Audiovisual Productions for Museums and Exhibitions


It has been a while since attending exhibitions and visiting facilities in museums ceased to be a flat and unidimensional activity.

Innovation in audiovisual technology has also reached the exhibition halls. Thanks to this, visitors now have access to a more complete and innovative experience. In addition, new devices provide visitors with another perspective, much more enriching.

But this is not the result of chance. Currently, audiovisual content allows the incorporation of new and powerful forms for the transmission of information, ideally suited to museums.

Multimedia content in different visual formats – such as mapping, holography, and 3D animations – offer valuable tools to enthrall visitors.

With the help of the creators that generate ad-hoc audiovisual productions, this can help facilitate understanding and the immediate impact of the visuals.

The objective of audiovisual equipment is not to emptily digitize a reality. It is to complement artistic products and valuable objects, enhance the most classic content with audiovisual innovation, and make a visit to the museum a unique and valuable experience.

If you’re wondering how audiovisuals for museums have changed the way we “consume” content in them, read on.

How technology enriches the way we see exhibitions

Currently, visitors to an exhibit interact with the information and, in fact, search through it. It is immersed in the set of works in front of them and the depth of that relationship. Most of the time this experience is governed by how the information has been presented and the ability that the user has to interact with the works.

It is important to understand the difference between confronting information in a passive way and being a participant in the information that is shown to us. Thanks to the interactive digital content in exhibitions and museums we can have a much easier interaction and actively participate in the content.

First contact

Taking as an example an exhibition of painting or sculpture, the first level gives us a quick view that allows us to understand four or five basic concepts of the exhibition. We talk about signalling and simple elements that provide us with very specific information such as who the author is, the date, the time …

Technical level

The second level delves into the graphic content and gives us information about the work, how it was made, its artistic and stylistic aspects …

Audiovisual (AV) technology

At the third level, technology comes into play, which gives us a different perspective of the work we have before us, showing us information that cannot be seen at first sight. This audiovisual content, which can utilise video, projections, interactive panels … expands on the idea and essence of the work, what the author wanted to show, asks questions, opens debate, helps us to expand details, and so on.

Exhibition curators are aware of the important role of choosing appropriate AV rental technology in relation to art; in large part because of the way in which it facilitates visitors to understand a concept, an artistic intention or a work through playful and didactic audiovisuals for all ages and audience profiles.

The tendency is to create visual and sensory experiences. We can achieve this thanks to virtual reality or the development of immersive projections, among others, that take our senses to another level and to make the experience more and more personalised.

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