The new synthetic Four-dimensional printing technique (Syn4D) Synfogram is introducing time (animation) into
spatial configuration of the imprinted three-dimensional shapes. While lenticular solutions offer 2 to 9 stereoscopic
images Syn4D offers large format, full colors true 3D visualization printing of 300 to 2500 frames imprinted as
holographic dots. This past 2 years Syn4D high-resolution displays proved to be extremely efficient for museums
presentation, engineering design, automobile prototyping, and advertising virtual presentation as well as, for portrait
and fashion applications. The main advantages of syn4D is that it offers a very easy way of using a variety of digital
media, like most of 3D Modelling programs, 3D scan system, video sequences, digital photography, tomography as
well as the Syn4D camera track system for life recording of spatial scenes changing in time. The use of digital
holographic printer in conjunction with Syn4D image acquiring and processing devices separates printing and
imaging creation in such a way that makes four-dimensional printing similar to a conventional digital photography
processes where imaging and printing are usually separated in space and time. Besides making content easy to
prepare, Syn4D has also developed new display and lighting solutions for trade show, museum, POP, merchandising,
The introduction of Synfograms is opening new applications for real life and virtual 4D displays. In this paper we
will analyse the 3D market, the properties of the Synfograms and specific applications, the problems we encounter,
solutions we find, discuss about customers demand and need for new product development.
The research of Odile Meulien and Dietmar Ohlmann is about perceiving a multidimensional world. Not about the cyberspace created for new cinema creation, nor the reality which seems to be created by communication. It's the search for the reality we perceive, when the mind "touches" an object with its senses. In fact, it is a study of the surface of an object, which we can record in its visual appearing, its structure, shape and colors. When using photographic media, the tactile sense of the structure is missing, when using some other reproductive media; we experience somewhere a sensation of fault, something different. When using holography, we are able to record some three dimensional shape which has in fact a lot of parameter of a realistic copy. What is missing is the touch, the smell, the way we can go close and far, surround the object, relate the reflected light to its surrounding. The only interesting attribute of a hologram is for Dietmar Ohlmann its capacity to illustrate a continuum. He likes its changing diffractive character during daytime and surrounds lighting. For Odile Meulien the continuum of a hologram represents a new possible model for understanding wholeness in a social context. In fact, both are working on an educational process together, helping children and adults to find a new position of their own in harmony with living surrounding. Dietmar Ohlmann is working on his artistic side, while Odile Meulien works on educational programs experiencing the perspective of a curator and social analyst. New is the implication of using the latest of the techniques like the atomic force microscopy, which make possible to touch the holographic grating while the holographic image remains untouched. In other words it is the reverse of the usual approach of objects which at first we touch to investigate further. Their difference in experiencing and perceiving scientific and technical approach brings a lot of paradigm in their discussion. Together they will perform this exchange, as a matrix, understood as source, of new ideas.
The making of holograms is better understood than their uses. As an artist who studied holography in Liverpool and at the Royal College of Art in London in the fine art section, I like to use this media in a quite unusual way avoiding the well-worn cliches of Laser-Light-Kitchen- Object-Table-Top-Photography and all these horrible, greenish, blinking plastics. After seeing a master and being introduced to its potential and being inspired by artists such as Rod Murray, Rick Silverman, Margaret Benyon, and Peter Miller I used to spend more time in the Laser- Laboratory than in my painting studio. However, this is no longer true. I have been working on the Millennium-Project since 1996. The project is the idea of Werner Lindemann who is creating a gigantic Amphitheater. On this site, I have the opportunity to meet all sorts of artists and craftsmen, such as opera singers, ceramics designers and architects, to whom I introduced several different large scale projects. Forced to work out installations of a minimum 20 square meters in dimension, I have developed what I call the None- Hologram.
The world market in holography is about 1 Billion U$. Most of this part is connected to embossed holograms, especially for security, authentication, packaging, giftware and promotion. Display holograms, holographic optical elements and technical holographic applications are economically less important. Germany has only a very small part of this global market. In general, the present status of holography in this country is not very good. Many laboratories and companies closed in the last years and only few are remaining. In contrast to this economic situation, scientific applications ofholography are continuing to give good results. Germany has a National Society for Holography (Deutsche Holographische Gesellschaft, DGH e.V., do N. Möller, Marienstr. 28, D-06108 Halle, http://www.dgholo.de) with about 100 members. The society notifies the people about holographic activities and functions and gives young holographers a first contact. A second holographic society is Arbeitskreis Holographische Technik (AHT). Last summer the president G. Deutschmann passed away. German Holography will miss him dearly. In the following some remarks about the holographic activities in Germany are made. However, the survey is not complete as companies here work very independently. Please, excuse us for having omitted projects or companies which are not known to us.
When I made the decision to give up science for becoming a painter I could not imagine that I would paint light. In the 2nd year of my fine art studies I had my first contact with holography, thanks to my former tutor, Roddney Murray at the Liverpool School of Art. During the MA course of the RCA in London I knew that the potential of holography was far beyond our present perception. Since I had the opportunity to work in large scale, doing architectural installation, I have got certain that holography and diffraction media would set new trends into the arts and society.
The explosion of the holography display has now to be expressed at the past, but a new generation of people, especially the young one and specialists working in research institutions push the information on holography to be spread. This is why, after a phase of stagnation, and who says stagnation says restriction, the DGH with its new board of directors is ready to answer this new need.
Some people try hard to educate others about the beauty and technical benefits of holographic applications but another generation is already waiting to learn more about the media which talk to them about the future. Today the most common question is 'How can I do holograms with a computer?' 'Can I do it with an Amiga?' For the MIT specialists these are now very simple questions. We can expect to see the present shape of the holographic laboratory pass into history. I personally like to work with a VHS camera and mix it with CAD/CAM images, but computer and video are not the only media which will change the face of holography. The He.Ne. will be exchanged by diode laser. In a wavelength of 690 nm, some of them bring 40 mW in single mode and single line, not bigger than your little finger. Having such energy in so little a container, and the state of the art drifts rapidly into more flexibility. Using new media and introducing it in our societies give us a new responsibility. Would too much media kill the art? I do not think so, because I like the variety of media which give new possibility of expression. The game with new media is the power of creativity and it will find its meaning by itself.