Services

Projection Mapping and Show Control

Mapped venues and live show logic for theatre, performance, and large-format spaces.

Projection in a performance space is a theatrical problem before it is a technical one. Cues have to follow performers rather than a clock. Generative motion has to read as narrated rather than random. The live system has to be disciplined enough not to announce its own presence inside the play.

I spent six years in theatre before this work, which is why I approach a mapped venue through rehearsal logic rather than a spec sheet. On Ugly (Çirkin) with XTOPIA at Hope Alkazar, an anamorphic camera system simulated the venue from multiple angles so generative imagery stayed legible from where the audience actually sat — not just correct on the surface it landed on.

The unglamorous half of this work is what makes it hold: blending, sweet spots, the handoff to whoever operates the show, and a system that survives a schedule that keeps moving.

What you get

  • Venue mapping and projector blending across multiple surfaces
  • Anamorphic camera systems tuned to real audience sightlines
  • Show control logic — cues, scenes, transitions, and live triggers
  • Cue structures timed to performers rather than a fixed timeline
  • Playback handoff into Resolume or your operator's environment
  • Rehearsal support with a system the cast can actually work against
  • Technical rider input and projector placement guidance
  • Operator training and run documentation

How it runs

  1. 01

    Sightline and venue study

    Where the audience sits, what they can actually see, where the sweet spot falls, and which surfaces are worth projecting on at all.

  2. 02

    Mapping and blending setup

    Geometry, warping, edge blending, and calibration so multiple projectors read as one continuous image.

  3. 03

    Show logic build

    Scenes, cues, and transitions structured around the performance, with live control that an operator can drive under pressure.

  4. 04

    Rehearsal integration

    Running the real system through rehearsals so timing gets found with the cast rather than imposed on them afterwards.

  5. 05

    Operator handoff

    Training, a run sheet, and a recovery path for when something goes wrong mid-show — because eventually it will.

Good fit for

  • Immersive and site-specific theatre productions
  • Concerts, performances, and ceremonies with projected environments
  • Large-format venues where audience position varies significantly
  • Productions where the visual system must be rehearsed, not just installed

Not a good fit for

  • LED wall content production without a projection or interaction component

Ways to work together

Where this has been done

Public projects that show this work in practice, with credits and venues.

Ugly

Immersive theatre at Hope Alkazar combining live performance with anamorphic projection and real-time TouchDesigner visuals across an 80-minute run.

View case study →

5 Movements

Ten-minute immersive installation at Hall des Lumières NYC: real-time TouchDesigner visuals traced from movement, rendered across walls, floor, and ceiling.

View case study →

Common questions

How many projectors will I need?

It depends on surface area, throw distance, ambient light, and how much overlap the blend needs — not on a number anyone can quote before seeing the venue. I can give you a rough average count and the technical requirements; picking exact lens models or projector brands is usually your AV or rental partner's call, not mine. What I bring is the mapping logic running on top of that hardware — the part most rental and AV companies don't do.

Can you work with our existing technical team?

Yes. On most productions there is already a lighting designer, sound designer, and technical director, and the projection layer has to fit their world rather than compete with it. Coming from theatre, I am used to that structure and I do not need to own the room to do my part.

What is a sweet spot and why does it matter?

It is the viewing position where an anamorphic or mapped visual reads most clearly. It matters because the audience, the camera, the projector, and the architecture almost never share the same ideal perspective — so someone has to decide whose eye the image is correct for, and design around that choice deliberately rather than by accident.

Do you stay for the run of the show?

That is scoped per production. Some shows need someone through the run; others need a well-trained operator and a phone number. I would rather build a system your team can run than create a dependency on me being in the building.

Have something like this coming up?

Send the rough scope, the venue, and the dates. If it is not a good fit I will say so, and where I can I will point you to someone better placed.

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