Sound & Communications58

Dynamic interactive exhibits at Museum of Science and Industry.

EXPERIENTIALLEARNINGBY MARTIN PALICKI

The days of glass-case exhibits in museums are over. During the last decade, leading institutions have been moving toward developing more interactive exhibits with media supporting their educational goals. With the Museum of Science and Industry’s new Future Energy Chicago exhibit, interactive media “is” the exhibit. The model introduces gaming technology to teach visitors the importance of energy conservation. The reliance on integrated media technology is a trend that will not only reverberate through the museum market, but is also taking hold in other sectors.

Developing The ExperienceThe Museum of Science and Industry (MSI) set out to create a dynamic

exhibit targeted to middle school students that introduces them to the current energy landscape and inspires them to think about how they can help create a new energy future. MSI was clear from the beginning that experiential learning was necessary to break the typical mold of science

The focal point of the room, a 24'x8' projected scoreboard (background) updates scoring in real-time with two edge-blended three-chip DLP projectors. In the foreground, students gesture above the gaming table to select how to power a model Chicago.

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Projection mapping on 3D printed car models encourages participants to select the most energy-efficient options for their car, and then uses flatscreen monitors to simulate a ride in the newly-created vehicle.

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Future Energy’s main exhibit space takes place in a “black box” with five game stations. Some, like the table in the foreground, use digital projec-tion and gesture recognition technology to help partici-pants learn.

exhibits. The Museum also wanted the exhibit to have a firm foothold in real-ity. Utilizing real world data (and being able to adjust to that changing data) was important. That meant creating a sophisticated computer and AV system for the exhibit’s backbone. The Muse-um turned to Evidence Design (http://evidencedesign.com/news), Potion Design (www.potiondesign.com) and Electrosonic (www.electrosonic.com) to help develop the overall experience, create the gaming modules and pro-vide the technology to power it all.

“We were trying to get away from flatscreens,” explained Evidence De-sign’s Shari Berman. “MSI is known for visceral experiences, and the di-mensionality we wanted to bring to this exhibit adds a level of realism.”

Dr. Patricia Ward was the Museum’s Project Director for the exhibit. The exhibit was designed to be an in-depth experience, as well as an opportunity for students to play together coopera-tively and competitively. “We designed this to be somewhat of a foil to Sci-ence Storms [the Museum’s award-winning permanent physics exhibit from 2010],” explained Dr. Ward. “We wanted this exhibit to be unique and different.”

It is. Unlike Science Storms, which straddles two levels and offers count-

less modular exhibits that visitors move be-tween, Future Energy is an entirely facilitat-ed experience, located in a small space that moves progressively through three acts: The Energy Garden, a six-minute energy film and an interactive gaming area.

The Energy GardenGroups of up to 30 guests are di-

vided into five teams and assigned a color. The docent briefs them on the exhibit and guides them into the En-ergy Garden. Here, everyone is given five minutes to explore. Nearly a dozen stations are scattered around the room. Equipped with stationary bicycles or hand cranks, visitors use their own energy to activate special effects and lighting designs. One bike powers a strobe light set in front of a phospho-rescent wall. Other bicycles power colored lights that guests can create shadows in front of.

The center of the room houses a large glass plasma sculpture. As visi-tors turn hand cranks, the plasma glows and “lightning” moves up the sculptures. All of these activities were

created by Evidence Design and sup-plied as turnkey products by the ex-hibit fabricator.

After several minutes, the lights around each of the activities dim and attention is drawn to a 20-foot-wide curved oval screen at one end of the Energy Garden. A six-minute Future Energy Film provides context for the entire exhibit. The story opens with a sweeping journey across the increas-ingly complex ways we have extract-ed energy from Earth’s environment, building to a sense of today’s urgent challenges and the promise of “future energy” now rising on the horizon.

“The film shows that the Energy Garden and interactive games aren’t disembodied experiences,” said Film Producer Donna Lawrence. “It places the activities the visitor has just com-

At Future Transportation, players work to get cars off the road by building alternate transportation systems. An overhead projector paired with gesture recognition technology tracks players’ decisions.

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Sound & Communications60

pleted and will embark on in the con-text of the full exhibit and the entire energy story.”

More Than ExpectedAlthough appearing naturally within

the room, the curved screen required much more manipulation than expect-ed. The Energy Garden contains a low ceiling space and the team wanted a cinematic experience that wasn’t in-

terrupted by people walking in front of the screen. The only space for the Barco three-chip DLP short-throw projector was mounted to the ceiling, tucked between speaker cans and light-ing tracks.

Short throw lenses have to be on axis with the center of the screen. For example, with a 10-foot-tall image, the projector should be roughly at the five-foot mark. With the ceiling-mounted projector positioned well above the top of the oval, the team borrowed technol-ogy from dome theaters to adjust for the change in axis. A Seventh Sense media server provides geometric cor-rection and warping to adjust for the curved screen as it feeds the media to the projector.

Acoustics in the Energy Garden also provided a minor challenge. The ceiling space above the area is open throughout the exhibit, so sounds from groups in different areas of the

exhibit can distract from the overall experience. The team tried to create a balance by strategically locating speak-ers overhead and behind the screen, targeted to the film viewing area only, and by using sound-absorbing materi-als for the screen and walls.

After the film, the group is led into the main exhibit space. Looking more like a theater than a museum, the black walls and ceiling belie how small the

space actually is, and attention is im-mediately drawn to the five interac-tive stations in the center of the room. Above each station is an LED “tank” that glows with the five teams’ colors. The front of the space is anchored by a 24'x8' scoreboard, illuminated by a pair of edge-blended Barco three-chip DLP projectors. Each of the five stations of-fers a different game that teams work on together for a few minutes at a time before moving on to the next game.• Future House: Ten Samsung 36-inch flat multitouch screens are em-bedded in the sides and top of a scaled-down house. Screens on the side reveal rooms within the house, while the top screens show the roof. By touching ob-jects in and on the house, players are presented with options, such as fila-ment, fluorescent or LED light bulbs, a front-loading washing machine or photo voltaic cells for the roof. The team is then scored on how energy ef-

ficient their house becomes.• Future Neighborhood: In the most traditional setup, three large mul-titouch screens set into a long table present a small city grid. Players move housing, businesses and essential ser-vices from the suburbs into the city and build up to increase density. Points are earned based on how walkable a city is.• Future Power: A circular table

in the center of the room has a styl-ized Chicago skyline rising out of the middle. Overhead projectors and ges-ture recognition cameras give players an opportunity to choose what ener-gy sources they would like to use to power the city. Using projection map-ping, the city glows green as its energy needs are met, while excessive power pollution can cause an energy source to be shut down. During several short rounds, additional power sources are added and pollution limits are tight-ened. Teams are scored on meeting power demands and minimizing pol-lution.

Future Car• Future Car: Three slim Samsung LDC displays line the back of a table enhanced by overhead projection. 3D-printed car molds are positioned on each table. By gesturing, players are able to build their energy-efficient car

Designers wanted the

game space to be intuitive. LED

light canisters above each game glow

with the team’s color. Teams

simply follow their color to the

next game at the appropriate

time.

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by choosing everything from the trans-mission to the paint. Once complete, the screens at each table show the car on a test drive and compare it to a similarly sized currently available car. Points are awarded for low-emission, high-power vehicles.• Future Transportation: At a pen-tagonal shaped table, players are faced with a stylized map of several of Chi-cago’s suburbs. By gesturing, players build train, bus or bike routes between the suburbs, connecting residents to key services and businesses. As trans-portation routes are established, the number of cars on the roadways dimin-ishes. Teams are rewarded for remov-ing the most number of cars from the roads.

After teams have rotated through all five games, final scores are tallied and displayed on the main scoreboard. Although there is a definitive ranking, the docents make it clear that every-one is a winner when it comes to en-ergy conservation.

Seamless TechnologyAccording to exhibit designers, one

goal of the exhibit was to make the technology relatively invisible, to al-low visitors to focus on the activities at hand. This, according to Electrosonic’s Yiannis Cabolis, made for several chal-lenges.

For Future Power and Future Trans-portation, the team relied on Asus Xtion Pro gesture recognition cameras. Essentially professional-grade Kinect devices, they are designed to be placed on or below a television set. As such, their viewing angles are 45° vertical and 58° horizontal. In order to accu-rately record a player’s movements, the cameras had to be set in toward the center of the table and angled out toward the edges.

The overhead Panasonic LCD projec-tors, then, were moved toward the out-side of the tables, and angled in. The resulting setup provides the optimum movement recognition area with a min-imal amount of shadow interruption.

Additionally, the team experiment-ed to find the proper of f-the-shelf projectors and resolution to use for each game. The team tested different

The first half of the exhibit takes place in the Energy Garden. There, participants use their own energy to power a variety of exhibits, including a giant plasma sculpture in the center of the room. Before continuing into the simulation area, a 20-foot-wide curved oval screen displays a short film about Energy and Civilization

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Sound & Communications62

Equipment1 7th Sense Nano R-120-8 video player, rackmount, 8 channels audio, 10 mins media3 APC SMT2200RM2U rackmount UPS (2200VA)1 Apple iPad 10.1" tablet8 Asus Xtion PRO Kinect-type USB camera technology2 Bag End INFRA-MX2 mono processor2 Bag End S10E-I subwoofers2 Bag End S12E-I subwoofers2 Barco R9006310 RLM-W8, 3-chip DLP, 1920x1200, 7300 lumen projectors w/1.45-1.74:1 RLD lens 1 Barco R9006320 RLM-W12, 3-chip DLP, 1920x1200, 10,500 lumen projector w/TLD+ 1.2:1 lens 11 Chief CMA330 ceiling mount plates11 Chief CMS0305 36"-60" ceiling poles3 Chief VCM35B projector mount brackets8 Chief CMA365 truss adapters8 Chief CMA273 threaded end caps8 Chief RPA302 projector mount brackets2 Cisco WS-C3560X-48T-L catalyst 3560 48 port layer 3 switches 1 Cisco WAP121 WiFi access point1 Dell Optiplex 3010 small form factor programming computer17 Dell Precision T3600-custom show computers21 Extron FOX USB Extender Tx MM high bandwidth, 480Mbps, USB transmitters21 Extron FOX USB Extender Rx MM high bandwidth, 480Mbps, USB receivers28 Gefen EXT-HD-CP-FM10 S fiberoptic media transmitters, 1920x1200, HDMI28 Gefen EXT-HD-CP-FM10 R fiberoptic media receivers, 1920x1200, HDMI26 Gefen DVI Detective N EDID storage8 Hosa Technology USB-210AF high bandwidth, 10ft USB extension cable w/management1 Innovox FS-H1 custom horizontal 1-channel video display speaker7 Innovox Micro-Sub 6 custom compact surface-mount 6" subwoofers21 James Loudspeaker 32AT4 3" 2-way 4 ohm speakers

1 Marshall MD-HDI-X2-A twin HDMI input module for V-MD7021 Marshall V-MD702 dual 7" preview monitor1 Medialon GD SCMPRO Show Control computer1 Medialon AD RGI PCI timecode input card for GD SCMII1 Medialon AK ADLPCI 7432 32 I/O card for GD SCMII1 Medialon CP-104 4-port RS232 PCI board1 Medialon SL DMX PCI DMX I/O card for GD SCMII4 Middle Atlantic MRK-4436 Assembly rack assemblies w/accessories8 Panasonic PT-EZ570UL WUXGA 5000 lumen LCD projectors w/1.3-1.7:1 fixed zoom lens10 PQLabs G4S Standard 32" IR multi-touch overlay, USB 2.03 PQLabs G4S Standard 55" IR multi-touch overlay, USB 2.01 Premier Mounts AM100 low profile wall mount for flatpanels11 QSC CIML4-HP 4-channel mic/line audio input cards1 QSC COL4 4-channel line audio output card10 QSC CODP 4-channel DataPort i/o cards1 QSC CORE 500i DSP w/16-channel audio player4 QSC I/O Frame Q-Sys I/O frames9 QSC CX-254 4-channel amps, 170W at 8�2 QSC CX-302 amps: 2 channels, 200 W/channel at 8�, 325W/channel at 4�, 600W/channel at 2�2 QSC CX-702 amps: 2 channels, 425W/channel at 8�, 700W/channel at 4�, 1200W/ch at 2�1 Raloy RW119-U8 19" KVM rack console10 Samsung MD32B 32" 1920x1080 LLED/LCD displays3 Samsung MD55B slim bezel professional LED LCD displays4 Samsung UE55A slim bezel professional LED LCD displays2 Shure MX150/C-TQG cardioid lavalier mic2 Shure MX153T/O-TQG omnidirectional earset headworn mics1 Shure ULDX2/B58-J50 handheld transmitter w/BETA 58 mic1 Shure ULXD1-J50 digital wireless bodypack transmitter1 Shure ULXD14D-J50 dual receiver wireless system w/2x ULXD1 bodypack transmitters1 SpinetiX HMP200 network digital signage player6 Tannoy Di6DC surface-mount speaker w/mount2 Tannoy VLS 15 column array speakers2 Tannoy VX12 12' full range installation speakersList is edited from information supplied by Electrosonic.

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The Museum of Science and Industry in Chicago has long

been a leader in interactive and advanced technology

exhibits.

March 2014 63

graphics and fonts for each game to determine how many pixels per inch were acceptable, while staying within budget. As a result, even though they are roughly the same size, Future Transportation uses two cameras and two projectors (26 pixels/inch), while Future Power uses three of each (33 pixels/inch). The simple reason for the dif ference: the amount of detail required for Future Power demanded a finer resolution.

Multi Touch ScreensFuture House and Neighborhood

both rely exclusively on Samsung LCD multi-touch screens for player interaction. The technology still had to be hidden, however, so speakers were embedded into the bottom of the gaming tables. The computer hardware and power management controls are all located in supporting legs and be-neath the tables with well-hidden ac-cess points.

Future Car uses overhead Panasonic LCD projectors and Asus Xtion Pro gesture cameras, as well as three large flatscreens, sunk partially into the ta-ble (only the top portion of each screen is visible to guests). A multi-head PC takes the data from the players’ design choices and turns it into output for the side-by-side test drive animation.

Additionally, because the exhibit was designed to be modified and enhanced in the future, the team opted to use a fiber infrastructure throughout the exhibit. Copper wire for speakers is the only non-fiber connection.

ControlsEach interactive game is controlled

by a custom-built multi-head Dell PC. Individual game computers all com-municate with another computer that aggregates the scoring data and pro-duces media output for the scoreboard. Edge blending, masking and audio are handled by the QSC Core System.

The entire exhibit is monitored by a Medialon Show Controller Machine Pro. It controls entrance lighting, the Energy Garden and film, and the in-teractive gaming area. The system can handle multiple synchronous timelines (different groups in different areas at

the same time) and is accessed via an iPad that docents carry with them. The iPad allows them to control the flow of the experience, shortening or eliminat-ing games as time requires.

Naturally, an exhibit about energy conservation had to consider energy usage itself. Two control rooms house power supply and equipment racks for the AV and show control systems. The exhibit is on a scheduler that interacts with the museum’s building manage-ment system. It shuts the exhibit down overnight, and inactive periods send

equipment into standby mode, reduc-ing power consumption.

Outside The MuseumAccording to Cabolis, Future En-

ergy is an ideal example of how the systems used to control the exhibit are lifted almost exactly out of the theme park world. “In the last 10 years, ex-hibit media demands have increased so much that, from an AV and control standpoint, we treat them almost the same as theme parks,” said Cabolis.

(continued on page 84)

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Sound & Communications84

HOW: BUSINESS(continued from page 18)

INTEGRATOR’S POV: JOHN MAYBERRY(continued from page 36)

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Later on, the video editors fell into a trance when editing with Avid/Mac systems after years of working with our industry standard CMX editors and U-matic, one-inch and Betacam machines.

The Mac has enabled HOWs and religious organizations to produce original, high-quality content at a much lower cost and in less ornate facilities than was the case in earlier years. I have built small, medium and large production facilities on five continents in more than 40 countries that are centered around software hosted on a Mac. Furthermore, I have many colleagues who have also installed Mac systems in religious organizations around the world. For anything media, Mac is a stable product that just works (let’s hope that “Mavericks” does not mess this up). I believe this trend will continue for many years to come.

The Mac has a healthy history in the house of worship market. Today, there are many products available that enable people to create content. However, I believe that the Mac (and the iPad and iPhone) is currently the prominent choice for media creators to publish, share and display content in HOWs and religious organiza-tions around the world. That is what I believe. Please tell me what you believe.

kind to their staffs back then all seem to have held a legacy of longev-ity and respect. A surprising number who didn’t follow his advice are no longer with us in one form or an-other.

All disciplines are interlinked, and the ultimate success of our efforts is always dependent on the work of others. We must work with our team members in order to be successful. Put a premium on improving your

communication skills and maintain-ing an obsessive fixation on the end goal.

So, consider these words my hum-ble attempt to remind you of some-thing you already know: Keep an eye on the fundamentals and make a serious effort to better communicate with all of your team members.

Ultimately, kicking against the goads is a waste of everyone’s time and energy. ■

Theme parks and museums aren’t the only institutions taking advantage of this technology, of course. Dr. Ward sees the same technology trend hap-pening in retail. Gesture technology has appeared in malls and airports for several years, but mostly as pure entertainment. Recently, outlets such as The Disney Store have brought the technology into the shopping aisles to better engage with customers.

Neal Lassila, who worked for Disney and is now President/CEO of Fresh Juice Global (the company that helped Disney Stores incorporate the new technology), asks, “The consumer is bombarded with digital media every day: What differentiates this store ex-perience from what they can get on their cell phone?”

The answer, for Disney at least, was to create 12-foot trees with digitally

mapped projections on the branches and leaves that tell Disney stories. Other activities bring AV technology into the store, like the magic Princess Mirror, which combines a camera with virtual reality technology to show young shoppers what they might look like dressed as their favorite princess.

Ultimately, said Dr. Ward, whether it’s in retail, education or museums, the objective is for the technology to engage people. “At MSI, we continually push ourselves to develop ever more meaningful experiences, to move away from pushing buttons and observing.”Based on that criteria, Future Energy Chicago receives a perfect score.

Martin Palicki is a freelance writer and publisher of InPark Magazine, a themed entertainment professional jour-nal (www.inparkmagazine.com).

AVENT HORIZON(continued from page 90) Queuing for Time-Sensitive Streams; AV traffic scheduling enhancements for a mainstream Ethernet and other network switches.

Two additional protocols support porting of FireWire to AVB (IEEE 1722) and also extend Real-time Transport Control Protocol (RTCP) for Real-time Transpor t Protocol (RTP) over AVB networks (IEEE 1733).

OK, enough alphabet soup. RTP is a protocol that is used to stream video and ensures that packets arrive in the right order. Otherwise, you wouldn’t be able to watch internet video reli-

ably. TCP/IP, the most common in-ternet protocol, works more like an “as long as all of the packets get there eventually” system. That’s great for emails and exchanging files, but not so good for streaming video.

Hence, we have RTP. What AVB adds is a process whereby someone sending an audio stream (the “talk-er”) can request a reservation using Stream Reservation Protocol to en-sure enough bandwidth is available all the way through any local networks, switches and servers to the person re-ceiving the file (the “listener”). These protocols work to synchronize all serv-

ers and switches in the signal path and get that file through as quickly as pos-sible, with minimal latency.

Make sense? AVB is, from the start, a set of protocols for Ethernet audio traffic, using wired networks only (the wireless standard hasn’t been released yet). AVB can only handle baseband video and audio packet formats, not uncompressed display modes like HDMI and DisplayPort, and it doesn’t support RS232 or IR commands. But AVB does travel over structured wire and optical fiber.

Got that? • HDBaseT = Multiplexed AV signals

EXPERIENTIAL LEARNING(continued from page 63)

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