company news about Light and shadow projects emerge in endlessly. Is it a flourishing of all flowers or a bit "overflowing"?

In this era filled with information and the Internet, video content has been deeply rooted in every corner of life. With the rise of light and shadow shows and digital art exhibitions, major cultural and tourism scenic spots and commercial spaces have begun to "proliferate" them. Projection Window believes that due to the good tolerance of projection equipment for video content and the lack of restrictions on display space, a large number of "mass-produced light and shadow shows" with similar IPs have been pushed into the public eye in batches. When we discuss whether it is rampant, perhaps we should look at this from different perspectives of the audience and the projection industry.

For the audience, the birth of a large number of light and shadow exhibitions has undoubtedly increased the channels for the public to understand projection. The desire to explore new things drives "strangers" to come into contact with projection. This is also a significant advantage of light and shadow exhibitions in "casting a wide net". However, once the audience has a certain amount of "projection experience", it will no longer be possible to interest them in the same light and shadow exhibitions. A major contradiction in this is that non-professional audiences pay more attention to the projected content, but most commercial light and shadow exhibitions are forced to discount the content due to cost pressures caused by the purchase/rental of projection equipment.

In the "image exploration" of the reporter of Projection Window this year, several benchmark excellent projection projects have been labeled as "high-quality" in various ways - "content innovation, strong entertainment, storytelling", etc. Being different and having a strong experience is obviously the best way to win the favor of the audience. In contrast, the "flooding" of light and shadow exhibitions is more of a shallow integration with IP content, and the audience's viewing experience is relatively neglected, which may be reflected in the lack of interactive content and the internal ambient light of the exhibition that destroys the projection screen. However, it is undeniable that the outflow of a large number of light and shadow exhibitions has accelerated the progress of the combination of projection and different IPs. The rapid "new attempts" provide high-quality projection projects with the accumulation of databases such as audience preference/IP expressiveness, and contribute to the birth of more high-quality projection projects.

From the perspective of the projection industry, the "flooding" of light and shadow exhibitions has increased the "exposure frequency" of projection products, which is not necessarily a bad thing. In modern society, the proportion of screens in life is ultimately greater than that of projections. The public can get out of the encirclement of traffic billboards and commercial advertising screens, which helps to break their prejudice against the "old-fashioned era" of projections and come into contact with the excellent display images and interactive functions of current projections for the first time. This may become the first factor for their continued attention to projection art exhibitions.

Projection Window believes that, from a certain perspective, the seemingly "flooding" light and shadow exhibitions have deeply embedded images into people's lives, and on the other hand, they have played a role in selecting IPs for high-quality projection projects. "A single flower does not make spring, but a hundred flowers in full bloom make the garden full of spring." Light and shadow are integrated into life, and the spring of projection has arrived.