Imagine if Buildings Could Talk – Wrapup

You are going to want to get a cup or glass of a favorite beverage for this one – it’s long.


Project Timeline

  • 2015: Summer – Gayle Seymour contacts me about doing a projection mapping event on the facade of LRCH
  • 2015: Contact Jim Lockhart and Jonathan Richter (J & J) about working on it with me
  • 2015: NEA Grant submission
  • 2015: Fall – Sabbatical Application for spring 2017
  • 2016: Spring – Get news of NEA grant (awarded, but not fully funded). Awarded sabbatical leave
  • 2016: Summer
    • Meet with Blake Tyson about the piece
    • Setup Google Drive (shared docs with Gayle, Jennifer, and Blake), Dropbox (shared files with Jim and Jonathan), and Basecamp (communication with J & J mostly, but with Gayle, Jennifer, and Blake as needed)
    • Contacted projection companies about possibly doing the project
    • Late summer – MooTV got on-board as projection company with Travis Walker as project manager and Tim Monnig as systems engineer
  • 2016: Fall
    • Blake Tyson composes and records music
    • Developed themes for imagery
    • Started modeling the facade
    • Occasional meetings with National Park Rangers and LRCH Principal, Nancy Rousseau
    • Nashville meeting with J & J
    • Not much more besides answering questions and trying to make it through the semester
  • 2017: Spring
    • Started full-time production – finished facade and statues
    • January Nashville meeting with J & J
    • Demos and marketing images, several things to show what projection mapping is, but not imagery that would go into the final piece
    • Developed “School Life” section
    • Two visits to the Arkansas State Archives
    • Multiple meetings with Nancy Rousseau, Rangers, and working with potential vendors for Sound and Generator
    • Request for permission to use Will Counts photos (early April)
  • 2017: Summer
    • 3D production – finish School Life; develop Desegregation Crisis section with several re-starts throughout summer
    • Finalize vendors for sound and generator and work out scaffolding, ultimately finding a scaffolding vendor
    • Get permission for Will Counts photos and Raymond Preddy photos; Finish Desegregation Crisis section (August)
    • Ongoing communication with J & J regarding their sections
    • PROMISE youth camp workshop
  • 2017: September
    • All imagery assembled from the three of us artists
    • September 15th – Meet at MooTV in Nashville (J&J, Travis and Tim) to walk through playback, and designing the lighting looks
    • Window, door, and sconce drapes made
    • September 21st
      • Scaffold built; projectors, sound, and lights loaded-in
      • Windows covered from interior
      • Doors and sconces covered on exterior
      • Projector alignment
    • September 22nd – image mapping and alignment
    • September 23-24 – public shows and load-out
    • September 25th – 60th Anniversary event



Original Blueprints at the Visitor’s Center

The Content

The sections of the animation:

  • Opening – Construction and Statues (Jonathan)
  • School Life – academics and athletics over the history of the school (Scott)
  • Desegregation Crisis and Lost Year (Scott)
  • Close – the spirit of the students in school now (Jim)

Projector Point of View, students installing exterior drapery

Why did it take so long?

There are two main reasons it took months to get the work finished. The first is that 3D animation takes a while to do, especially if there is a lot of modeling detail. I spent a few weeks modeling the statues and, though the rest of the facade was relatively simple, I spent quite a bit of time on the model so it would match the photographs as closely as possible. Once I got into the School Life section, I found myself mired in the 3D details too.


Finished 3D Model of the LRCH Entrance

The second is that turning a general theme into imagery can take time. The School Life section was the first one I designed because I thought I had a strong sense of what I wanted it to be. As I pecked away at it by building or procuring models of books and sports equipment and then creating materials and lighting, I was not only burning time, but also slowly developing an idea of what the section should look like. On top of the 3D animation, I also spent about 10 hours at the Arkansas State Archives over two trips going though old yearbooks and newspapers. To finish researching the photographs I needed, I visited the LRCH library with help from Stella Cameron and went through some materials Gayle found at an estate auction. A lot of time went into bringing the 3D and 2D elements together as well as over two weeks of rendering the final animation.

The Desegregation section also took a great deal of time changing it from a theme to actual imagery. I wasn’t sure I would have permission to use the photographs made by Will Counts until it finally happened in mid-July (I originally asked permission to use them in early April). Through the summer I worked on several different ideas to illustrate the events of 1957-59, but was never happy with any of them. Either the ideas were too great in scope or they just didn’t look as good as I wanted them to when I tried them out.

When I got permission to use the photos I decided to celebrate the photos themselves with an overall look that was reminiscent of a project I did several years ago, but this version ended up being much better. Also, with having a strong sense of what I wanted to do with the photos, I was able to get the work done quickly. The actual production time on the Desegregation Crisis was significantly shorter than the School Life section, but it took even longer to get to the point of actually producing final imagery. The slowest part was creating the images for when the Little Rock Nine enter the school. Those photos exist, but are blurry and taken from too far away so I re-created them in a slightly illustrative style.

One of the best aspects of doing this project was that there was no client. Jim, Jonathan, and I chose to take our time to think about the piece and let ideas evolve. There was a lot of idea incubation time as well, which was useful to try an idea out and then let it sit for a while to see if it was right. The three of us normally have to think on our feet and get work done quickly for clients, but this project afforded us the time to consider what we were doing and be satisfied and proud of our choices.

Similarly, when there is no client and there is time, I am able to let my INTP-ness express itself. I prefer to think through a problem and try different approaches and I am willing to work through solutions in my head and let them go if they aren’t working. For personal work, this too often means that I may not necessarily finish a project, but since this particular project did have a real deadline, I was able to mix my inclination for mental play and get things done.


Saturday night audience


For me, the show started production on September 15th when I went to Nashville to program the lights and check playback. Jim, Jonathan, Tim, Travis, and I met for the first time in the same space to talk through playback of imagery and sound and see what we were capable of doing with lights. I had sketched out lighting ideas for each section and we started with that, but it turned out that Travis is a lighting designer too and was doing the programming, so we worked together to create the looks for each section. This process took about eight hours, but it paid off since we were able to just tweak some timing on-site at the school, rather than doing any more design work.

September 21st was load-in day for projection, scaffolding, sound, electrical generator, and drapery. Considering all of those elements had to come together in the same late afternoon, it went remarkably smooth. I created an itinerary so each of the vendors could make sure things got setup in a certain order. Rock City Staging installed an 8’ x 16’ x 8’ platform with roof and side covers. A/V Arkansas installed a sound system and supervised getting the generator, provided by RIGGS, located and power cables run. Our primary directive from the principal and the rangers was to keep all equipment out of sight so anyone taking a picture of the school would not have AV equipment in the picture. A/V Arkansas was able to accommodate by placing the speakers behind trees to the sides of the main entrance. The UCA Physical Plant assisted Travis and Tim in getting the 240 lb. projectors lifted onto the 8’ platform. The Physical Plant also setup barricades around the projection platform.


Scott (in too baggy clothes), Travis, and Tim

Shauna led a team of Film students to install drapery on the interior of the arched windows and I got some help from Jim and Matt Rogers, Film student, carrying lighting fixtures up to the fourth floor roof and to the sides of the facade.


Lights on the roof over the entrance

That evening we were able to power up the projectors and lighting equipment as it was getting dark enough to see them. The school was having a parents open-house so we had to wait until about 7:45 PM until we were able to install the outside drapery for the first time.


Students installing drapery, right – Jonathan and Jim

The rest of the night until about 3:00 AM Tim worked on aligning the projectors. The process is slow since there are multiple projectors and the alignment software on the projectors is slow (click to move a pixel then wait several seconds to see the change…).


Projector alignment

September 22nd was about testing the playback, lighting, and sound systems first and then mapping/image alignment. There was a home football game that night against rival North Little Rock so we could not turn off the building lights. Luckily, the projectors were bright enough to be seen over the building light. After running through the show a few times we let the sound guys from AV Arkansas go and turned off the lights. The rest of the night was about mapping the animation to the building.

We had some technical issues with a model I provided for mapping, but it was undiscovered until late. Tim worked through the night to get the mapping software to do the best it could with what it was given. OVERALL, the mapping looked good. Unfortunately, there was offsetting towards the bottom of the image that couldn’t be fixed, but wasn’t that noticeable.


Image mapping – Tim with binoculars checking his work

September 23rd and 24th were the shows starting at 7:30 and running every 15 minutes until 9:30. The final animation with credits was a little over nine minutes. I created a countdown animation, which was Shauna’s suggestion, so the audience would know when it would run again. The lighting console ran the show by sending a start command to the video/audio system and running the light cues.

The two nights started around 6:45 PM by installing the exterior drapery. Then we would wait for 7:30. Saturday night there was a jazz concert that preceded the show that started late and ended late so we didn’t start the show until nearly 8:00 PM. Sunday night there was an event at the Commemorative Garden across the street before the show, which ran on time and was designed to lead the participants and audience over to the school building to see the animation. Both nights were well attended, but Sunday night, to my surprise, had a bigger audience. Each night there were several people who stayed the whole time and watched the show repeat, which was strange and cool.

Sunday night we took down (struck) most of the equipment. The students, Chris Churchill, Steve Stanley, and Jim helped take down the exterior drapery and the lights. UCA Physical Plant came back to help take down the projectors for MooTV. A/V Arkansas also struck all of their equipment. Monday the platform and generator were removed from the grounds.

Mr. John Robert, facilities engineer, was instrumental in getting us into the building, out on the roof, and turning the lights off. I can’t thank him enough for his work and extra time he put in to help us.


Lighting check

Monday, September 25th, was the official 60th anniversary event and I was pleased to be invited. It was amazing to see and hear the eight surviving members of the Little Rock Nine, as well as experiencing President Bill Clinton’s keynote address.


Bill Clinton with the surviving members of the Little Rock Nine


I was overwhelmed by the audience response to the work. Several of my friends and colleagues saw the show and let me know how well they liked it. I was also approached by people from the community and LRCH alums that truly appreciated it and thanked us for doing it. Each person seemed to have a favorite moment for them and thankfully, the favorite moments were from each of the sections. Probably most of the comments were about the moving statues in the opening section; the tiger in the school life section was mentioned several times; when the Nine entered the building was another highlight; and the rainbow spheres were also a big hit. I was especially pleased with the emotional response to it. After working on it for so long it was hard to know whether it was really going to work or not and I think it did very well. Nancy Rousseau had seen the school life and desegregation sections on a computer weeks before the show and she really liked the whole show and I believe she truly appreciated the effort that went into lighting up her school.


Opening – Statues introduction

What struck me the most was how well Blake’s music and the imagery came together. I’ll admit that Jim and Jonathan worked harder at synching the imagery to the music than I did and it paid off. The place I worked the most on blending the imagery and the music was the end of the desegregation section where the music brightens while we see the capitol statues rush past. The music gave the imagery an emotional depth that was very satisfying.

The lighting surrounding the projection area was awesome. It was part of my original vision and it worked out so well. The lights were bright and colorful and not only expanded the projection area, but also removed the rectangle by fading it upwards and to the sides. The scale of the piece increased dramatically by incorporating the lighting.


School Life

I knew we had something special based on Shauna’s response. She hadn’t seen it prior to the first show Saturday night and she was blown away. She was reluctant to support the project at first (in 2015) because she knew it would be big and that I would be working on it for a long time, but after seeing it the first time she was ready for me to start doing the next one, wherever that may be – even if it was back to a stack of boxes.

Projection mapping events are special because they are unique to their locations. I’m pleased to show the video of the work, but it does not do it justice. The vibrant color, bright light and images, and the overall scale of the piece does not translate to video. Similar to watching a play or concert on TV – it’s just not the same.

The project was highlighted by a press conference and a kick-off event preceding the show on the UCA campus, an interview in the Democrat-Gazette, an interview on KTHV 11, an interview for The Echo, and an interview on Spotlight. It was also covered by UCA media before and after the event and was featured in the UCA President’s Update email newsletter.


Desegregation Crisis section – Little Rock Nine entering the building

Lessons Learned

I refuse to nitpick the piece. I’m proud of our work and I know how it could have been better, but overall I am more satisfied with this work than practically anything I’ve done in the past. Having said that, there are a few things that I’d like to document as far as lessons learned.

  • We should have done more cool stuff. The moving statues were a HUGE hit and though we originally planned to do a lot more with them, we only animated them once. It would have been nice to move them at least one more time. The rainbow spheres were also a big hit. Projection mapping events commonly incorporate playful animation of the architecture and while we did some, we could have done more. It was mostly my fault. I was so worried about respecting the events and school that I forgot to have fun. I also found that through my mapping simulations that the building was hard to transform. The projection area is already quite 3-dimensional so I found it difficult to mess with it much. It was a good lesson to learn based on audience responses and will definitely incorporate more transformational animation in future projects.
  • Projection mapping alignment took quite a long time. I should have worked with Tim more in the weeks prior to the show to go through the details of the mapping process. I was providing a 3D model, but not really getting into the rest of the process. I assumed that at the very least we would do a flat projection on the building since the rendered animation was from the point-of-view of the projectors, but as I saw the mapping process I realized that I was being naive. Tim and I are currently working through the process to see where we can make it better in the future and why we had some model compatibility and scaling issues.
  • The lighting was so important to the look of the final piece. It was a very effective way of expanding the scale of the projection and softening the rectangular shape. I definitely see using that technique again.
  • Get the sprinklers turned off. Though Jim would probably not agree, I’m glad we were there when the sprinklers went on at 1:00 AM or so in the morning. I ended up covering a couple of them with buckets with weights on them.

Close – Lines of Light

Hours and Emails

I logged 623 hours on the project from early January, 2017 until a few days after the event. I created a Google Form that I kept open in a browser window. It had a line for me to say what I did that day and a choice of a number from 1-10 for the number of hours spent. My most consistent hours were from late January through May and then again in mid-July through August. Though I did work in June, it was spotty due to some outside projects and taking some time off. The hours included doing graphics work as well as time spent on emails, documentation, meetings, and other tasks related to the project.

There are 496 emails in my Central High folder.

On Basecamp we had 20 discussions with 152 total messages.

There are 39,217 files on my computer related to the project. The number does not account for duplicate files, such as photos on a local hard drive and a copy on Dropbox. Nearly 2/3rds of the files are rendered frames (30 frames per second of animation).

Sabbatical Leave

I was awarded a sabbatical leave for the spring semester of 2017 to work on the project. The leave was needed for the project, but also something I NEEDED to do for myself.

I needed a break from teaching and service activities. I’ve been teaching each fall and spring semester at a university for the past 17 years. That may be grand for some professors, but I have such a love/hate relationship with academia and large organizations that I need breaks. I have also been going through a transition in my career both as an educator and working professional and needed some time to take stock in where I’ve been and where I would like to be in the future. A big part of applying for a sabbatical leave of absence was to give myself some time to recharge.

Similarly, I needed some time to focus and do some deep thinking about a creative problem. Teaching classes, helping colleagues on their creative projects, and doing short professional projects are fine, but they do not give me the opportunity to do my own creative work. The projection mapping project made me do the things I like to do, such as research, create 3D animation (modeling, animation, lighting, shading, rendering, compositing), and do some creative problem solving regardless of the content. In this case, in terms of how to communicate ideas of; the history of a school, school spirit, racism and the desegregation crisis, diversity, and education. I don’t believe I could have done the work while also carrying a 4-4 course load and the service expectations at UCA. I’ve done several other projects during a regular semester that were highly compromised due to the time and mental effort taken away by the needs of the job of professor.

Geek Stuff

Just a list of software used on the project:
3D: Blender (Scott), Maya (Jonathan), Cinema4D (Jim)
2D: Affinity Photo and Designer, Photoshop
Compositing: After Effects, Fusion, Premiere Pro
Video Editing: Premiere Pro, DaVinci Resolve
Projection Mapping: Pandora’s Box

We compiled the show and synched sound in Premiere Pro. The project file was on Dropbox and we would text each other when we had the file open so someone else wouldn’t open it and cause a problem overwriting it.


Close – Rainbow spheres

Thank You

Thanks so much to everyone who helped and supported the project. Blake, Jim, Jonathan, and I could not have pulled it off without these people.

First, Gayle Seymour, Associate Dean of the College of Fine Arts and Communication at the University of Central Arkansas who was my partner on this project. This whole thing is her fault. She recruited Blake and I back in 2015. Throughout the process she sheltered me from the politics surrounding the 60th events and she dealt with the things I needed to worry about, but couldn’t do anything about, for instance getting 24-hour security for the equipment on-site and dealing with contracts and funding sources. There are so many more things that she did, including working with Jennifer Deering, Grant Writer in UCA’s Sponsored Programs department, to write grants and organize many more events besides the projection mapping event.

I also want to say that Tim Monnig and Travis Walker at MooTV were instrumental in making this happen. We were in contact with each other for 12 months to make sure everything was going to work properly. They are great to work with and hope we can do it again soon. They mentioned projecting on the Capitol Building, which sounded cool:)

The following is a list of those who contributed to the project:

  • Produced by Gayle Seymour, Jennifer Deering
  • Animations by W. Scott Meador, Jim Lockhart, Jonathan Richter
  • Projection by MooTV – Nashville, TN. Travis Walker, Tim Monnig
  • Musical score – The Surface of the Sky by Blake Tyson
    • Performed by UCA Percussion Ensemble – Carter Harlan, Victoria Kelsey, Jarrod Light, Bradlee Martin, Scott Strickland, Stephen Timperley
  • Sound by A/V Arkansas
  • Projection Platform by Rock City Staging
  • Lighting Equipment by UCA Theatre, Greg Blakey
  • UCA Film Student Crew – Rebecca Koehler, Melissa Foster, Jonhatan Nevarez Arias, Matt Rogers, Zack Stone, Takuma Suzuki, Dawn Webb
  • Projection Drapery by UCA Theatre, Shauna C. Meador, Sidney Kelly, Donna Dahlem, Hannah Pair, Autumn Toler
  • UCA Physical Plant – Dustin Strom, Jeremy Davis, Dale Gilkey, David Mathews, Tom Melrose, Skipper Pennington, Joe Richards, Joey Williams
  • National History Sites – Robin White, Tarona Armstrong, David Kilton, Marchelle Williams, Jodi Morris, Chelsea Mott, Toni Phinisey-Webber
  • Special thanks to:
    • Nancy Rousseau, Jane Brown, Stella Cameron, Scott Hairston and the LRCH Student Council, Mr. John Roberts
    • Kristy Carter
    • Carri George and Arkansas PROMISE staff
    • University Relations and Creative Services
  • Student images used in closing section
    • Ashlyn Sorrows – Stand Together
    • Shelby Curry – Human
    • Madison Bell – I am Human
    • Erbie Jennings III – Laying the Foundation
    • Charis Lancaster – We Come In Pieces
    • Mae Roach – Released from Chains
    • Joah Gomez – the world is in your hands
  • Funding provided by
    • National Endowment for the Arts
    • National Park Service
    • Mid-America Arts Alliance
    • Arkansas Arts Council
    • Department of Arkansas Heritage
    • City of Little Rock
    • University of Central Arkansas
  • Will Counts photographs provided by Vivian Counts, Bradley Cook, and The Arkansas Arts Center
  • Raymond Preddy’s photographs provided by UA Little Rock Center for Arkansas History and Culture