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Work Collection

Blending aesthetics and technology
to create immersive experiences.

All Works   ‧   Artwork   ‧   Branding   ‧   Exhibition   ‧   Event

Project Type: Event
Category: Exhibition, Event

Client: Marvel Studio│Beast Kindom
Year: 2018
Location: Singapore ArtScience Museum


Marvel 10th Anniversary Exhibition

Since Marvel Studios introduced its first movie Iron Man, the movie universe of Marvel Studios was opened. During this past decade, many classic heroes were shaped on the big screen, such as Captain America, Black Widow, The Hulk, Thor, Scarlet Witch, Guardians of the Galaxy, and Ant-Man.

In order to celebrate the 10th anniversary of Marvel Studios, Ultra Combos was entrusted to participate in creating the Marvel Studios: Ten Years of Heroes exhibition, reproducing the classic scenes in Marvel's vast universe. With the popular heroes all standing in a line and through the experience of immersive space, the audience is guided to walk into the first grand decade of Marvel Studios together.






Marvel 10th Anniversary Exhibition

Producer:Herry Chang
Project Manager:Tim Chen
Creative Director:Tim Chen
Technical Director:Herry Chang
Programmer:Kyosuke Yuan、Hoba Yang、Nate Wu、Herry Chang、Yen-Peng Liao、Wei-Yu Chen
Art Director:Chris Lee
Concept & Storyboard:Chris Lee
UI/UX Design:Chris Lee
Visual Assistant:Jia Rong Tsai
Generative VFX (Dr. Strange / Ant man):Hoba YangHerry Chang
Motion Design (Captain America / Helicarrier / Bifrost / Theatre):MUZiXlll
Character Rigging (Theatre):Yoyo Chang

Video Installation Solution:甘樂整合設計有限公司
Hardware Lead:Herry Chang
Hardware Integration:Prolong Lai
Hardware Engineer:Wei-Yu Chen
Sound Design:The Flow Sound Design
Director of Photography:Ray.C

Photography AssistantYa-Ping Chang

Related Works:

Project Type: Exhibition  
Category: Event, Exhibition

Client: Taichung City Goverment
Agency: Archicake Design
Year: 2018
Location: Taichung World Flora Exposition


Taichung World Flora Exposition
Phototropic Synesthesia

As an entry corridor to the exhibition, the team attempted to create immersive “Rinsing Sensory” experience, so as to deconstruct the normal cognition of the audience on exhibition centers and complete a special welcoming flow in all aspects, from visual and auditory aspects to spatial and atmospheric aspects


With“Phototrophic Plants”as the main concept, image designs are projected onto plants, translating and enhancing the attitude and traits of the four main characters:“Rice, Fruits, Mushrooms, and Tea Leaves.” Using the monitors as a patchwork through the corridor, through continually stacked and abundant images, along with unending compression of space, a fantasy blend of“organic”and“geometric”coexistence. This will allow the audience to obtain a sense of openness in all areas when entering the indoor exhibition area.


Due to the demands of this project, visual effect personnel had to work on the visual effects to be projected on the plants on-site. And because the site is mainly outdoors, in order to avoid light pollution, the personnel can only carry out this task at night. And not wanting to sleep late, the time is very limited. In response to this challenge, we developed two tools to complete this task.

  • Projector-Camera Calibration Using Gray Code Patterns

Simply speaking, through this technology, the visual effect personnel can obtain an image, and this image can be viewed as “the picture seen from the projector. The principle of this technology is gray code patterns are projected on the objects where we need projection mapping using the projector. A camera is set up near the projector lens to record the imaging of the gray code patterns on the video-taped objects. Through calculating the projector-camera relation using the computer, we are able to simulate an image where the camera picture is converted to one that is from the perspective of the projector.
Actually, there are already some ready-made tools to complete this function; however, the images produced from these current tools are all in black-and-white and the details and accuracy are just barely satisfactory. In response to the quality requirements of the visual effect personnel, the team developed this tool on their own.

  • Real-Time Visual production Using NDI

After obtaining the image from the perspective of the projector, the visual effect personnel still encountered an issue, before projecting, there was no way to preview the visual effect on plants. Therefore, the personnel hoped that there was a system that can provide real-time visual projection editing, where one wouldn’t need to repeatedly calculate and export visual files. So, we made plug-ins for software such as Photoshop and After Effect, where the visual within the production software is immediately exported to the projection system. We used the Network Device Interface (NDI) as the interface for image transmission. NDI is a technology for internet two-way audio-visual signal transmission, where IP Ethernet networks is the main way of connection. Thus, this also let our system achieve a wireless working environment through WIFI.

2018 TWFE - Phototropic Synesthesis

Producer: Hauzhen Yen
Project Manager: Tim Chen
Creative Director: Jay Tseng
Art Director: Chris Lee
Technical Director: Nate Wu
Visual Designer: Chris Lee, Hauzhen Yen, Lynn Chiang, Glenn Huang, Alex Lu
Lighting Designer: Wei-Yu Chen

Sound Director: MUSDM
Sound Designer: MUSDM
Composer: MUSDM
Sound Mixing: MUSDM

Director of Photography: Ray.C, Book Ho
Assistant of Photography: Liang Fa Kan, Chen Kuan Chieh, Hsu Yuan fu
Production Manager: Jay Lee, Prolong Lai, Herry Chang, William Liu, Alex Lu
Assistant Production Manager: Peter Chen, Ya Ting Lin
Location Manager: Isabella Chang

Promote Video: Ting-An Ho
Promote Video Music Composer: IGLOOGHOST

Special Thanks: archicake design, Sean Yang, Sheng Yuan Hung, YUYUPAS, Tian Mi Xin Orchard

Related Works:

Project Type: Event 
Category: Exhibition, Event

Client: Universal Studio
Year: 2018
Location: Shenzhen Happy Coast OCT Exhibition Center


A Minions Perspective World Premiere

The First Minions Exhibition in the World Is Landing Shenzhen! A Minion Perspective Exhibition —Limited Preview Tickets On Sale Now. In cooperation with Universal and IE, Blooming Investment will bring the exhibition [A Minions Perspective] to OCT Harbour in Shenzhen on 8th, December, 2018. Welcome to the world of Despicable Me! Follow the footsteps and laughter of the minions and experience every scene in the movie It'll be a brand new trip full of interactive fun in cinematic settings. Come and enjoy your exhilarating experience with the yellow elves! In the exhibition, visitors could visit the famous Gru’s laboratory, Girls room, moreover, more than 500 official minion products authorised by Universal are ready to go home with you! Interactive experience through lavish themes, AR interactions and other activities will also be presented in the exhibition. A minions perspective exhibition will bring warmth and positive energy to Shenzhen during this winter, providing “a must go spot” for you.

A Minions Perspective World Premiere

Interactive Visual Design & Technics Integration by Ultra Combos

Technical Director: Nate Wu
Programmer: Nate Wu, Hoba Yang, Wei-An Chen(@chwan1 ), Herry Chang, Jarvis Chung
Art Director: Chris Lee
Concept & Storyboard: Chris Lee, Lynn Chiang, Hauzhen Yen, Glenn Huang
UI/UX Design: Chris Lee, Lynn Chiang, Hauzhen Yen, Glenn Huang
Graphic Design / 2D Motion Design: Chris Lee, Lynn Chiang, Hauzhen Yen, Glenn Huang
VFX: Chris Lee, Hauzhen Yen
2D Motion Design (Pre-show Theater): Jim Hsu
2D Motion Design / Illustration (Girls' Room / AR App): Lichee He
Assets Modeling / 3D Animation / Lighting (Gru's Lab-Fart Gun): Chienche Wang

Video Installation Solution : 甘樂整合設計有限公司
Hardware Lead: Herry Chang 
Hardware Integration: Prolong Lai 
Sound Design: The Flow Sound Design
Director of Photography : Ray.C
Photography Assistant: Yaping Chang

Related Works:

Project Type: Exhibition 
Category: EventExhibition

Client: Taichung City Government
Agency: Cogitoimage International Co., Ltd.
Year: 2018
Location: 2018 Taichung World Flora Exposition Discovery Pavilion

#Interactive Theater 
#Generative Art
#Particle System
#Scanning Laser Rangefinder
#Multi-screen stitchin

Taichung World Flora Exposition Discovery Pavilion

團隊獲得卡爾吉特國際股份有限公司的邀約,參與 2018 台中國際花卉博覽會森林園區發現館的單元創作。發現館的設計理念為「在台中看見半個地球」,講述沿著大甲溪從海拔 0-3886M 的生態之旅。




0-3886 成為了這件作品的敘事主軸,我們希望完成一個劇場,帶領觀眾透過生物的視野,在不同的尺度與角度,重新「發現」造物的巧妙與美好。


整個展館將 0-3886 分為五個海拔區塊,呼應大甲溪,以「水」貫穿。



涵|0 - 100M


沛|100 - 500M


涓|500 - 1000M

山林動物出沒區域, 與生物共存

澗|1000 - 1500M


澄|1500 - 3500M







2018 台中國際花卉博覽會 發現館

展館策劃執行: 卡爾吉特國際股份有限公司


燈光合成:陳俊霖、聞書聆、郭柏延、胡宏愈、許閎硯、 劉筱婷、黃思豪、李淑娟、潘紫涵、蔡幸霖





Related Works:

Project Type: Concert
Category: Event

Client:  Blue Sky Production
Year: 2016
Location: Taipei Arena

#Particle System 
#Point Cloud 
#Audio Visualization
#LED Matrix

Tanya Concert LEMURIA

Singer Tanya Chua's 2016 World Tour LEMURIA revolves around the myth that in ancient times the earth was stunningly beautiful and replete with abundance; disease and violence were absent. When disasters later struck, the Lemurians entered the center of the earth to protect our world. Chua is one of these messengers, who uses music to soothe human beings and teach us how to love with her voice.

We were responsible for the visual designs of the three electro-style opening songs: "Strange species" (異類的同類), "Aphasia"(失語者), and "Film"(菲林), as well as the ECODOT LED Display in "Blank Space" (空白格).

The Songs as the Essence

In the beginning of the creation process, the team talked about how the melodies and lyrics of the three songs made us feel and how they inspired us visually. We brainstormed and came up with a few keywords and put these words into context for the storyline and the aesthetics settings.

Particle System

We developed a particle system to faithfully represent our aesthetic ideas. Point clouds were utilized as the key component of the visuals, simulating smoke, wind, and fractals to create a dynamic, psychedelic ambiance. With the use of Kinect v2, we are able to retrieve the point cloud information from performers in real time, thereby simultaneously layering the performer's action on top of the pre-made particle landscape.


The storyline of "Strange Species" begins in a wasteland, and the traces of human existence are revealed one step at a time. We utilized aerial survey techniques to record landscapes in Taiwan, even going as far out as Penghu Island. We documented various forests, valleys, and abandoned buildings, and converted them into 3D landscapes.

Sound Visualization

Sound is the key ingredient in concerts. In order to better relate the images to the sound, we entered the data from the drums, vocals, and other instruments as three different sets of parameters to correspondingly alter the motion of the particles.


Fractals are replications of patterns that look exactly the same at every scale; its idea is simple yet itself is by nature complicated. To truthfully represent the nostalgic ambiance of  "Film", we zoomed in and out to create a time-travel feel and used photos Chua's from daily life to form fractals that were then interspersed into the 3D landscapes and the main visuals.


With "Blank Space" (空白格), we projected 3D images of the live performance onto a 3x3m and 10m height LED cubic column.

Tanya Chua LEMURIA Tour 2016 in Taipei

Concert Promoter: TERRA BREEZE
Artist Management: CRYSTAL RESONANCE
Concert Produced by BLUE SKY PRODUCTION
Director: Chang, Wen-Ling
Artist: Tanya Chua

Interactive Visual Produced by ULTRA COMBOS
Producer: Jay Tseng
Visual Script & Design: Lee, Wei-Tsung、Huang, Wei-Jhe
Interactive System & Generative Visual: Wu, SzuWei、Chen, WeiAn、Yang, ChiaHao
3D Scenes: Yang, ChiaHao、Chen, WeiTing、Chuang, TingFeng、Wang, JianJie
System Planning: Liu, WeiShen
Executive Assistant: Huang, Weiju
Film Editing: Ting-An Ho

Assistant to Director: Lin, I-Lun
Stage Manager: Snake Huang、Jiro Li、Evan Wang
Production Manager: Yang, Jia-Ming
Stage Design: Noodle Lee、Sam Lai、Liao, Chen-Liang│PLAYFUL STUDIO
Graphic Design: Yang, Hsiu-Min│SILLY CREATIVE
Lighting Design: Wu Yuilng │LUMI LIGHT STUDIO
Laser Design: Mac Huang │DENG YEE LASER
F.O.H Mixing Engineer: Hsia Chieh
Monitor Engineer: Chen, Jun-Hao
Project Director: Maggie Wang

Related Works:

Project Type: Theatre
Category: Artwork
Client: Quanta Arts Foundation
Year: 2011

#Performing Art
#Generative Art
#Computer Vision
#Projection Mapping

Seventh Sensen

Seventh Sense is co-authored by Ultra combos and Anarchy Dance Theatre, a council subsidy digital performing art project. Five sense generally refers to sensory organs like eyes, ears, nose, tongue, and body, the sensor of human body receiving stimuli and gathering information from the outside while the sixth sense is often considered as intuition, awareness, or foresight ability. The Seventh Sense is an interactive environment containing the performers and the audience; beyond the performing, the piece tries to bring the viewers and the dancers to a mutual and shared space in order to create an unimaginable experience afar from the known senses.







另外也實驗了許多演算視覺的可能性,像是利用透視手法打破既有牆面的空間感,或是加入於時間與空間上具備連續性的隨機參數 (Perlin Noise) 堆疊更多的變化細節等。



Media / Press

This Digital Dance Space Reacts to Performers  Movements in Real Time - Hyperallergic.


2014, 06/13-15, 香港兆基多媒體書院, 舞過介系列
2014, 01/10, 阿拉伯聯合大公國, 第六屆阿拉伯戲劇藝術節開幕演出
2013, 09/08, 英國 Cardiff, WSD2013 年會中, 開幕演出
2013, 01/11-12, 美國紐約Japan Society 演出
2012, 10/19-20, 西班牙 Centro Parraga 演出
2012, 09/21-22, 荷蘭 TodayArts Festival 演出

Seventh Sense

Concept / Choreography: Chieh-hua Hsieh
Software Development / Visual Design: Ultra Combos
Sound Design: Ultra Combos
Lighting Design: We Do Group
Dancer: Hsiao-yuan Lin, Shao-ching Hung, Tai-yueh Chen, Yu-chieh Lee,
Supported by Council for Cultural Affairs of the Republic of China

Related Works:

Project Type: Theatre
Category: Artwork
Client: Quanta Arts Foundation
Year: 2015

#Performing Art
#Real-time 360° Projection Mapping
#Kinect v2

Second Body

After 'Seventh Sense', we continued to work with Anarchy Dance Theatre. The concept for this production, according to the piece's choreographer Jeff Hsieh, began with the perception that, while driving through lanes and alleys, he relied on his innate sense of the vehicle itself—its size, movement, and position—as if it were his own body moving through space. Body movements are primarily subconscious acts honed by knowledge, the senses, and practice, and when our body is able to utilize machines, a "Second Body" is made possible through practice.

The work "Second Body" focuses on concepts of the body, exploring how its existence and very definition may change in face of an increasingly technological world, where the external environment and physical space in which we live are themselves changing.

Service / Idea

With "body" as the thematic core of this piece, we wanted to create a system that could randomly alter the body's form and appearance. To this end we constructed an auditorium with an 8mX8m stage surrounded by the audience, wherein the dancer in the performance space are covered by 360° projection, and the floor's interactive projection becomes an extension of the dancer's own body.

Workflow / Detail

Before development began on this project—because the visuals and technological technical solution had not yet been decided upon—there was much in the way unknowing. To ensure the balance between technology and aesthetics, we extended the production to comprise three distinct stages.

Phase One: Technical Development

At this stage our aim was to experiment with visuals at a definite scale to both develop and understand the performance capabilities of our system. Our goal was to create projected images that perfectly adhered to the body of the performer.

The first problem we faced was how to create seamless projections on the dancer in real time. At that time, the most accessible advanced sensor was Microsoft's Kinect v2, and our detection system was thus developed using this sensor as its basis. After some trials and testing, we had decided to install four sets of Kinects around the 8mX8m stage, thus generating a 360°, seamless point cloud of the dancer for model creation.

The next issue was how to project images onto the body of the performer, the resolution of which comprised both linking the positional relationship of the projectors and sensors, as well as adhering the images to the model obtained by the detection system. The former required establishing a checkerboard grid that acted as the projector's utilization plane. The sensor could then determine its positional relationship with the projector by assessing positions on this plane. For the latter we used common environment mapping technology via 3D software, rendering the model's appearance into a mirror image, which the Skybox could then successfully reflect onto the body of the performer.

After establishing the basic system, we further classified the visual stimuli into two categories to test and develop their potential: the first type, pre-render videos, was established after many trials; the second type was generative visual during performance.

Phase Two: Content Creation

After completing the first stage, members of the production team better understood the qualities and limitations of the detection system, and were able to flesh out the finer details regarding script and performance structure. The creation team switched focus to content creation and the development of a more user-friendly editing system. To better grasp the relationship between the dancer and the on-stage visuals, the team spent an entire month staying in the performance space rehearsing, honing, and refining movements.

Phase Three: Establishing an edition suitable for touring

Because of the piece's unique presentation and large-scale technical requirements, we specifically designed a hardware installation, logistics method, and calibration process for touring.


2016.10.22 One Dance Week, Bulgaria
2016.06.17-18 Les Rencontres Chorégraphiques Internationales de Seine-Saint-Denis, France
2016.05.21-22 The Polytech Festival, Russia
2016.5.13-14 Centrum Sztuki WRO / WRO Art Center, Poland
2015.09.4-5 Ars Electronica, Austria
2014.10.31-11.2 Performing Arts School 36, Taipei

Second Body

Concept / Choreography: Chieh-hua Hsieh
Software Development / Visual Design: Ultra Combos
Sound Design: Yannick Dauby, Ultra Combos
Lighting Design: We Do Group
Custom Design: Yu-teh Yang
Visual Operator: Hsiang-ting Teng
Soloist: Kuan-ling Tsai
Dramaturgy: River Lin
Tour Management: AxE
Arts Management Project Mentor: Justine Beaujouan
Project Consultant: Kevin Cunningham
Commissioned by Quanta Arts Foundation / QAring
Supported by Ministry of Culture of the Republic of China

Related Works:

Project Type: Exhibition 
Client: BMW MINI
Location: Nang Gang Exhibition Hall
Year: 2016


MINI: The Next 100 Years

The BMW Group is playing a crucial part in shaping the mobility of the future – and constantly reinventing itself in the process. Its evolution from aircraft-engine manufacturer to premium mobility service provider is quite unique. Discover 100 masterpieces from the BMW Group's first hundred years through selected exhibits at the BMW Museum. All are part of our successful history and motivate us to keep driving forward.

Making Of

為了使過去百年來巨量的資料以簡潔方式呈現,因此在擬定方案過程中,我們將操作模式大為簡化,獨留「過去」、「現在」、「未來」三大主線,並將次要的資訊留在子資料夾之中,透過乾淨的層級設計以動態引導參觀者閱讀 MINI 的史料。為求在展覽現場人山人海的情況下也能互動良好,我們將互動操作區域安排在最貼近觀眾的位置,讓觀眾以極簡便的方式操作使用,透過簡潔的物理流動,操作者在觸碰面板上得以隨意滑動,並在如大海般的照片群中輕鬆切換與悠遊。


Related Works:

Project Type: Event & Branding 
Client:  Heineken
Location: Kelti International
Year: 2013

Heineken Time Traveler

To celebrate Heineken's 140th birthday in Taiwan, we created a time travel interactive booth in the heart of the Taipei city. It takes you travel through time to explore the magic of Heineken. The interactive booth is 6 meters wide 3 meters height 3 meters depth, with 3D projection mapping on surrounded walls to provide a real time travel experience. During the interaction, you will use the control device – leap motion, to explore the magic of Heineken in 140 years. Once the time travel is finished, a live message is posted on your facebook to announce your journey. You will also get an exclusive bottle of Heineken with your name on it as souvenir.

Making Of:

Related Works:

Project Type: Event
Client:  Luxgen
Location: Taipei City Lake District
Year: 2016


Luxgen Genius

LUXGEN GENIUS+ 體驗館打破傳統汽車展示中心的模式,選擇在商辦重鎮打造高科技、人性化的賞車空間,包括:1:1 全比例虛擬車型的「全數位虛擬賞車平台」,感受實車比例,運用4K影像技術提升畫質,民眾透過觸控式螢幕選擇喜愛的車款,可立即呈現在大螢幕上,清楚了解全車內外觀。

Children Area

除了虛擬賞車之外,「觸控式購車銷輔系統」以人性化的購車服務系統,提供消費者在購車選擇上的便利性,有效提升銷售服務效率並增加顧客滿意度;而 LUXGEN 也特別打造「智趣體感兒童互動區」,由接待人員發給小朋友 LUXGEN 全車系六車型線稿圖紙,進行塗鴉著色,並投影在大螢幕上的汽車世界,透過指尖的觸控,每台車都會有不同的動畫呈現產品特色,增加童趣,LUXGEN 也希望透過互動區體驗,開發出小朋友對汽車設計的興趣,並創造出屬於自己設計的車輛。

Related Works: