Projection Mapping Guide

Creating Media For 3D Projection Mapping


Speed is among the first apparent things when you view any work on a massive scale. The animations and designs are always created and viewed on a computer. Even the preview projections are not larger than 20 inch across.


After seeing one sequence playing on a canvas, the motion with which the events transpire is magnified greatly. For example, one can design 3D projection mapping that covers all the four sides of 450 ft. building. This increases the size with more than 200 folds. Therefore transitions and elements which move at a snail speed in the computer will move on a different speed that may seem unrelated if it is implemented on an actual show


Looking at this in a different light, to move 1 inch on a computer screen is equal to movement of 25 ft. on a building of that size. This is a very large distance for someone watching as an audience. Every editorial transition will be subject to the very concerns.


A simple solution is to change ones point of reference in regards to timing. What will appear as very slow on a small screen will be fine while covering the sides of large buildings. Some techniques at may be employed to help in the practice.


Technique number one is borrowed from the visual effects works of films. More so the 3D ones whereby pacing concerns are the same. Create real-world scale reference on the preview window. Besides the obvious local features and yardstick, a good addition to this is a human being scale. Having a silhouette against your preview screen can be useful. Use zoom to preview the animations from different level all the while paying attention to silhouette size relative to your own size. To gain more knowledge about project mapping and motion graphics, go to

After a much comfortable pacing approach is arrived at, then you can add the second refinement of this technique. This approach includes sound addition. A click track can come in handy when establishing the backbone pace. This helps in keeping you on the speed limit or below it and has an additional advantage of creating elegant pacing unity.


To achieve quality in these presentations at, another major area to look into is the contrast ratio. It is always disappointing to have a very well-crafted visual true grey, desaturated and flat upon viewing in context. The answer is having constant control of ambient light within the presentation venue. If this is the case, one will simply turn off all the competing light during the show. Enabling the projection to play in darkness. Ambient light sources cannot be controlled and are everywhere