DARK distribution analysis


Dark distribution analysis

Currently DARK has or is being shown in 16 countries, with 41 licenses for different dome systems.

If we assumed a standard license cost (in perpetuity) of $5000 per install (an industry default license fee), this would have generated an income of $205,000, so far.

We released it for free as it is publicly-funded science, for everyone to try and understand.

Not bad for a project that cost around $50,000 (including in-kind expenditure.)

It is difficult to ascertain data about audience numbers and ticketing charges per head, but this would be invaluable data for financial modelling.

Domes are of different sizes, require different resolution versions, technologies and personnel to process and present content, and can accommodate very different audiences, in terms of numbers and demographics and timeframes. It’s a difficult market to understand – particularly going forward as it evolves and changes, driven by new technologies and new ways of presenting innovative content.

The point being : Science organisations – their decision-makers and leaders – can help generate cutting-edge immersive fulldome content that will reach hundreds-of-thousands of people worldwide if they take a creative approach to their data and their public outreach strategies. And if they’re prepared to take a punt and do something unusual.

Fulldome represents a coherent medium via which to engage audiences in new ways, with intellectual and emotional impact that extends beyond the small screen: the web browser, the home TV (even very large ones), the standard cinema screen – even IMAX – will not approach the immersive nature of future cinema. It is an experience undergoing technological and context evolution, and it’s audiences will change as the technology and content evolves – it will be driven by clever, sharp content that introduces new ways of looking at things. Scientific knowledge should be foremost amongst this.

Polish Translation of Dark Text

DARK jest Fulldome film, który wyjaśnia i zgłębia naturę ciemnej materii, brakuje 80% masy Wszechświata.

Szukaj ciemnej materii jest najbardziej palącym problemem astrofizyczne naszego czasu – rozwiązanie, które pomoże nam zrozumieć, dlaczego Wszechświat jest jak jest, skąd pochodzi i jak ewoluowała przez miliardy lat – niewyobrażalną głębię głęboko czas, którego życie ludzkie jest jednak natychmiastowy migotanie.

Film jest prezentowany przez dr Alana Duffy, genialny astronom z International Centre for Radio Astronomy Research (ICRAR) na University of Western Australia – kto tworzy symulacje Ciemnym ewolucji materii wewnątrz superkomputerów. Alan wprowadza nas do idei ciemnej materii, dlatego astronomowie sądzą, że istnieje, i wyjaśnia, dlaczego radioastronomicznej tak dobrze pasuje do jej odkrycia.

Badamy, dlaczego nowy australijski Square Kilometre Array Pathfinder (ASKAP) Teleskop, obecnie w budowie w zdalnym Zachodniej Australii, będzie tak ważne w tym naukowych poszukiwań.

Polish translation by Marina Stepanenko

Licenses 2013

Licenses for 2013 include



Visualisation is the process of applying computer graphics and algorithms to research data in order provide insight for the researcher. In the case of DARK, the data consists of simulations of galaxy formation and the large scale structure of the Universe, simulations that employ and indeed rely on the concept of Dark Matter. The visualisations shown in the Dark fulldome movie are the result of sophisticated simulations run by Alan Duffy and his collaborators on some of the most powerful computers available, including those managed by iVEC in Western Australia.

While visualisation is often initially geared towards the researcher, the visual outcomes are often informative, visually stunning and engaging and thus find applications in conveying the underlying scientific concepts to the wider community. This is the goal behind the visualisation scenes in the Dark production.

Generating high resolution imagery for modern digital planetariums is challenging, the image resolution is often many times the so called “high-def” of current digital television. Dark was made possible by special high resolution wide field of view video cameras owned by iVEC@UWA. Perhaps more importantly it was possible because of the supercomputers managed by iVEC that were used not only to run the simulations but also to render the huge data sets that result.