{"id":35585,"date":"2018-04-03T11:33:28","date_gmt":"2018-04-03T15:33:28","guid":{"rendered":"https:\/\/www.signmedia.ca\/?p=35585"},"modified":"2018-04-03T11:33:28","modified_gmt":"2018-04-03T15:33:28","slug":"digital-signage-creating-north-americas-largest-transparent-led-screen","status":"publish","type":"post","link":"https:\/\/www.signmedia.ca\/digital-signage-creating-north-americas-largest-transparent-led-screen\/","title":{"rendered":"Digital Signage: Creating North America’s largest transparent LED screen"},"content":{"rendered":"
\"\"<\/a>
Photo by Trevor Lush, courtesy Moment Factory<\/span><\/em><\/figcaption><\/figure>\n

By Peter Saunders
\n<\/strong>On New Year\u2019s Eve, following a countdown to midnight in -30 C (-22 F) weather, the National Arts Centre (NAC) in Ottawa began displaying colourful, dynamic images on the Kipnes Lantern. The three-storey glass tower, which frames the performance facility\u2019s new Elgin Street entrance, incorporates what is reportedly the largest transparent light-emitting diode (LED) screen anywhere in North America, specially designed to showcase productions from both the stages of the NAC and those of other performing arts organizations throughout the country.<\/p>\n

\u201cThe Lantern showcases the breadth and excellence of music, theatre and dance being produced across Canada,\u201d says the NAC\u2019s CEO, Peter Herrndorf.<\/p>\n

An architectural vision
\n<\/strong>The Lantern represents the latest phase in a $225-million renewal of the NAC, which is intended to transform a mid-century Brutalist structure into a more open and inviting facility. The building had faced the Rideau Canal, rather than Ottawa\u2019s downtown core, ever since it opened in 1969. One of the goals of the renewal was to move the facility\u2019s front door to Elgin Street.<\/p>\n

\u201cWe were hired by the NAC to conduct feasibility studies in 2011,\u201d explains Jennifer Mallard, a senior associate with Toronto-based Diamond Schmitt Architects. \u201cThe side of the building facing the city was opaque and we were tasked with establishing a new point of connection there.\u201d<\/p>\n

These studies led to the proposal for the addition of the three-storey hexagonal glass tower, echoing the existing building\u2019s geometry. The idea of adding a see-through digital screen as a \u2018fifth stage\u2019 for the four-stage arts complex was developed by Donald Schmitt, one of the firm\u2019s principals, and Herrndorf during the planning process.<\/p>\n

\u201cThe see-through technology of the screen would complement the transparency established in the new public wings providing the connection with downtown Ottawa and views of nearby landmarks,\u201d Schmitt explains.<\/p>\n

Integrating the hardware
\n<\/strong>To turn the notion into reality, the architects considered a variety of technologies, including digital projection and window films, before turning their attention to transparent LED screens, which had been used in the entertainment industry and for other commercial purposes. Renderings were developed, based on the structure\u2019s size and location, with sample images of dancing ballerinas, orchestra conductors and theatrical performances.<\/p>\n

\u201cFor this application, it was important for the imagery to appear graceful, elegant, slow and not too commercial,\u201d says Mallard.<\/p>\n

After municipal authorities were satisfied the content would be appropriate for the site and the screen\u2019s brightness would be fully adjustable (Mallard says the city\u2019s urban design review panel was \u201cvery enthusiastic\u201d about the idea), the NAC issued a request for proposals (RFP) for the hardware. The winning bid came from ClearLED in Burnaby, B.C., which\u2014as its name suggests\u2014specializes in the custom fabrication of transparent LED displays.<\/p>\n

\u201cWe opened a design-build process with them, whereby test video reels were developed before anything was physically built,\u201d says Mallard.<\/p>\n

One key decision was to install the LEDs inside the tower, rather than engineer an outdoor-durable display.<\/p>\n

\u201cBy eliminating the need for outdoor-proofing techniques, we were able to keep the printed circuit boards (PCBs)\u2014to which the LEDs are soldered\u2014as narrow as possible, so as to achieve both high resolution and a high level of transparency,\u201d explains Jin Fan, CEO of ClearLED. \u201cFor this project, the PCBs are 2 mm (0.08 in.) thick and 6 mm (0.24 in.) wide. The pixel pitch is 16 mm (0.6 in.).\u201d<\/p>\n

\"\"<\/a>
With the addition of the Kipnes Lantern, Diamond Schmitt Architects envisioned making the NAC more open to downtown Ottawa. <\/span>
\n Rendering courtesy Diamond Schmitt Architects<\/span><\/em><\/figcaption><\/figure>\n

Prototypes were developed before settling on the final system.<\/p>\n

\u201cWe were brought on board in 2016, when the architectural designs were done and the steel structure was already in place,\u201d says Fan. \u201cThe architects had seen our products in 2014, but there was a lot of customization needed for this project. They did not want exposed screwheads, for example, so we used countersunk screws with powdercoated covers that were the same colour as the building.\u201d<\/p>\n

Mounted on L-shaped aluminum brackets attached to the structure\u2019s steel beams, the LEDs were angled slightly downward, to face pedestrians below the 400-m2<\/sup> (4,306-sf) display. The PCBs were painted black on the display side to increase contrast levels and white on the back to minimize their visibility from inside the tower. The chassis to house the associated electronic components was designed in alignment with the steel architecture. In these ways, the integration of the display was made as visually seamless as possible.<\/p>\n

In addition to providing the transparent digital screen, which spans four sides of the Lantern, ClearLED also built four smaller, solid, vertical \u2018fin\u2019 or \u2018blade\u2019 LED screens to
\n be installed along the building\u2019s Elgin Street fa\u00e7ade. All of the displays use programmed ambient light sensors and are automatically dimmed in response.<\/p>\n

So far, the Lantern is only illuminated after 4 p.m., when sunlight is already fading in wintertime, but it is also designed for full daylight visibility, with a maximum brightness of 8,000 nits.<\/p>\n

\u201cIt might be used during the day for special occasions,\u201d says Fan.<\/p>\n

The installation of the displays was completed in time for the official inauguration of the NAC\u2019s renewal on July 1, 2017, with the opening of improved performance spaces, new wings for audiences and presentations and the aforementioned reorientation of the building to open onto the city\u2019s downtown core, after having its concrete back turned on Ottawa for nearly 50 years. At that point, however, there was not yet any customized content to be displayed.<\/p>\n

\u201cThe whole project had a very aggressive building schedule so it could open for Canada Day, with Prince Charles in attendance,\u201d says Mallard, \u201cbut it would take longer to get the messaging right.\u201d<\/p>\n

\"\"<\/a>
The integration of the display was made as visually seamless as possible. <\/span>
\n Photos courtesy ClearLED<\/span><\/em><\/figcaption><\/figure>\n

Getting the content right
\n<\/strong>The development of the content strategy had begun in 2016, shortly after ClearLED became involved. The NAC\u2019s Herrndorf assigned Christopher Dearlove and Bridget Mooney as project leaders for animation, based on their own project management backgrounds in the arts community.<\/p>\n

\u201cPeter had a vision for using the Lantern as a platform for elevating and celebrating great performances from across the country,\u201d says Dearlove. \u201cIt would also be like a digital \u2018campfire\u2019 where people would come together in a public space. Ottawa doesn\u2019t have many places like that.\u201d<\/p>\n

One of their key challenges was determining which content would play out well on a transparent screen.<\/p>\n

\u201cThere weren\u2019t a lot of them in use for comparison\u2019s sake,\u201d says Mooney. \u201cI had only seen some while on a personal trip in Dubai, U.A.E. So, we had a lot to learn about the technology.\u201d<\/p>\n

The NAC already had lots of content from its own performances, but it was apparent a media agency partner would be needed to get the most out of those assets. Another RFP was issued, through which Montreal-based Moment Factory\u2014well-known for large-scale nighttime projection mapping projects\u2014was brought on-board in early 2017.<\/p>\n

\"\"<\/a>
The LEDs were soldered to printed circuit boards (PCBs) that are narrow enough to achieve a high level of transparency.<\/span><\/figcaption><\/figure>\n

\u201cOur in-house designers created content, such as a waving Canadian flag and falling maple leaves, to test the displays\u2019 red, green and blue (RGB) colour calibration until Moment Factory developed its own,\u201d Fan explains. \u201cThey had not done content for transparent LED screens with a permanent mesh before, but their experience was a very good fit because our patented LED technology displays \u2018black\u2019 as 100 per cent transparency, which is the same in projection mapping.\u201d<\/p>\n

\u201cWe had done some work in the past that was relevant to this project,\u201d says Christian L\u2019Heureux, a producer for Moment Factory, \u201cbut this was the first time we had worked with a permanent LED mesh and we needed to understand the intricacy of the setup before designing the content. The shape and surface of this display are completely atypical\u2014it\u2019s not like a liquid crystal display (LCD) in landscape or portrait mode with a 16:9 aspect ratio! We felt very blessed to be part of this, as the concept was very well-done and we are fond of working on new types of projects that take new approaches.\u201d<\/p>\n

Moment Factory recommended the use of Pandoras Box Server, a three-dimensional (3-D) content compositing, rendering and scheduling system developed by Coolux (now part of Christie Digital Systems), and set up templates to allow the NAC to load its own content into a frame, which then opens to reveal a given performance.<\/p>\n

\u201cThe software was the biggest tweak we made to their existing plan,\u201d L\u2019Heureux explains. \u201cWe convinced them the potential of the Lantern as a beacon in downtown Ottawa called for a \u2018show\u2019 playback system, rather than a typical \u2018signage\u2019 playback system.\u201d<\/p>\n

\u201cIt was helpful to have them take us through all of the steps in an organized way,\u201d says Dearlove. \u201cWe have five programming departments here that share a unity of design, but since we are also making this platform available to our national partners, from Vancouver to Halifax, we needed a different set of templates for them. For one thing, it is important for people passing by to understand which shows they can attend here in Ottawa and which they cannot. For another, while our national partners were excited to contribute, it was hard for them to visualize this display before seeing it in real life.\u201d<\/p>\n

Other guidelines were developed for text, which runs the risk of being visibly interrupted by the tower\u2019s window panes, and logos.<\/p>\n

\"\"<\/a>
Moment Factor produced digital shorts inspired by dance, music and theatre. <\/span>
\n Photo by Trevor Lush, courtesy Moment Factory<\/span><\/em><\/figcaption><\/figure>\n

\u201cThere is an agreement between the NAC and the National Capital Commission (NCC) whereby sponsor logos can only use 10 per cent of the display area when performances are advertised,\u201d says Mallard.<\/p>\n

Special content will also recognize events of national importance, including National Indigenous Peoples Day, Canada Day and Remembrance Day.<\/p>\n

\u201cWe created video reels to help express the potential, such as fireworks for Canada Day and falling poppies for Remembrance Day,\u201d says Mallard.<\/p>\n

In another example of timely content, the blade screens paid tribute to singer\/songwriter Gord Downie after he passed away in October.<\/p>\n

In addition to creating templates for seasonal campaigns and one-off messaging, Moment Factory created three 90-second \u2018digital shorts\u2019 to convey moments of wonder and whimsy throughout the year. These mini-shows, inspired both by the building and by dance, music and theatre, respectively, were produced at the company\u2019s Montreal studio in September 2017 and tested on-screen in November and December, in the run-up to the New Year\u2019s Eve content launch.<\/p>\n

\u201cWe will work with them on creating more of these \u2018wow\u2019 moments in the future,\u201d says Mooney. \u201cCurrently, Chris and I are still managing the content, but we will soon hire a dedicated producer to take it on.\u201d<\/p>\n

Built to last
\n<\/strong>The renewal of the NAC will continue this year with further enhancements to its theatres and the opening of new event space along the Rideau Canal. In the meantime, the NAC\u2019s new media team is actively generating more content for the Lantern.<\/p>\n

\u201cWe designed this display to be there for a long time,\u201d says Fan. \u201cIt\u2019s great how this project promotes Canadian arts and culture. It takes a visionary organization like the NAC to really explore the full potential of media architecture.\u201d<\/p>\n

With files from the NAC, Diamond Schmitt Architects, ClearLED and Moment Factory. For more information, visit www.nac-cna.ca<\/a>, www.dsai.ca<\/a>, www.clearleddisplays.com<\/a> and www.momentfactory.com<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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