technique (Benton Technique) for White-Light-Viewing
• In 1970 CR&D was formed by Jeff Allen and Michael Foster to finance, research, develop and market the ‘technological breakthroughs and advances’ of Foster’s, with a major focus on prismatic optics initially, then diffractive optics.
• Major CR&D projects included: 1. The invention, development and patenting of a new ‘state of the art’ of optics through holography (diffractive optics) and 2. A unique holographic master creation process including a manufacturing technique to inexpensively mass produce planar diffractive optics onto plastic (holographic embossing.)
• This holographic embossing technique could also be used to mass produce holograms of three dimensional scenes and images (display holography.)
• The same sculpture of “David” was used previously to develop the embossing technique to include display holography as well as optics.
• CR&D’s first embossed ‘laser-viewable’ hologram was of the “David” sculpture made in 1972.
• The “David” sculpture was also used to become their first ‘pseudo white-light-viewable’ hologram by using an ‘image plane’ technique that Foster was developing at CR&D. This technique allowed for both X and Z axis parallax viewing. CR&D was obtaining some very good results with this technique when they became aware of Steve Benton’s ‘Rainbow/Slot’ technique (Benton Technique). At that time Lloyd Cross introduced Allen to Benton’s technique in San Francisco where Cross was developing his ‘white-light-viewable’ laser holograms on silver halide film. This technique was applied and we were then able to create a white light viewable (non-laser light) embossed hologram of “David” though having only one axis of viewing parallax.
• Their second ‘white-light-viewable’ embossed hologram was the “Dog Fight”, displaying two bi-planes in flight.
• In 1974 CR&D deliver an order for Laser Focus Magazine for “white-light-viewable’ holograms of “David” and “Dog Fight”. Allen embossed the holograms from Foster’s holographic masters onto black acetate so they could be illuminated through front illumination and Laser Focus referred to them as ‘reflective holograms’. Their first ad was placed in their own magazine, November 1974 (See Exhibit A.)
MIT’s ‘Early Embossed Holography Collection’ Highlights
• The ‘white-light-viewable’ embossed “David” hologram will join the others in the MIT collection of the early embossed holograms created by Foster and Allen in 1973/74 during their holographic embossing development period. “David” was the initial hologram made in this series.
• This collection now includes: “Dog Fight”, “Diver”, “Earth, Moon & Magnifying Glass (Einstein’s Relativity in a Quantum Universe”) and “Superman”. (This is also the order in which they were made after “David”).
• “Randi” is the only other significant ‘white-light-viewable’ embossed hologram created during this period that appears to be missing from the MIT collection. “Randi” was made in the same period of time “Superman” almost simultaneously. Both “Randi” and “Superman” were made with Foster’s unique ‘composite hologram’ technique integrating or displaying many frames of 2D pictures.
• Other holograms in the MIT Museum Holography Collection created by this holographic embossing technique include ‘Holographic Records (Music)’ on vinyl. These ‘Holographic Records’ also incorporated a holographic mastering/embossing technique developed by Foster and Allen which enabled the mass production of holograms using existing automated machines. This new technique developed in 1973/74 for records incorporated the holographic information with the sound information on the surface of the records. The very first Holographic Records were created by Allen and Foster working in conjunction with Eva-tone (flexible vinyl thin record manufacturer for magazine inserts) and Capital Records using Foster’s ‘special holographic mastering technique’ for records. Allen and Foster next worked with Alice Cooper, Shep Gordon (their manager) and Warner Bros to create a test ‘45 Holographic Record’ of Alice Cooper’s release, “No More Mr. Nice Guy”.
• “David” will join MIT’s other ‘Historic Holography Firsts’ in their collection as “David...the First White-Light Embossed Hologram”. The others are: the “First Laser Transmission Holograms” and the “First Reflection Hologram”.
"If you want to predict the future...invent it!" Dennis Gabor, Inventor and Nobel Prize winner for Holography