ZSM - Mirrors made of QSM - Magic Mirror Film
Photo © Peroni
Transparency and reflected projection
A. Frontal projection screen
B. ZSM - Magic Mirror
C. Rear-projection screen
1. Illumination of the performers or of real objects
Z. Vision for the public
The audience only sees the performer until the activation of a ...
A. Frontal projection screen
B. ZSM - Magic Mirror
C. Rear-projection screen
1. Illumination of the performers or of real objects
Z. Vision for the public
The audience only sees the performer until the activation of a ...
Photo © Peroni
... 2. Front projection reflected from the mirror
The projected subject, that is an object or a person that can appear out of nowhere or enter the field, is superimposed on the real performer with an illusion of three-dimensionality.
The audience sees the real performer interacting with the projection.
The scene can be completed with a ...
The projected subject, that is an object or a person that can appear out of nowhere or enter the field, is superimposed on the real performer with an illusion of three-dimensionality.
The audience sees the real performer interacting with the projection.
The scene can be completed with a ...
Photo © Peroni
... 3. Rear projection
performed on the C. Rear-projection screen which creates a background for the real subject.
Direct projections or rear-projections on the ZSM - Magic Mirror are not clearly visible.
However, the latter reflects the projections made on other surfaces or allows the viewing of projections in transparency.
performed on the C. Rear-projection screen which creates a background for the real subject.
Direct projections or rear-projections on the ZSM - Magic Mirror are not clearly visible.
However, the latter reflects the projections made on other surfaces or allows the viewing of projections in transparency.
Photo © Peroni
The adjustment of the light intensity of the three levels:
1. Performers, objects and real scenes
2. Reflected projections
3. Rear-projections
allows the composition of scenes in which layers are displayed overlapping and with a varying degree of their presence independently for each of the three.
1. Performers, objects and real scenes
2. Reflected projections
3. Rear-projections
allows the composition of scenes in which layers are displayed overlapping and with a varying degree of their presence independently for each of the three.
Photo © Peroni
Reflection and transparency
B. ZSM - Magic Mirror
The illumination of what is in front of the mirror produces its reflection on the surface of the mirror.
What lies behind it is not visible unless it is illuminated, but ...
B. ZSM - Magic Mirror
The illumination of what is in front of the mirror produces its reflection on the surface of the mirror.
What lies behind it is not visible unless it is illuminated, but ...
Photo © Peroni
... if the rear area light up and the light output of the front area is lowered, the objects behind the mirror become completely visible.
The mirror reflection effect decreases proportionally:
- when the lighting in the front area is lowered;
- when the rear area lighting is increased.
The mirror reflection effect decreases proportionally:
- when the lighting in the front area is lowered;
- when the rear area lighting is increased.
Photo © Peroni
Reflection and projection in transparency
Objects behind the backdrop can be replaced by video or rear-projected images.
B. ZSM - Magic Mirror
C. Rear-projection screen
1 . Lighting of performers or real objects
2 . Rear projection
The effectiveness of the reflection effect ...
Objects behind the backdrop can be replaced by video or rear-projected images.
B. ZSM - Magic Mirror
C. Rear-projection screen
1 . Lighting of performers or real objects
2 . Rear projection
The effectiveness of the reflection effect ...
Photo © Peroni
... and the visibility of the rear projection can be varied ...
Photo © Peroni
... by means of the independent adjustment of their luminous flux.
Photo © Peroni
ZSM - Magic Mirror (mirror / transparent) - main configurations
Blind mirror
M1 - fixing to front inner tube
M2 - fixing to front outer tube
Blind mirror
B1 - fixing to front inner tube
B2 - fixing to front outer tube
Photo © Priamo Tolu / Teatro Lirico di Cagliari
Teatro Lirico of Cagliari, ''Hans Heiling''
ZSM - Magic Mirror backdrop, 18 x h 11 m.
The frontal lighting and the darkening of the part of the stage behind it make it a mirrored wall that reflects what is in front of it and hides what is behind it.
By increasing ...
Photo © Priamo Tolu / Teatro Lirico di Cagliari
... the lighting of the rear part of the scene, the mirror passes from the reflection ...
Photo © Priamo Tolu / Teatro Lirico di Cagliari
... to transparency.
The image shows it here in a phase of uniformity of illumination of the spaces in front and behind it, and therefore intermediate between reflection and transparency.
The result is similar to that of a cross fade in which, on the surface of the mirror, the reflected image is superimposed on that of the scene visible in transparency.
The image shows it here in a phase of uniformity of illumination of the spaces in front and behind it, and therefore intermediate between reflection and transparency.
The result is similar to that of a cross fade in which, on the surface of the mirror, the reflected image is superimposed on that of the scene visible in transparency.
Photo © Fabien Iliou
Beijing Exhibition Center, ''There Was a Mountain''
ZSM - Magic Mirror 14,5 x h 8 m.
The inclined plane with the steps that is part of the scene is reflected and seems to extend into the mirror.
Photo © Peroni
A small ZSM - Magic Mirror backdrop
In a situation where the intensity of the illumination is identical on the front area and on the rear area, the backdrop is semitransparent and semireflecting.
It is in evidence the perimetric finishing ...
Photo © Peroni
... with WCS - S Strap + WOC - C Eyelets + WPE - Perofix, necessary to stretch it correctly during the use.
The obscuring of the area behind the ZSM - Magic Mirror underlines its reflecting effect.
The obscuring of the area behind the ZSM - Magic Mirror underlines its reflecting effect.
Photo © Limeart
Limeart, ''R#5: Time+Air Dance''
The reflection of the space of the installation was created using a ZSM - Magic Mirror backdrop 6 m high and 4,5 m wide.
The transparency of the backdrop was used for making to appear, in fading on the reflected images, the shots of a videocamera that were electronically elaborated with a motion capture software, thanks to which the video disappeared in a condition of quiet, and appeared when the scene became animated.
The video images that surfaced on the surface of the transparent mirror were produced by a large LED screen installed on its back.
Photo © Michele Crosera
Teatro Verdi of Padua, ''Aida''
Two backdrops made of HSE - Tempesta silk 2. red reflected in a ZSM - Magic Mirror backdrop ...
Photo © Michele Crosera
... 11 m high and 14 m wide.
Photo © Amati Bacciardi / Rossini Opera Festival
Rossini Opera Festival, ''Semiramide''
A ZSM - Magic Mirror backdrop hides a Digital printing rear-illuminated backdrop.
The situation of intermediate lighting causes the printed image, which can be seen in transparency, to be superimposed on the slightly reflected image of the scene in front.
But ...
Photo © Amati Bacciardi / Rossini Opera Festival
... turning off the backlighting of the Digital printing rear-illuminated backdrop, the printed image disappears ...
Photo © Amati Bacciardi / Rossini Opera Festival
... and the ZSM - Magic Mirror backdrop totally reflects the scene.
Photo © Ezio Antonelli
Ravenna Festival, ''Pietra di diaspro''
The CAD project by Ezio Antonelli of Ravenna Festival, ''Pietra di diaspro'' scenography.
The red colour shows the position of two square ZSM - Magic Mirror backdrops that have a side of 7 m, which, facing the audience, form an angle of about 120°.
The two mirrors ...
Photo © Alfio Morelli
... reflect both the gallery and the semicircle ring that is bearing the lights: in this way the semicircle appears as a complete circle.
At the centre of the stage, a sector of the hemisphere is reflected by mirrors and looks like a complete hemisphere.
The set designer Ezio Antonelli created «...a system of mirrors where the centre of the stage was the focus for a series of reflections.
Every real element, including the audience ...»
At the centre of the stage, a sector of the hemisphere is reflected by mirrors and looks like a complete hemisphere.
The set designer Ezio Antonelli created «...a system of mirrors where the centre of the stage was the focus for a series of reflections.
Every real element, including the audience ...»
Photo © Alfio Morelli
«... is reflected twice, until to create a virtual circular space.
This solution has its origin in the optical studies by the German Jesuit Athanasius Kircher (1602-1680).
This scenography should be considered an optical machine that allows the multiplication of the space.
We used a mirroring material called ZSM - Magic Mirror, produced by Peroni ...»
This solution has its origin in the optical studies by the German Jesuit Athanasius Kircher (1602-1680).
This scenography should be considered an optical machine that allows the multiplication of the space.
We used a mirroring material called ZSM - Magic Mirror, produced by Peroni ...»
Photo © Alfio Morelli
«... which we integrated with images projected by nine video projectors located in various points of the stage space and the stalls.»
Ezio Antonelli, from an interview to Sound&Lite, No. 68.
The scenic area is veiled by a backdrop made of NTR - Tripolina, black colour, composed of long thin wires, with which you can create games of transparency and light, which Antonelli used to multiply the layers of the scene, so giving it an unusual depth.
Ezio Antonelli, from an interview to Sound&Lite, No. 68.
The scenic area is veiled by a backdrop made of NTR - Tripolina, black colour, composed of long thin wires, with which you can create games of transparency and light, which Antonelli used to multiply the layers of the scene, so giving it an unusual depth.
Photo © Alfio Morelli
The walk of the actress is multiplied by reflections of the ZSM - Magic Mirror backdrops.
A second character, on the right, is instead behind one of the mirrors, through which can be seen in transparency because properly illuminated.
The man reaches out to reflected image of the actress that seems to go towards him.
A second character, on the right, is instead behind one of the mirrors, through which can be seen in transparency because properly illuminated.
The man reaches out to reflected image of the actress that seems to go towards him.
Photo © Alfio Morelli
Now is the actress to stretch herself, but the actor has already gone too far: placed beyond of the mirror transparency, is embracing the reflected image of the woman, as if he were behind it.
Photo © Alfio Morelli
The woman is now really turning our backs to the actor, which is located behind the mirror and is visible through its transparency.
On the right triumphs instead the illusion: a real image and one reflected, placed in a knee one in front of the other, are now wrapped in the embrace.
«With the combination of ZSM - Magic Mirror and NTR - Tripolina ...»
On the right triumphs instead the illusion: a real image and one reflected, placed in a knee one in front of the other, are now wrapped in the embrace.
«With the combination of ZSM - Magic Mirror and NTR - Tripolina ...»
Photo © Alfio Morelli
«... we obtain the creation of many different levels, the depth of the scene increases considerably and, at the same time, we lose the perception of what is real and what is reflected.»
Ezio Antonelli, Sound&Lite, No. 68.
Ezio Antonelli, Sound&Lite, No. 68.
Photo © Alfredo Anceschi
Teatro Cavallerizza, ''The Suspended Time of the Flight''
The red captions flow in transparency behind the ZSM - Magic Mirror.
The ZSM - Magic Mirror, its inclination, the transparency, the stage plant and the light design ...
Photo © Alfredo Anceschi
... allow the visualization of the tragedy with various narrative levels: the public assists to what is happening on the airplane, to the scenes that are happening on the floor, to the captions flowing on the mirror and it finally sees even itself to participate impotent, already knowing what is about to happen.
To allow the correct degree of reflection of the ZSM - Magic Mirror, a backdrop made of black COS - Oscurante molton was installed on its back.
To allow the correct degree of reflection of the ZSM - Magic Mirror, a backdrop made of black COS - Oscurante molton was installed on its back.
Photo © Peroni
Renato Zero, ''Amo Tour''
ZSM - Magic Mirror backdrop 11,2 x h 5,7 m.
The transparency of the mirror film will allow to view the videos produced by a LED screen installed behind the mirror.