The size of the structure meant that our visuals had to be very large too. We've never used so much computer power to render our CGI before. The design process was integrated between many teams, our designs have complex interplay with the performers, lighting, sound - and 600 drones overhead!
At the early stages of the project, before we knew anything about the content of the show, we spent time simply developing the coolest looking effects we could think of. How could we use the structure to our advantage? Could we create interesting effects through the pillars? Could we force perspective and create three dimensional effects?
Following this, we worked closely with TBI (the production company) and Motion House (the creative directors), discussing their ambitions for the show, and how they’d like to incorporate the projection. We then took these concepts, and merged them with our initial research to create our final visuals. It was privilege to work on Eurovision, even more so on such a special show - the Opening Ceremony on behalf of Ukraine. Collaborating with so many talented teams has been incredible, especially seeing it all come together on show night.
While the show was one night only (broadcast on BBC1 on Monday 8th May 2023 - available on iPlayer), we were delighted about a last minute decision to keep the projection mapping in place on St George’s Hall for a full week after the show. This was down to the strength of our designs. Although the projection area was somewhat reduced to the centre part of the building, this was still an enormous projection area and fantastic visual spectacle for all that came to see it. Showreel below:
BIG BUILDING - BIG CHALLENGES
The opening ceremony was held in Liverpool on behalf of Ukraine. Crafting animations for such a vast surface was an incredible challenge both technically and creatively.
To fill the vast frontage of St George’s Hall and to ensure that the content could be seen from all angles, the projection team from 4Wall Entertainment set up a network of 34 laser projectors situated at eleven different locations across the site. The challenge of covering the building with light to create a projection surface out of so many columns was truly mind-bending, especially with a massive live show taking place in front of it. The projectors threw out 750,000 lumens of light (the torch on your phone is around 40 lumens) across around 4000 square metres of projection surface - the entire front of the St George’s Hall!
With 25,000 people watching live, we had to create motion graphics that would look great up close, far away, and from almost any angle - all while adhering to the unique architecture of the building. The striking columns across the front of the building proved particularly tricky. How do you create a coherent image across such an uneven surface? Using 3D models of the building, we created designs that follow the form and shape of the building, respecting the architecture - rather than laying footage flat over everything. This approach gives the illusion that the building has completely transformed.
The Opening Ceremony took the form of an outdoor concert extravaganza. The enormous St. George’s Hall acted as part stage part backdrop. Potion Pictures created truly mesmerising motion graphics that was projected onto the entire frontage of St. George’s Hall, all 4000 square metres of it.
Throughout the entire show we ensured that the building continuously transformed so visual impact was never lost. One effect uses the 3D model of St George’s Hall to simulate how light would fall across the building from different positions, creating the illusion that light is actually travelling up through the pillars.
During a spoken word piece, we totally transform St George’s Hall - submerging it in water before reconstructing the building from massive sandstone blocks, one brick at a time - all stretching 122 meters across the hall.
Other moments include transforming the entire building into a huge stage with truss and lighting rigs as the backdrop to “Welcome to the Pleasuredome” by Frankie Goes to Hollywood. Later we see fantastical multi-coloured particles cascading down the building. Another section of the show sees the building fall into disrepair with cracks forming all over it, before the peeling paint blows away to reveal a gleaming refurbished building with a sparkling ballroom inside. It has also been an absolute honour to feature artwork from Oscar winning illustrator Charlie Mackesy, which takes over the entire building.
MAINTAINING VISUAL IMPACT
At two key moments during the show our visuals interact with a 600 strong drone show, created by Celestial. The aim is for the projection mapping and drone display to come together creating one colossal visual performance . This came to life during Conchita’s performance of Rise Like a Phoenix, and again during the finale performance by Zara Larsson.
