​With our third year at Secret Circus, we decided to pull out all the stops. We had full reign to build out the stage design we wanted and create the perfect visual aesthetic for this stage and style of music.

Here's the details:
Projection - BenQ Short Throw from the truss to the back wall. Three screens divided and mapped.
Monitors - 8, 17" monitors mirrored and hung on the front of the stage.
Lighting - 4 DMX scanners, 4 LED strips, 2 LED cubes for accent lighting and color schemes
Interactive - Kinect for Windows running into Touchdesigner giving both the DJ a unique look and the opportunity for the audience to interact and make their own visuals. It was a hit.

​CLIENT: N/A  |  DATE: June, 2019

​CLIENT: N/A  |  DATE: June, 2018

​A derivative of our initial creation Constellation, Chaotic // Order is a rearrangement of the mirrored pyramids to create new structures. Here eight pyramids circle one central pyramid that are mapped all together and individually to create a playable structure.

You can see bits of this sculpture in action from our Interactive Salon performance.

Music by sleepdealer.

​BELOW: Testing harmonies of opposite sides of the color wheel through a prism.

​CLIENT: N/A  |  DATE: May, 2018

​CLIENT: N/A  |  DATE: October, 2017

​Sculpture will never be the same.

Through a new project from Second Sight Visuals, projection mapping, light art, interactive technologies and physical sculpture combine in a modular piece we call Constellation.

Starting off with Ursa Major's iconic Big Dipper, we tested a proof of concept where light played and danced off of a reflective sculpture that bares the shape of said constellation. 

The interactivity comes through all sorts of controllers such as tapping out beats and playing it like a drum, using buttons in chords like an organ, or having a Wii remote work like a flashlight and explore the piece that way.

Additionally testing is in the works for audio reactivity and using this sculpture in a live music setting.

The opportunities for unique interactions with the sculpture are truly limitless and we are excited to dive in further.

Projection mapped a mission-style facade on the Grove stage at Earth Rhythms. Used a mixture of the Emergence technique and other clips for a number of artists.

Check the recap video below with music by Beak Nasty and TRNSTYL.

​CLIENT: Kate and Julie Skalak  |  DATE: June, 2017

​Apello in a nutshell is an interactive rainbow machine. ​Point it at anything you wish had rainbows. 

Using VDMX we build out several iterations to work in unique situations. The white light is controlled and mapped in the program and then shot through a prism to give it the angelic, dancing spectrum you see. 

The first application was for a party at a hotel. Seeing their cool, but bland, sculpture on the stairs as you walk in inspired me to hijack it and augment it with light and rainbows. 

Apello was also featured with an interactive element at a local artist meetup. Here you could control it's movement and growth via a wii controller. The content itself utilized the audio of the space to build a spectragram in real time as well.

CLIENT: HER Social App  |  DATE: May, 2017

​Booked to help create a unique look for the HER Social App Anniversary Party, we overlaid custom liquid visuals with live silhouettes from the dance floor. Utilizing Kinect for Windows, Resolume and Touchdesigner, we brought the large central elevator shaft to life as the main visual focus of the night.

CLIENT: Andrew Skalak  |  DATE: October, 2016

My brother was working on his experimental film project "Industrial Declension" and wanted some projection work done. I was in.

We wanted to juxtapose nature and city, beauty and glitch with projections both out and around Chicago's back alleyways and inside of a studio to show tension and chaos with our actress. The results are pretty cool.

​CLIENT: St. Paul the Apostle School  |  DATE: March, 2016

When my Mom told me she was putting on Willy Wonka at my old grade school, I knew it would be a perfect chance to use projection mapping. She was on board.

We ended up using it in the classic boat scene where shit hits the fan and made the sail into a visual focal point. I was able to use imagery that worked with the pace of the song and the creepiness of the scene (although not too creepy since this would be shown to kindergartners).

This being my first live production I learned the frustrations that come with the territory, but learned and evolved what I was doing to make it work.