Select the subject
VIDECOM - Solutions in video communication
COMMERCIAL HOLOGRAPHY, an introduction
Derived from the Greek HOLOS: whole and GRAPHOS: written,
Holography is a technique of producing images through a luminous interference permitting
three-dimensional reconstruction and visualization of those images.
The hologram is a grating of complex diffraction originated from the holographic process.
Three-dimensional, real images announcing products...
The company's logos drifting into the air, floating towards the spectator...
An advertising appeal that materializes in space and evolves
Are they imaginary perceptions that appear to have emerged from the futuristic dream of an advertiser, or maybe some visionary outburst of a marketing director?...
Actually, those are only a few suggestions for the feasible applications of holography.
In 1948 Denis Gabor a British scientist discovered the theoretical principles of the holography. It is a technique of producing images by wave front reconstruction, using lasers to record on a photographic plate the diffraction pattern from which a three-dimensional image can be projected. However, it was only with the invention of laser beam and its subsequent application to Gabor’s concept in 1961 that this technique became a reality. In view of the complexity of the enterprise and of the extremely onerous means of production holography became restricted to researches carried out by private or official laboratories or by experimental investigation developed in scientific institutions.
In 1962, Yuri Denisiuk, a Russian scientist, improved this technique allowing holography to leave the laboratories and to be visualized through a white light transmission. He created the so called "reflection holograms". Later, Stephen Benton, a scientist from Polaroid, invented a process to create holograms more easily visualized, the "rainbow" method. Eventually, the hologram technique became accessible and was transformed into a new form of communication.
In the seventies, with a reduction in the costs of laser emission devices in addition to the production of films/plates and other specific and sensitive holographic materials, new possibilities of application were introduced and tested. So holography started to earn acknowledgment as a new technology for the record and reproduction of three-dimensional images. Apart from a characteristic of high resolution, holography offers the advantage of dispensing the use of special glasses, lenses or devices for the visualization, increasing its range of artistic, institutional and commercial applications. Initially, holography became known in countries such as England, France, United States and Russia though limited to few groups in view of the restrictions concerning its production at those times.
Holography was first introduced in Brazil by Jose J. Lunazzi, an Argentinean physicist, during a course given at the University of Campinas (UNICAMP) in December, 1974 and, later on, at the Aeronautical Technologic Center (CTA). In 1976, Lunazzi initiated a continuous production of holograms together with researches carried out at UNICAMP aiming at associating holography to other communication media.
In Brazil holography made its public debut in 1980 in the Holograms Exposition, at the Bienal Pavilion. The exhibition was organized by Ivan Isola, at the time Director of São Paulo's Museum of Sound and Image (MIS) who later set up a proper room for holograms exposition.
In 1983, artist and film and video maker Moyses Baumstein started his researches in this area and became one of the most remarkable holographer in the country. Joining his own researches on individual expression with the commercial possibilities of holography Baumstein introduced in 1984 its commercial use in the country.
From then on, holography has been established as a new form of display, presenting not only a three-dimensional product or object but also a totally new concept of marketing. Besides the message, the hologram could comprise a promotional text, a logo and a product.
Soon after, Moysés started to develop an arduous work aiming at the promotion of holography as "a high visual impact display" to be used in shows, expositions and points of sale.
Between 1984 and 1991, assisted by his sons Ricardo and Fábio, Moysés created and produced more than 200 commercial holograms for companies such as Souza Cruz, Sherwin-Williams, Lee, Bradesco, Warner-Lambert and institutions such INPE, SESC, SENAC, etc.
In 1989 he founded Holobras, a company specialized in the production of holograms in industrial scale, the so called printed holograms, or embosses holograms, produced through a new technology entirely developed by the Baumstein’s in Brazil and so far restricted to ten companies throughout the world.
In one year, the investment channeled toward research had been almost entirely recovered. However, from the second year on, due to the recession following a governmental economic stabilization plan, printed holography became economically unfeasible when limited to small or medium quantities and the company was closed down. Workmanship procedures were then elected for the production of holographic displays at VIDECOM. Despite the return to a smaller structure, the holographic production received a good acceptance from the public what resulted in dozens of holographic images of 50X60cm for promotional and commercial purposes with a projected image of up to 3 meters from the film surface.
With Moysés Baumstein’s death in 1991, his son Ricardo took over the production of holograms exploring new sites and methods with the purpose of expanding the use of holography.
In 1993, Ricardo Baumstein explored a new concept: holography as a pure advertising medium. As a consequence holography became the vehicle and presenter of commercial messages rather than a mere convenience in stands or points of sale.
Several works were produced for companies such as YAZIGI, Centro Empresarial de São Paulo and Atkinsons. Presently holography has taken the place of a major attention target, concentrating its mighty visual power as an unequaled form of communication.
Prof. Lunazzi still writes articles and papers concerning his researches on holography for national and international issues and promotes an interchange of researchers from many countries. In 1998 he invited the Russian scientist Yuri Denisiuk to participate in a Congress of Optical Physics in Brazil. During his trip to São Paulo Denisiuk had the occasion to pay a visit to VIDECOM’s holographic laboratory as well as to become acquainted with Moyses Baumstein achievements.
VIDECOM concluded its holographic production in 2009 and granted the laboratory to UNICAMP (UNIVERSIDADE ESTADUAL DE CAMPINAS) and today it develops video processes resulting in presentations similar to the holography.