Prism Dispersion was conceived as a visual tribute to Pink Floyd’s The Dark Side of the Moon — a piece where light, color, and motion serve as the primary language of expression. Instead of narrative or character, the work places emphasis on spectral transformation, exploring how prisms, refraction, and illuminated particles interact to evoke a sense of emotional resonance and musical rhythm.

The lighting direction was central to the piece’s visual identity. Inspired by the album’s iconic prism cover, the work uses dynamic, data-driven illumination to modulate spectral dispersion over time, allowing refracted beams to animate through space with a sense of breathing and modulation. Light was treated not just as illumination but as a sculptural force — cutting across particles, surfaces, and volumes to reveal hidden textures and transient states.

From a technical FX perspective, the piece integrates procedural emission and particle systems where color gradients are tied to motion curves and timing cues. Light sources were calibrated to produce crisp refractions, soft glows, and controlled bloom without washing out detail, creating a layered visual field where contrasts subtly guide viewer focus. Volumetric haze and micro-particle interactions were used to give the light depth, making each spectral beam feel physically grounded yet emotionally expressive.

Creative Goals

• Translate The Dark Side of the Moon’s iconic imagery into a lighting and FX driven visual experience
• Use spectral refraction and procedural emission to evoke motion and mood tied to sound
• Craft a layered environment where light direction and color harmonize with spatial depth

Outcome

Prism Dispersion stands as a lighting-centric visual study that bridges artistic tribute with FX discipline. By prioritizing how light refracts, disperses, and interacts with matter, the piece demonstrates how lighting direction and procedural FX can create emotional impact — turning color gradients and spectral interplay into a dynamic, contemplative experience.