The future of projection mapping

As projection mapping becomes more common, the future of large-scale visual storytelling has never looked brighter. We dig a little deeper into the hardware and software powering this visionary movement

Words Oliver Webb

During an evening stroll along the riverbank in downtown Chicago a few years ago, I sat down on some steps to take in the view of the Merchandise Mart – a stunning Art Deco landmark that has always fascinated me. As I sat admiring the view, purple lights suddenly illuminated the building. What followed was one of the most impressive displays of digital images I’d ever seen.

I was familiar with projection mapping, but I hadn’t seen it on this scale before. I would later discover that the displays change every few months and had been going for several years. Remarkably, Art on the Mart is still the largest permanent digital art platform in the world.

Powering the display are 34 Christie Boxer 4K30 projectors, which are utilised to project the artworks onto around 10,000 sq m of projection surface. For anyone who has ever been in the same spot looking at it, it’s difficult to fathom exactly where these are placed.

Since then, projection mapping seems to be popping up everywhere – with stadiums, galleries, live events and even houses of worship all embracing the technology. But why exactly is this digital phenomenon so popular, and what can we expect for its future?

Creativity reimagined

While the term ‘projection mapping’ might be relatively new, the technique isn’t. One of the earliest public uses was in 1969 as part of the Haunted Mansion attraction at Disneyland, California. The ride featured optical illusions known as the ‘Grim Grinning Ghosts’, which appeared to sing a theme tune. To achieve this, videos of the actors singing were projected onto the busts, making them appear as if they were animated.

According to Joe Graziano, director of sales and entertainment EMEA at Christie, the projection mapping industry is very active. “Over the last year or so, in EMEA, we have seen several mapping opportunities as corporations, cities or live events look to make a splash,” he says.

One of the biggest recent shifts has been the move from temporary, event-based installations to permanent and semi-permanent experiences, as in the case of Art on the Mart. “Projection mapping is now a key component of many museums, theme parks, visitor attractions and entertainment venues,” says Graziano. “We’ve also seen big advances in automation and workflow efficiency. Tasks that required extensive manual calibration can now be automated through camera-based alignment, warping, blending and recalibration tools. This reduces set-up time, simplifies maintenance and helps ensure long-term image accuracy.”

Many industries are using projection mapping, and Graziano suggests that theme parks are among the strongest adopters. The sports industry is also using projection mapping to elevate fan experiences through immersive pre-game shows, in-game entertainment, venue transformations and dynamic sponsorship activations. “Additionally, museums and cultural institutions are embracing projection mapping to tell stories and bring exhibits to life,” he adds.

The boom, however, isn’t confined to one single industry. Organisations are finding new ways to use projection mapping to transform environments into immersive experiences.

Projection in practice

The growing demand for projection mapping is reflected in the diversity of installations. The technology is playing a key role in how landmarks are being used for architectural storytelling. Not only do they provide enormous canvases (for example, Merchandise Mart), but the buildings themselves are becoming part of the narrative.

Digital projection company Barco has provided the technology for a plethora of such notable projects, including at the Hoover Dam, Sydney Opera House, Cadillac Shanghai Concert Hall, Cellular Jail in India and Notre-Dame de Paris.

Barco and Pufferfish are among many companies reimagining projection mapping technology, and together they recently unveiled the PufferTouch 4. The PufferTouch 4 is designed for museums and corporate spaces, and is powered solely by the Barco I600 projector, which offers brighter visuals, a lighter build and quieter operation.

Pufferfish’s displays encourage visitors to explore and interact from every angle, helping venues to move past traditional projection and create memorable, story-driven experiences. In doing so, Pufferfish is encouraging the projection market to think beyond the rectangle and embrace projection as a platform for immersive visual storytelling.

PufferTouch 4’s interactive spherical display platform allows for simple interaction on the globe’s surface, while the multi-touch storytelling offers 360° videos, data visualisations and tailor-made experiences. Pufferfish tech has also been used in educational sectors as well as organisations such as NASA.

Let there be light

Light festivals are also on trend across European cities, with projections at the heart of many of them. One of oldest light festivals in the world is Fête des Lumières in Lyon, France. The façades of some of the city’s most stunning buildings are brought to life under the lights of projectors every December.

Another French city to embrace the technology is Lille for its Video Mapping Festival. Panasonic’s PT-RQ45 made its live debut there, powering a mapping spectacle that transformed Opéra de Lille into the centrepiece of a city-wide trail of immersive digital creations.   

Last summer, Christie’s RGB pure laser projectors illuminated Portugal’s Picadeiro Open Sounds in Fundão and Yard Festival in Setúbal and Palmela. For the events, ADLC Audiovisuais deployed Christie M 4K25 RGB and M 4K15 RGB projectors.

Each location came with its own challenges. “These festivals show how projection can deepen the audience’s connection with music and art,” says José Cordeiro, director of ADLC Audiovisuais. “What makes Christie RGB pure laser projectors stand out is how consistently they amaze people. The colour, the brightness, the uniformity – it all comes together to create moments that people don’t forget. Whether it’s a music festival or a mapping show, the experience feels bigger, more alive and more immersive than anything else we’ve worked with.”

These projects continue to highlight how projection mapping is moving beyond one-off spectacles into a wide range of permanent attractions.

IS IT JUST PROJECTION?

RGB pure laser projection has been one of the most significant advancements in the space. Graziano notes that they are able to deliver exceptional colour performance, long operational life and consistent brightness, while reducing maintenance requirements compared with traditional lamp-based systems.

“Automated alignment along with calibration technologies have also transformed the industry,” he adds. “Solutions that automate warping, blending and image correction can help to reduce installation complexity and maintain image quality over time, particularly when it comes to multi-projector deployments.”

According to Graziano, Christie has several sizeable mapping projects under development in the EMEA region, which are set to culminate over the next 12 to 18 months across high-end retail destinations, sports stadiums and water-based locations.

A number of factors are continuing to evolve projection mapping, including experiential marketing and the rise of live events. AI is also increasing the capabilities that come with it, allowing real-time adjustments and personalisation. Visual storytelling is now at the forefront of many industries and, as a result, projection mapping is poised for significant growth over the next few years.

When I stumbled across Art on the Mart, it felt almost futuristic. But now installations are appearing everywhere, from museums to sporting arenas. With advancements in AI and other technologies, they’re likely here to stay.