Reviews
Reviews
Ross brings AV to life for everyone, not just the technical community. He is a
champion for the industry, who bridges AV with the creative elements of some truly
ground-breaking projects. Ross’s contribution to the AV industry stands head and
shoulders above the rest.
AV Awards - Judges’ Comments
AV Professional of the Year
The amazing thing about Ross is that even after 30 plus years in the business, he still
lives and breathes AV with the same passion as ever! His artistic integrity and
professional approach are unwavering, whether he is working on a commercial
project or participating in an arts festival. He has successfully led the way in large-
scale projection mapping as a creative medium, believing and then proving that
everything is possible. His commitment to excellence in every project is an
inspiration!
Jacquie McHale Sjödin
Communications Officer - Dataton AB
Panasonic has worked with Ross on a many different projects including projection mapping York Minster cathedral, Blackpool Tower and at the spectacular Edinburgh Tattoo for a number of years. Ross is a brilliant AV professional, not afraid to push the boundaries of what is possible and always telling an interesting story which has
been invaluable to Panasonic as a manufacturer.
Hartmut Kulessa
CommunicatPanasonic Marketing Europe GmbHMarketing Manager, Panasonic Marketing Europe GmbHions Officer - Dataton AB
Ross Ashton is truly a visionary when it comes to light and mapping shows and he set the stage for the media shows we enjoy throughout India today. Over the last 10
years, Ross and his colleagues at TriColor India have created a whole new market.
These are pulling in domestic and international visitors to greater India by telling deep historical stories using media and creativity. Ross introduced and brought the face of high technology to media shows and attractions in India and beyond. Christie is proud to be a part of Mr. Ashton’s projects and the pleasure these have offered to guests from nearby and abroad through his creative storytelling.
Ken Wheatley
BD Director - Christie Digital Systems.
We first met Ross when we invited him to create a piece of projection mapping for
our festival in 2016. When we met, we were impressed by his long track record of
creating this type of work and with his ability to understand the fundamentals of
what makes a festival like ours a success. He is also very experienced in the available
technologies that can be used on this type of festival. Having him on the team
reduced our technical spend by 50% compared to the year before.
It’s rare that you find artists who understand the creative process in an arts festival and who also have the ability to help you move your business goals forward. They were instrumental in helping us to shape the Napa Lighted Art Festival into a creative platform for lighted art with international exposure and awareness.
Pete Hangen
Co-Founder, Napa Lighted Art Festival
Ross’ technical and artistic work is something I have always valued enormously at
the Berlin Festival of Lights. Our festival takes place since 2005 and is one of the
largest and most popular international light festivals. Also renowned for actively
curating projection works of the best quality found across the world, so it is always a special delight for me to be able to exhibit Ross ́s work. I have had the pleasure of bringing his work to Berlin on five occasions, most recently last year at the famous Bebelplatz.
He has a very long track record of projection design and his technical skills match his creative work. His pieces transcend barriers and speak to a worldwide audience – they can be thoughtful, informative, are always absorbing and engaging for the public. He has an absolutely solid consistency of quality and execution as an artist and designer that I know is rare to find. I would certainly recommend him for AV Professional of the Year.
He has a very long track record of projection design and his technical skills match his creative work. His pieces transcend barriers and speak to a worldwide audience – they can be thoughtful, informative, are always absorbing and engaging for the public. He has an absolutely solid consistency of quality and execution as an artist and designer that I know is rare to find. I would certainly recommend him for AV Professional of the Year.
Birgit Zander
Founder and Creative Director, Festival of Lights International
In my capacity of Deputy General Manager at the Indian Tourism Development
Corporation (ITDC) I have had the distinct pleasure of working with Mr. Ashton on
many occasions. ITDC is proud that in working with him, we were instrumental in
creating the first mapping projection in India which is permanently installed.
We first became aware of the work of Mr. Ross Ashton in 2010 when we commissioned him to create the projection artwork design for our heritage interpretation installation at the Purana Qila (Old Fort) in New Delhi. Up until the that time, ITDC had never used mapping projection and for this first projection we wished to work with someone who is world famous for this work. Knowing the quality of his work, we reached out to Mr. Ashton and asked him to create Ishq-e- Dilli, and to work with TriColor India to design and deliver the technical projection systems. This projection mapping is very popular with our visitors and is still in operation to this day.
Since that time, we have entrusted him with creating the projection designs for many of our other heritage sites. These include our most important and sensitive sites such as the World Heritage Konark Sun Temple in Odisha and the Shanti Stupa (Peace Pagoda) at Dhauligiri. As a technical consultant, Mr. Ashton has never failed to take the fragile nature of these sensitive sites into account and to protect their structures. He has also produced works that have helped the public to understand the importance of the long history of India and its importance in world culture.
There is no doubt that Ross Ashton has had a huge influence on the development of projection art in India. As the person who created the first permanent projection mapping installation in India, he set the benchmark for all that followed. The works that they have created for the ITDC are amongst the most popular in our portfolio.
We first became aware of the work of Mr. Ross Ashton in 2010 when we commissioned him to create the projection artwork design for our heritage interpretation installation at the Purana Qila (Old Fort) in New Delhi. Up until the that time, ITDC had never used mapping projection and for this first projection we wished to work with someone who is world famous for this work. Knowing the quality of his work, we reached out to Mr. Ashton and asked him to create Ishq-e- Dilli, and to work with TriColor India to design and deliver the technical projection systems. This projection mapping is very popular with our visitors and is still in operation to this day.
Since that time, we have entrusted him with creating the projection designs for many of our other heritage sites. These include our most important and sensitive sites such as the World Heritage Konark Sun Temple in Odisha and the Shanti Stupa (Peace Pagoda) at Dhauligiri. As a technical consultant, Mr. Ashton has never failed to take the fragile nature of these sensitive sites into account and to protect their structures. He has also produced works that have helped the public to understand the importance of the long history of India and its importance in world culture.
There is no doubt that Ross Ashton has had a huge influence on the development of projection art in India. As the person who created the first permanent projection mapping installation in India, he set the benchmark for all that followed. The works that they have created for the ITDC are amongst the most popular in our portfolio.
R.N. Kumar
Deputy General Manager, Indian Tourism Dev. Corp.
There can be little debate that Ross Ashton sits at the top table when it comes to
projection mapping. Involved in the technology long before it became the ‘next big
thing’ in the AV world, his portfolio of projects is incredible, from the Olympics to the
Edinburgh Tattoo to the Queen’s 50th Jubilee. He has played a huge role in making
projection mapping as well-known as it is today.
The technical aspect of each major project would scare off many an AV veteran, and be enough to warrant him a lofty reputation alone, but Ashton is also heavily involved in the creative aspect too. Working in tandem with sound artist Karen Monid, Ashton ensures the immersive shows draw in as many people as possible, by merging centuries-old architecture with cutting-edge tech, all sitting alongside a relevant narrative that works for each venue. Ashton is vocal about putting himself in the audience’s shoes, while never forgetting the client must be happy with the result, regardless of budget, which is not an easy task given often sky-high client expectations.
The technical aspect of each major project would scare off many an AV veteran, and be enough to warrant him a lofty reputation alone, but Ashton is also heavily involved in the creative aspect too. Working in tandem with sound artist Karen Monid, Ashton ensures the immersive shows draw in as many people as possible, by merging centuries-old architecture with cutting-edge tech, all sitting alongside a relevant narrative that works for each venue. Ashton is vocal about putting himself in the audience’s shoes, while never forgetting the client must be happy with the result, regardless of budget, which is not an easy task given often sky-high client expectations.
Paul Milligan Editor
InAVate EMEA Magazine
The Projection Studio were recommended to us as one of the leaders in innovative
projection mapping by contacts at Durham Cathedral, where they staged a very
successful and high-profile display as part of Lumiere Durham. They approached the
brief very constructively, as a charity we had a certain budget which we had to keep
to, and they worked closely with us to maximise results. The Minster is a
complicated place to work in, it is a historic working cathedral with all the
constraints that brings and has very difficult acoustics to manage. They were
extremely flexible and creative in their approach, nothing was impossible, a way was
always found around the problem.
The cathedral remained open to visitors throughout the set-up period, so rigging was mainly carried out at night and projectors were installed high above the heads of visitors to ensure safety and maximise the number of tables we could fit into the Minster. With so many daily visitors, health and safety is a priority, especially with numerous electrical cables running throughout the building, and they were very aware of this during the week. Projectors were situated at intervals along both sides of the Nave and above the entrance to the Quire, using special structures designed for the cathedral. Much work and fine tuning was carried out to ensure the sound system worked throughout the Nave, quite a technical feat in itself.
A digital map of the Minster ceiling and West End were used to create the visuals, incorporating images from the precious stained glass in the Minster, especially from the recently restored Great East Window. Karen and Ross carried out extensive research into the background of the images and the historical context in conjunction with the Minster Library and Collection and York University. The music and sound effects integral to the piece were from existing recordings by the Minster choir and special recordings made by York University for the occasion. The final lighting and sound performance was truly spectacular. Guests were immersed into a riveting virtuoso display of intricate moving images lighting up the cavernous Nave of the Minster complemented by mesmerising wrap around sound. Unforgettable.
The target for Northern Lights was £250,000 profit. Together with match funding by HLF and the York Minster Fund we exceeded our target by a considerable amount, we made about £1,1m, after costs. The display was opened up to the wider public for two nights after the dinner, with both nights a sell-out. Due to popular demand we are bringing back the display over the half term week in October this year, with 16 performances scheduled. Tickets went on sale last week and are selling fast.
We had an overwhelmingly positive response from guest to the dinner and the general public.
Feedback from June 2018 -
“This may be the most beautiful thing I’ve seen in my life”
“Zero regrets on my impulsive decision. Simply incredible. Awestruck at the beauty of it all.”
“A superb and amazing display in York Minster; absolutely stunning.”
“A beautiful experience to have you breaking out into the biggest smile while bursting into tears at the same time! Brilliant art brings out those emotions.”
We could not recommend them enough for their professionalism, creativity and just being lovely people to work with.
The cathedral remained open to visitors throughout the set-up period, so rigging was mainly carried out at night and projectors were installed high above the heads of visitors to ensure safety and maximise the number of tables we could fit into the Minster. With so many daily visitors, health and safety is a priority, especially with numerous electrical cables running throughout the building, and they were very aware of this during the week. Projectors were situated at intervals along both sides of the Nave and above the entrance to the Quire, using special structures designed for the cathedral. Much work and fine tuning was carried out to ensure the sound system worked throughout the Nave, quite a technical feat in itself.
A digital map of the Minster ceiling and West End were used to create the visuals, incorporating images from the precious stained glass in the Minster, especially from the recently restored Great East Window. Karen and Ross carried out extensive research into the background of the images and the historical context in conjunction with the Minster Library and Collection and York University. The music and sound effects integral to the piece were from existing recordings by the Minster choir and special recordings made by York University for the occasion. The final lighting and sound performance was truly spectacular. Guests were immersed into a riveting virtuoso display of intricate moving images lighting up the cavernous Nave of the Minster complemented by mesmerising wrap around sound. Unforgettable.
The target for Northern Lights was £250,000 profit. Together with match funding by HLF and the York Minster Fund we exceeded our target by a considerable amount, we made about £1,1m, after costs. The display was opened up to the wider public for two nights after the dinner, with both nights a sell-out. Due to popular demand we are bringing back the display over the half term week in October this year, with 16 performances scheduled. Tickets went on sale last week and are selling fast.
We had an overwhelmingly positive response from guest to the dinner and the general public.
Feedback from June 2018 -
“This may be the most beautiful thing I’ve seen in my life”
“Zero regrets on my impulsive decision. Simply incredible. Awestruck at the beauty of it all.”
“A superb and amazing display in York Minster; absolutely stunning.”
“A beautiful experience to have you breaking out into the biggest smile while bursting into tears at the same time! Brilliant art brings out those emotions.”
We could not recommend them enough for their professionalism, creativity and just being lovely people to work with.
Diana Terry
Fundraising Events Manager, York Minster Fund
'As Principal Investigator for the Ordered Universe project, a global project based on
interdisciplinary research, outreach and engagement on medieval and modern
science, I have found the Projection Studio both a joy to work with, and an
enormously productive partner for public education. The capacity to work with
world-class sound and light shows, to be involved in the process of creation, and
programming, as well as measuring the impact of research ideas in the creative
process and on the general publics attending these events is a fantastic opportunity
to showcase the best of UK academic work. Being involved in a permanent
installation, with its ongoing opportunities for collaboration and longer legacies for
developing relations with non-HEI sectors and audiences is an emergent opportunity
which we would gladly take on'.
Professor Giles Gasper
Professor of High Medieval History Durham University
We have worked with Ross Ashton and The Projection Studio on two occasions for
Light Night Leeds. The first was a new commission for our centre-piece projection in
which they created a large-scale site-specific video mapping work ‘Out of the Aire’
on the façade of Leeds Civic Hall on Millennium Square. This was in response to the
overall festival theme of ‘People and the City’ and celebrated some influential
people and key events from the city’s past and present. They engaged with the local
community, holding recording sessions in a city centre theatre for people to come
and record their voices for the soundtrack which was very successful. They liaised
with local archives including the Leeds West Indian Carnival and Yorkshire Film
Archive to ensure the piece was dynamic and diverse in its content and reach. The
Projection Studio created a bright, colourful and spectacular projection work which
was incredibly well received by the public and made a fitting centrepiece for our
event. They met all the deadlines and targets we set out in the initial brief and were
happy to make small changes following our feedback during the development
process.
Having had such a positive experience, we then worked with them again for a new commission as part of the national Centenary Cities project to celebrate the anniversary of some women getting the vote. This was another bold projection mapping work focussing on the stories of two renowned Leeds suffragettes with a fantastic soundscape. They had a huge amount of dedication and passion for the subject matter and worked with a number of sources to create fascinating content for this piece for the Leeds Library on Light Night. We have always been very impressed with the work they have produced and with the positive communication from them. We wouldn’t hesitate to work with them again or to recommend them to others.
Having had such a positive experience, we then worked with them again for a new commission as part of the national Centenary Cities project to celebrate the anniversary of some women getting the vote. This was another bold projection mapping work focussing on the stories of two renowned Leeds suffragettes with a fantastic soundscape. They had a huge amount of dedication and passion for the subject matter and worked with a number of sources to create fascinating content for this piece for the Leeds Library on Light Night. We have always been very impressed with the work they have produced and with the positive communication from them. We wouldn’t hesitate to work with them again or to recommend them to others.
Abbe Robinson
Senior Arts Project Officer / Programmer & Producer, Light Night Leeds Arts Development, Leeds City Council