Video Mapping

A façade brief is a brightness and permission problem first. We survey the elevation, choose projector positions that stay clear of the public realm, and produce the plots the venue and the authority ask for — including the light spill figures for the surrounding buildings.

Content is authored to the building's own geometry: window reveals become frames, cornices become beats, service doors become part of the composition. The finished map is documented, so a repeat show next season starts from a file rather than from scratch.

Object mapping is a black-level exercise. A car, a sculpture or a set piece only reads as itself when the non-projected parts of the object stay black, so we control ambient light, choose the lens for the throw and mask tightly around the shape.

Reveals are rehearsed with the physical object present: the cover comes off on cue, the projection lands on the same frame every time, and a static branded state sits behind the moment in case the show has to hold.

Interactive work changes the surface from a screen into an interface. Tracking volumes, floor sensors or camera-based detection feed a real-time engine that redraws the map as visitors move — tested in the studio with real people before it is installed.

Each interaction has a resting state that looks intentional when nobody is there, and every sensor has a spare. If tracking drops out, the installation falls back to a looping sequence instead of a frozen frame.

We survey with a laser measure or photogrammetry, build the surface in 3D, and place projectors in the same model. Previs then shows the client the brightness falloff, the shadow of a column and the cost of adding a second projector before the gear leaves the warehouse.

Playback runs from disguise, Resolume Arena or Watchout on show-rated machines, with a second source locked to the same timeline, a UPS on the media servers and a printed recovery procedure taped inside the rack. The mapping file, content and projector plot are handed over at load-out.