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While it does make images seem to appear behind the display’s actual volume, it also requires eye tracking to work since the illusion only works from a certain perspective.
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The full paper explains how a type of ray tracing allows the relatively small optical trap display to appear larger and more fluid. You can see the effect in the video below. The display traps a small particle in the air with a laser beam and then moves that particle around, leaving behind an illuminated path in the air.
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While they might not be movie quality, they are a start, and, after all, you have to start somewhere.
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’s team at BYU has made progress in projecting moving 3D images in thin air.
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From Princess Leia asking for help to virtual tennis on Total Recall, it is a common enough idea.
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At the end, though, the ecstatic applause was primarily in honor of the experience-a memory that will go down as one of fashion's all-time highs.You’ve seen it a million times in science fiction movies and TV shows: a moving holographic display. On the down-to-earth side, there was plenty of McQueen's sharp and salable tailoring on show, and some great coats, like a herringbone fur chesterfield. Some of McQueen's references-like the ones that influenced his sinuous black velvet dresses-appeared to be culled from pre-Raphaelite paintings of Lady Macbeth others, like a fierce, bell-skirted warrior-woman plaid dress with lace armlets, seemed to owe more to punk. Shorn of its original rawness and anger, the result was a poetic and technically accomplished tale that involved romantic images of Scottish fantasy heroines wandering glens and castle halls in vaguely Victorian tartan crinolines, bird-wing or antler-and-lace headdresses, feathered gowns, and pieces made from brocades that might have been dragged down from ancient wall-hangings. For this collection, he delved into his past, revisiting his Scottish family roots and refining the contents of the rampaging tartan "Highland Rape" show with which he began his career in London in the early nineties. The quality of the performance-and the extraordinary workmanship in the clothes that preceded it-was a timely reconfirmation of McQueen's unique powers as a showman-designer, and a far cry from the more straightforward presentations he¿s given the last few seasons. It subsequently reappeared in the collection's victory line up, which wound its way around the glass box as the audience was still reverberating with wonder at witnessing this incredible event. The gown, a pale cascade of multiple organza ruffles, wasn't just an optical effect, though. This vision was in fact a state-of-the-art hologram-a piece by the video maker Baillie Walsh, art-directed by McQueen. It was Kate Moss, her blonde hair and pale arms trailing in a dream-like apparition of fragility and beauty that danced for a few seconds, then shrank and dematerialized into the ether. Inside an empty glass pyramid, a mysterious puff of white smoke appeared from nowhere and spun in midair, slowly resolving itself into the moving, twisting shape of a woman enveloped in the billowing folds of a white dress. Only Alexander McQueen could provide the astonishing feat of techno-magic that ended his show.