3D Projection Mapping as an Experiential Media

3D Projection Mapping is an out-of-home/digital signage advertising medium and live event element that involves the projection of forced perspective content onto a non-traditional surface. We define “traditional surface” to be standard two-dimensional ratios of standard definition television, HDTV, and film formats… basically perfectly flat and uniform white colored rectangles. Forced perspective refers to the concept that objects get smaller as they recede into the background. Disney uses forced perspective to create the illusion that its parks’ themed areas are larger than they really are. Using forced perspective content creates the illusion that the physical projection surface is somehow being altered. The results can be stunning in that the viewer believes the images and altered environment to be real. 

While it may be easy to project a 2D image onto a surface to simulate a three-dimensional object (a ball and its shadow for example) the processes involved in 3D projection mapping is much different. It involves taking into consideration many factors:

3D characteristics of the surface (a building’s columns, bricks, windows, etc.)

3D objects and effects imagery (a flying bat, cascading water, dancing characters, etc.)

The lighting source point on those “objects” shadows relative to the building surface (a shadow falling across different three dimensional planes of the same structure)

The perspective of the audience (few, many, near, far, high angle, low angle, etc.)

The 3D artist and the projectionist must closely collaborate in order to consider real-world elements of the projection environment (available projector locations, area ambient and powered lighting, trees, power lines, audience viewing area, etc.) to formulate a perspective projection-viewing plan. The 3D artist creates a perfect virtual model of the environment including the projection surface, to which is applied all the animated effects. The artist then creates the 3D media and the projectionist, in our case a lighting designer/media server operator, tweaks the projection on-site to perfectly fit the content to the 3D surface. The viewers’ mental visual processes do the rest by linking projected objects and, most importantly, relative projected shadows to create the mental reality.

Carefully designed and applied, the effects on the audience are a brand manager’s dream. During the daytime the projection surface (building, statue, “thing”) exists in its’ normal environment giving no hints to the changes to come. As night falls the audience gathers in anticipation of something but clueless as to what. In the beginning, the content display creates a believable environment that the guests are drawn into. The projection surface may have architectural “lights” and other natural effects projected onto it such that the environment seems normal to the guests. When the 3d animated content begins it will alter the environment in myriad ways. The building may crumble under a roar of broken glass, fill up with water until water spills out the windows, or the building may even disappear. The effects can and do evoke specific emotional reactions. Brand messaging can harness that emotion and create a strong connection that will remain a touch point connection for a long time. That connection point is also the best trigger for social media sharing. A commercial shoot event for 50 people garnered over 700,000 YouTube views by its target demographic (See Sleeping Prince video).

What can ruin the effect? Many times the end client sows the seeds of destruction by insisting on cheap 2d elements (often using graphic elements on-hand) that do not fit the medium. A logo, video, or traditional 2d graphic element projected across a three-dimensional surfaces do not account for the architectural elements resulting in a barrier breaking mental perception. The mental visual connection is lost and the audience thinks “Oh yeah, this is all projected.” The desired emotion should be, for example, “Oh wow! That building actually moved!” or “I just saw those columns turn into vodka bottles!” or “That car just drove up the side of that tower!” Having the content producer create 3D versions of all elements maximizes the effect, and therefore the investment. The approval process can also kill a project in a “death by a thousand bites” situation where minute tweaks impede timely delivery of the content to the projection team. It’s best to budget high and allow time for some original asset creation.

But so far we've only discussed the technical execution factors. What makes it "experiential"? The whole endeavor must incorporate a social media pipeline with a publicly accessible digital input and digital output. The inputs can be users' app control of content, opt-in social media integration, and passive opt-in filters. Outputs are the usual SM channels, straight to device sharing, and more. Legacy digital assets can support future activations and sharing long after the event ends.

3D mapping projection can be a powerful emotional tool and driver of social media for branding activations. The keys are to choose the environment wisely, target the content towards creating some strong emotion, and trust the content creators. The results will truly be memorable.

Now, go create some magic.

About the author. Scott Justis is a freelance event producer based in Houston, TX. His experience spans four decades of bringing innovations to the B2C and B2B event marketplaces.