News

The latest news from NYXdesign.  A design partnership between Abigail Rosen Holmes, Brian Gale and Emanuel Treeson

Phish

Abbey was invited by Chris Kuroda to collaborate on a co-design for the current Phish tour - An amazing opportunity to work together on design for this legendary band and their incredible live performances.  The goal creatively for introducing and incorporating a video element into the Phish touring show was that the lighting and video function as parts of one visual system.  

The production design for the show consists of a clean, simple architectural environment created by the video screen surfaces.  A low semi circular video wall encloses the band and defines their performance space.  During the first set a slim, stage wide, rectangle of video screen hangs above the stage;  echoing the minimal, linear array of the floor LED.  The lighting for set one is trimmed low, close to the screens, creating an intimate environment.

At the start of the second set the flown screens pull apart and and deconstruct into an array of irregularly spaced individual tiles.  The lighting positions travel out at the same time, opening up the shape of both systems; enlarging the scale of the performance environment and creating a flow of areas of negative space.  

In the first parts of the show the video content is more spare, and minimal, often filling the entire area of the screens in overlapping, shifting planes of color - to establish the architecture of the set, cleanly present the band in the performance environment, and introduce the visual element of the screens into the show.  In the later parts of the show both the physical environment and the content evolve to be looser, more broken up, less flat, and more active.  The images travel more across the screens; sometimes distorting and redefine the shape and space. 
The content design takes advantage of the Roe Hybrid tiles, which provide both a medium and a high resolution surface in one plane.

Lighting and video are operated completely improvisational by Chris from one console.  The video content was created by Abigail and Dan Scully.  The incredible expanding screen was provided and design engineered by Tait Towers.

Ford Rouge Factory Tour wins THEA Award for Outstanding Achievement

Manny was  thrilled when the folks at BRC Imagination Arts asked us to design the lighting for the  Manufacturing Innovation a 360 degree theater that is part of the Ford Rouge Factory Tour.  We were even more thrilled when we learned it won a THEA Award for Outstanding Achievement.   

The show was conceived to celebrate the launch of the new Ford 150 truck which is built at the Rouge Plant, Dearborn MI.   The audience experiences how the truck was designed and built through six screens that immerse the audience in a 360 degree experience.   The show uses projection mapping on the 150 to illustrate the journey the truck takes through the manufacturing process.   

We designed the lighting throughout the theater to wrap around the audience and immerse them in the experience of the show.   We lit the walls behind the screens as wrap around cyc and we embeded small puck lights in the floor in a grid.   We were then able to extend the canvas of the theater by using the floor and walls together in pixel map.   The effect is a fluid radiating wash of color across the theater in sync with the music and narrative beats of the show.   

A real highlight for us was conceiving the lighting for the manufacturing robots that are central to the show.   It seemed natural that instead of lighting the robots from above or below, the robots themselves should emit and glow with light.  This way no mater where in space their arms move they always are alive with light. 

NYX joins the team for Honda & Acura

This year Manny was invited by his client, Spinifix, to join the team for the Honda and Acura press conferences for the whole auto show season.  In each city NYX needs to support two shows in two different spaces so naturally Manny asked Brian to also join the team.   

While Manny serves as the designer for both brands up front on site for this year's The Los Angeles Auto Show, Brian was the designer for Honda and Manny was the designer for Acura.

For Honda this season, the design centers around a ever changing array of pixel mapped cubes.  For each city, the cubes are arranged in a different pattern and Manny creates a different pixel map for Spinifex and then they create the reveal video that stretches across not only the ultra wide screen video wall but also down onto the cubes as well. 

In Los Angeles, Honda revealed the New H-RV and the reveal video's creative was centered on a cubist/mindcraft look.  The lighting design continued the cubist theme with Magic Panels within the garage for the car that Brian cued to first appear as full cubes but as the reveal progressed those cubist patterns were deconstructed into smaller and smaller square patterns.

Acura debuted the new 2016 ILX and Spinifex wanted to work with volumetric light as design motive. The creative direction was to use light as architecture that could be reshaped through out the reveal.   In the auto show environment getting enough darkness to perceive this effect can be challenging so the team leaned heavily on sharpys who beams have enough energy to cut through the background noise of the auto show floor.

Detroit is up next and the team is hard at work getting ready.  Watch this space for the next update from the season.

 

Xbox E3 2014

It was all games, games, and more games as Phil Spencer from Xbox too the stage at this years E3 Media Briefing.   Manny was asked again by our client, Zed Ink to be the Lighting Designer for the Media Briefing which was broadcast live on Spike TV.   This was Manny's 9th year lighting the project.

A major feature of this year's show was a design that brought the show more out into the audience.   Three satellite stages with scenic LED backing screens were place out onto the main floor of the Galen Arena.    Using the whole floor of the arena brought the presenters and the game demos closer to the audience and created a more intimate look on camera.

This year's set featured an ultra aspect ratio screen with track masking elements to close it down when needed.  This created many technical challenges.  We chose to solve them by attached integral lighting to the scenic elements so their lighting quality traveled with them as they moved.    It also allowed the programming of the show to be agnostic from the position of the scenic walls.   If the creative team chose to change the placement of a tracking cue it did not requite a refocus on our part

Erin Hearne Williams, Zed's Creative Director for the show also wanted to immerse the audience more into the show and have that be reflected on the broadcast.  She added LED bracelets from Pixmob that could be controlled as part of our lighting system.  This opened up a whole new world of visual effect that turned the audience into surrounding backdrop for so many of the camera shots seen at home.   

Evening Showcase

This year both Manny and Brian also designed the Xbox Showcase.   The location is always an iconic downtown venue.  This year was no exception and the event took place at the recently renovated Ace Theater.   Its rich architecture, painted in the brand colors of Xbox become a photogenic backdrop for debut of game play from so many of the new titles coming out this year.

Electric Holiday

We just helped to launch the Electric Holiday windows for Barney's New York. We were thrilled to be asked to design the windows by our long time client Disney. It was an exciting night celebrating the windows and the kickoff of the partnership between the two companies.

It was a rare opportunity to be asked by both Disney and Barneys to create the environment within the windows.  True to the Barneys style they wanted truly outside the box and surprising in terms of a holiday display.  The approach was to create a video sculptural environment as a canvas.  Disney created a special moving short that blended the two worlds of both brand and then we in turn created additional animation and lighting that surrounded and supported the Disney centerpiece.  

We worked incredible closely with the folks at d3 all throughout the design process.  They supported us and Disney in the most fantastic fashion.   They put together video below that documents wonderfully the design and creation process.  

Xbox E3 2012

This year's E3 show marked 7th year in which we designed multiple projects for Xbox.  We worked for our long time client, ZEDink, as always their great creative direction gave us wonderful opportunities.  Zedink asked us to design the Media Briefing, the Showcase event and evening social event for Halo 4.

This year's Media Briefing, which was aired live on Spike TV, had many highlights starting with a live performance from Usher.   Usher performed his new single synchronized to gameplay from Dance Central 3.  His performance added a whole new layer to our design approach this year.  The whole creative team wanted to create surprise associated with his performance.  We did achieve this by crafting his reveal behind one of offstage LED screens.  Because we were working with Winvision 9mm we had the flexibility to remove the backing from just that one screen.  This allowed us to create a transparent effect only on that one screen.   We then added a winch system for the reveal to precisely fly out the screen.  With a little additional lighting upstage we ended up creating an unexpected and layered entrance for the performance.

Another highlight was the show open, which was a new live action trailer for Halo 4 that we were asked to create an total environmental design which needed to encompass the whole arena.  The show also featured new announcements from Nike, the Smart Glass interface from Xbox, a South Park game and then the show closed with a massive Call of Duty demo.

One of the major creative directions from ZEDink Creative Directors Julia Zarro and Erin Hearn was that the entire event needed be more immersive, with the show all around the audience rather than just down at one end of the arena.  To achieve this we used the in-house LED fascia as an image surface, and created circular lighting pods throughout the house which served as visual chandelier elements that could become anything from a red scan for Halo to Dance Central animated dance floor lights on steroids.

All in all, we were thrilled to be a part of the design team and are so proud that the collaborative effort resulted in such a successful show.