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thumb Australian Holographics was started with the specific objective to produce high quality large format holograms. After two years of research and development the company began commercial operations in 1991.〔Edhouse, Simon. ''Lasers used to Produce Large Format Holograms''. Holography Marketplace, sixth edition, Ross Books, 1997, Page 63.〕 Situated on of rural farm land from Adelaide, the lab's facilities included a 5×6 metre vibration isolation table in a studio with air-lock loading doors, large enough to drive a car onto the main table. The main laser was CW (continuous wave), 6W argon laser built by Coherent Scientific. The company also used a 3 joule ruby pulse laser, built in collaboration with Professor Jesper Munch of the School of Chemistry and Physics at Adelaide University. The company mainly specialized in the production of the large format white-light-viewable rainbow hologram, a type of holography originally invented in 1968 by Dr. Stephen Benton of MIT. IN fact, while all rainbow holograms are white-light-viewable the most commonly known application of the technique has been applied to reflectve substrates like PVC (polyvinyl chloride) and PET (poly ethylene terephthalate) and used widely on credit cards and as anti-counterfeiting applications on labeling of products. Australian Holographics applied the principle for transmission rather than reflective viewing conditions. In 1992, Australian Holographics produced a 2×1 metre rainbow transmission hologram of a Mitsubishi station wagon car, which was shown at Holographics International '92 conference in London.〔National Library Of Australia, Video Documentary, http://trove.nla.gov.au/version/29502689〕 Australian Holographics was particularly notable for the fact that it had signed the first ever commercial joint venture that the South Australian Museum of Natural History had ever entered into, giving the company access to the museum's collection of exhibits. == Creating a large format studio == The AH project necessitated building a large climate controlled studio incorporating a 6×5 metre optical table weighing around 25 tons. The system had to allow for both the creation of large-depth scenes for mastering, in addition to affording the space required for the effective production of ultra-large format rainbow transmission and reflection hologram copies.〔 A heavy sand-filled cavity steel construction was used for the table. The suspension system was constructed around nine Firestone air bags connected to a standard pneumatic set-up with needle-valves, ballast tank and compressor. Overhead towers were designed to carry large transfer mirrors at heights of over three metres above the table. These towers were constructed from hollow steel tubes filled with sand. Over the years, lifting systems for the large glass filmholders evolved from hand operated, to mechanical and finally to pneumatic. Using this platform, it is possible to hold flat a 2×1 metre piece of film and maintain its stability, and that of the related optics, beneath the 5,000th of a millimetre tolerance for the 4–8 second exposure.〔Edhouse, Simon. ''Holography permeates Art and Commerce? a question of time…''. Artlink, Arts in the Electronic Landscape, distribution through Barnes & Noble in the USA, June 1996.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Australian Holographics」の詳細全文を読む スポンサード リンク
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