Sunday, May 29, 2011

Jeff Allen and Eileen Borgeson Team to Produce E-HoloMasters for Brand Recognition & Authenticity




[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

“God, I’m Glad Someone Is Still Thinking.”



(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.”