enfrinfo@wsystem.com +33 2 40 78 22 44 - For USA only (800) 875-5907

How to choose a video projector for video mapping?

Waves system > Actualités > Media-server > How to choose a video projector for video mapping?

Video mapping has become an essential part of cultural events, art installations and corporate presentations. This fascinating technology can transform any surface into a projection screen. At the Lumières de Lyon festival, historic buildings are dressed up in spectacular animations using high-powered video projectors.

Choosing the right video projector means ensuring a successful immersive experience. This guide will help you make this crucial decision, combining technical aspects with practical advice to help you invest wisely.

The basics of video mapping

Definition and professional applications of video mapping

Video mapping (or projection mapping) transforms objects, buildings or sets into dynamic media. This now mature technology has a wide range of applications:

  • Architectural mapping on historic or modern buildings
  • Scenography for shows, concerts and cultural events
  • Museum installations and immersive experiences
  • Event communications and product launches
  • Dynamic interior decoration and experience design

Unlike simple video projection, mapping requires extreme precision and perfect adaptation to the geometry of the targeted surfaces, hence the crucial importance of the video projector.

Pre-evaluation of your mapping project

To help you make the right choice, and given the range of situations and video projectors available, we’ve put together this guide.
All the questions you might have will be answered.

Before even considering the technical specifications, ask yourself these questions:

  • Environment : Will the projection take place indoors or outdoors?
  • Dimensions: How large will the surface to be covered be?
  • Lighting conditions: What level of ambient light will you need to compensate for?
  • Duration of use: Is this a one-off event or a permanent installation?
  • Projection distance: What are the space constraints for positioning the projector
  • Budget: How much money is available, including future maintenance?

Each of these factors will directly influence your choice, and neglecting them could lead to technical incompatibilities or disappointing performance.

These preliminary questions will give you a better idea of your needs and help you choose a projector that is suited to your specific project.

The impact of the choice of projector on final quality

The wrong projector can compromise even the simplest creative content. The consequences of a poor choice include

  • Insufficient brightness making content barely visible
  • Colour distortion that alters the artistic intent
  • Resolution too low, revealing pixelation
  • Image instability disrupting immersion
  • Inappropriate projection angles creating uncontrollable distortions

Conversely, a well-chosen projector becomes an invisible ally, allowing the content to express itself fully without any apparent technical limitations.

So what should you look out for when making your purchase?

Essential features of your video projector

Brightness and resolution are the first criteria to consider when making your choice.

Brightness (lumens)

The brightness of a video projector, measured in ANSI lumens, is an essential criterion. The larger the surface to be projected or the more exposed it is to ambient light, the more powerful the projector needs to be.
For example, a mapping on the façade of a cathedral requires at least 20,000 lumens, while an indoor installation can be satisfied with 5,000 lumens.

Precise calculation of lumen requirements for each project

To determine your precise requirements, use this simplified formula:

Lumens required = Projection area (m²) × Ambient lighting factor × Area factor

Where

  • Ambient light factor: 500 (dark room), 1000 (controlled lighting), 2500+ (strong ambient light)
  • Surface factor: 1 (white), 1.5 (light colour), 2+ (dark colour)

You can also use the manufacturers’ online help to make these calculations more accurately.

Here is a list of the brands we recommend for professional use:

Indoor video mapping (3,000 to 10,000 lumens)

For well-controlled indoor environments:

  • 3,000 -5,000 lumens: Sufficient for small installations in dark spaces (art galleries, small rooms)
  • 5,000 – 8,000 lumens: Suitable for medium-sized areas (up to 30m²) in spaces with controlled lighting
  • 8,000 – 10,000 lumens : Recommended for corporate or museum events with moderate ambient light

For mapping on dark or absorbent materials, increase these values by at least 30%.

Outdoor video mapping (10,000 to 75,000 lumens)

Outdoor projections require considerably more power:

  • 10,000 – 20,000 lumens: Minimum for night-time projections on limited surfaces (façades of small buildings)
  • 20,000 – 40,000 lumens: Standard for professional night-time architectural mapping
  • 40,000 – 75,000+ lumens: Necessary for large events or projections with residual light (twilight, urban lighting).

Pour les mappings monumentaux, il est souvent préférable d’utiliser plusieurs projecteurs synchronisés plutôt qu’un seul très puissant. Vous retrouverez de la redondance et de la flexibilité.

Ambient light compensation

Ambient light is enemy number 1 in video mapping.

Here are a few ideas on how to get a decent result despite this light:

  • Favour evening hours for outdoor projections
  • Negotiate the temporary switching off of surrounding lighting
  • Use high-gain screens whenever possible
  • Install light barriers or blackout structures
  • For daytime projections, massive luminosity (50,000+ lumens) is essential.

Resolution and image quality

Resolution influences the sharpness of the projected content. For accurate rendering over a large surface, choose WUXGA (1920×1200) or 4K, which avoid the pixelation effect.

Resolutions available on the professional market

Current standards for professional video mapping include :

  • WUXGA (1920×1200): Minimum resolution for current professional projects
  • Full HD (1920×1080): Current standard, compatible with most sources
  • WQXGA (2560×1600): Intermediate resolution offering greater detail
  • 4K UHD (3840×2160): High resolution for premium projects requiring great finesse

For very large installations, 8K projectors are beginning to appear on the market, albeit at prices that are still prohibitive for most projects.

Matching resolution to projection distance

Resolution should be chosen according to viewing distance:

  • For an immersive experience where the audience is close (< 5m), go for 4K.
  • For medium distances (5-15m), Full HD is still satisfactory
  • For architectural projections viewed from a distance, the perceived pixel density decreases, sometimes making WUXGA sufficient.

Calculate the resulting pixel density (pixels per inch) to assess perceived sharpness at different distances.

Impact of resolution on final rendering

Beyond the figures, consider these practical aspects:

  • Higher resolution means finer detail and legible text
  • The source content must match the projector’s native resolution for optimum rendering.
  • For irregular surfaces, a higher resolution improves mapping accuracy
  • Resolution has a direct influence on file size and the computing power required

Projection ratio and positioning

The projection ratio determines the size of the image obtained as a function of the distance from the projector to the surface.

Projection ratio formula and practical calculations

The projection ratio is calculated as follows :
Projection ratio = Projection distance / Image width

For example, a projector with a ratio of 1.5:1 placed 6 metres away will produce an image 4 metres wide.

For complex installations, use this inverse formula to determine the optimum placement:

Projection distance = Projection ratio × Desired image width

Professional projectors generally indicate a range of ratios, for example ‘1.2-1.8:1’, indicating the possibilities for adjustment via the zoom.

Types of lenses available and their use

The professional market offers different categories of lenses:

  • Ultra short throw (< 0.5:1): Enables projection to within a few centimetres of the surface
  • Short focal length (0.5-1:1): Ideal for restricted spaces and close frontal projections
  • Standard focal length (1.5-2.5:1): Versatile for most conventional installations
  • Long focal length (2.5-4:1): For remote projections, minimising obstacles between projector and surface
  • Ultra long throw (> 4:1): For very long distances, such as projections from opposing buildings

For professional projectors, lenses can be interchangeable, offering greater flexibility.

Advantages of motorised zoom lenses for permanent installations

  • Precise remote adjustment via control systems
  • Presets can be programed for different configurations
  • Flexibility to change projection without physical intervention on the equipment
  • Ability to integrate with home automation systems
  • Greater stability for permanent installations

For permanent architectural mappings, this functionality becomes almost mandatory.

Projection technologies: in-depth analysis

Light sources and their impact on your investment

The choice of light source has a direct impact on projection quality, maintenance and total cost of ownership.

UHP lamps: initial cost vs. maintenance

Advantages :

  • Lower initial cost of ownership
  • Good luminosity (up to 40,000 lumens for multi-lamp systems)
  • Proven, reliable technology

Disadvantages:

  • Limited lifespan (1,000 to 4,000 hours depending on use)
  • Gradual loss of brightness (70-80% after half life)
  • Need to replace lamps regularly (€200-900 per lamp)
  • Time required for heating and cooling
  • Sensitivity to on/off cycles

For one-off events with a limited budget, this technology remains relevant despite its limitations.

LED: longevity and colour reproduction

Advantages :

  • Exceptional lifespan (20,000 to 60,000 hours)
  • Better colour stability over time
  • Instant on/off
  • Reduced maintenance and lower total cost of ownership over time
  • Moderate power consumption

Disadvantages :

  • Limited brightness (generally < 10,000 lumens)
  • Higher acquisition cost
  • Difficulty in producing perfect whites in certain models

LED solutions are particularly well suited to permanent installations of moderate size and museum environments.

Laser: performance and durability for demanding projects

Laser technology currently represents the ultimate in professional mapping:

Advantages :

  • Exceptional brightness (up to 75,000+ lumens)
  • Long life (20,000 to 40,000 hours)
  • Excellent uniformity and colour stability
  • Superior contrast with deeper blacks
  • Minimal maintenance
  • Superior energy efficiency

Disadvantages :

  • Substantial initial investment
  • Specific safety regulations (laser classification)
  • Need for appropriate ventilation

For permanent architectural mapping or prestigious events, the investment in laser technology is fully justified by its performance and reliability.

DLP vs LCD technologies for professional mapping

The choice between DLP (Digital Light Processing) and LCD (Liquid Crystal Display) has a considerable influence on the final rendering.

Advantages of DLP for responsiveness and contrast

DLP technology, developed by Texas Instruments, uses micro-mirrors to reflect light:

Strengths for mapping :

  • Superior contrast (up to 10,000:1 native)
  • Excellent reproduction of deep blacks
  • Ultra-fast response, minimising streaks on dynamic content
  • Less visible pixels (reduced ‘grid’ effect)
  • Improved heat resistance and durability
  • High refresh rate ideal for animated content

Weaknesses :

  • Rainbow effect possible in mono-DLPs
  • Slightly lower brightness than LCD technology
  • Price generally higher for professional tri-DLP models

DLP technology is particularly recommended for high-contrast projections or highly dynamic content.

Benefits of LCD/3LCD for brightness and colour reproduction

LCD technology uses liquid crystals to filter light:

Strengths for mapping :

  • Greater brightness at equal power
  • Natural, accurate colour reproduction
  • No rainbow effect
  • Often less expensive than equivalent DLP
  • Excellent energy efficiency

Weaknesses :

  • Native contrast generally lower than DLP
  • Shallower blacks
  • Grid effect sometimes visible at close range
  • Possible degradation of LCD panels after thousands of hours

LCD/3LCD is an excellent choice for projections requiring high brightness and faithful colour reproduction.

Mono-DLP vs tri-DLP technologies

For professional projects, the distinction between mono-DLP and tri-DLP is fundamental:

  • Mono-DLP: Uses one colour wheel and a single chip, offering good value for money but limited colour performance
  • Tri-DLP: Uses three separate chips (for R, G, B), eliminating the rainbow effect and offering superior chromatic reproduction.

For professional video mapping, tri-DLP solutions are generally the industry standard, despite their higher cost.

Do you have a video mapping project?

In just 30 minutes, we'll help you make the right choice.

Critical features for video mapping

Advanced geometric correction

Geometric correction enables the projection to be adapted to irregular or non-perpendicular surfaces.

Integrated warping options vs. software solutions

Warping solutions fall into two categories:

Built-in warping :

  • Directly accessible from the projector menu
  • Does not require a dedicated computer
  • Generally more limited in terms of control points
  • Ideal for simple corrections and permanent adjustments

Software warping :

  • Offers much more precise control with more adjustment points
  • Allows complex corrections adapted to organic surfaces
  • Requires a dedicated computer or media server
  • Often essential for elaborate architectural mappings

For professional installations, the use of a video mapping media server is essential to manage projection, calibration and special effects. Our solution offers centralised content management, perfect synchronisation with projectors and increased flexibility for immersive environments.

Trapezoidal distortion correction (keystone)

The keystone corrects distortion when the projector is not perpendicular to the surface:

  • Vertical keystone corrects the angle on the vertical axis (typically ±40°)
  • The horizontal keystone manages lateral displacements (typically ±20°)
  • Some models offer correction on 4 corners or 6 independent points

Caution: Keystone correction involves digital reprocessing, which can slightly degrade image quality. Minimise its use whenever possible.

Lens shift

Lens shift allows the image to be moved without physically moving the projector or distorting the image.

Optimum values for professional installations

For professional installations, look for these minimum capabilities:

  • Vertical lens shift: ±50% or more
  • Horizontal lens shift: ±20% or more

The values are expressed as a percentage of the height or width of the image. A vertical lens shift of 50% moves the image up or down by half a screen height.

Combining with keystone

The best strategy is to :

  1. Position the projector to minimise the corrections required
  2. Use lens shift first to align the image (without degrading quality)
  3. Apply keystone only as a last resort for final adjustments.

This approach preserves image quality while offering the flexibility required for installation.

Edge blending capabilities

For large-scale projections, several projectors are often required, involving edge blending.

Hardware vs. software solutions

Projector-integrated blending :

  • Available on most professional projectors
  • Relatively simple configuration for permanent installations
  • Limited capabilities for complex geometries

Blending via media server or dedicated software:

  • Precise control of transition zones
  • Zone-by-zone colour correction
  • Ability to manage complex configurations (domes, 360° projections)
  • Solutions such as Proxima, Watchout, Resolume Arena or TouchDesigner

Optimum multi-projector configuration

For successful professional blending:

  • Use identical projectors for colour consistency
  • Allow 20-30% overlap between projection zones
  • Gradually reduce the light intensity in transition zones
  • Calibrate each projector individually before setting up the blending
  • Use a camera and auto-calibration software for complex installations

Well executed blending is completely invisible to the viewer.

Additional technical criteria

Refresh rate and synchronisation

The refresh rate determines the fluidity of animated content and influences multi-projector synchronisation.

What choices should you make for dynamic mapping?

  • 60Hz minimum for fluid dynamic content
  • 120Hz recommended for ultra-fluid movements or 3D content
  • Choose low-latency projectors (< 20ms) for interactive performance
  • Check compatibility with your source frequencies (24fps cinema, 25/50fps European broadcast, etc.)

Synchronising multiple projectors

Frame synchronisation is crucial for multi-projector installations:

  • Use genlock systems or synchronised graphics cards
  • Choose professional media servers that allow synchronous output
  • Check your projectors’ network synchronisation features
  • For interactive content, overall system latency is critical

Lack of synchronisation can create visible tearing effects and disrupt the immersive experience.

Thermal management and noise levels

Powerful projectors generate significant heat which needs to be managed effectively.

Impact on indoor installations

Fan noise can be problematic in certain contexts:

  • For museums and galleries: prefer projectors < 35dB
  • For theatres and auditoriums: < 30dB in eco mode is desirable
  • For sensitive artistic installations: consider acoustic insulation solutions.

The heat generated must also be considered:

  • Provide adequate ventilation for the installation space
  • Respect the minimum clearances recommended by the manufacturer
  • Consider the impact on air conditioning in public spaces

Cooling solutions for intensive use

For intensive projection or in hot environments:

  • Water cooling systems for very high-power projectors
  • Forced air output in protective enclosures
  • Dedicated air conditioning for control rooms and technical areas
  • Temperature monitoring with alerts and safety systems

Insufficient cooling drastically reduces the lifespan of equipment and can lead to untimely shutdowns.

Connectivity and integration options

Professional digital interfaces

The choice of connections directly influences signal quality and installation flexibility.

HDMI, DisplayPort, SDI and HDBaseT

HDMI :

  • Industry standard, available on all models
  • HDMI 2.0 supports 4K up to 60Hz
  • HDMI 2.1 supports 4K 120Hz and 8K 60Hz
  • Limited to approximately 10-15m without amplification

DisplayPort :

  • Superior performance for computer content
  • DP 1.4 supports 4K at 120Hz and 8K at 30Hz
  • Less susceptible to cabling problems than HDMI
  • Allows several screens to be connected in series (daisy chaining)

SDI (Serial Digital Interface) :

  • Professional broadcast standard
  • Extremely reliable over long distances (up to 100m)
  • Robust, lockable connectors
  • Available in SD, HD, 3G, 6G and 12G variants depending on bandwidth requirements

HDBaseT :

  • Transmits up to 100m over Cat6a cable
  • Integrates video, audio, control and sometimes power supply
  • Ideal solution for fixed installations
  • Compatible with extenders and matrix switchers

Long-distance transmission

For complex installations requiring long distances:

  • Fibre optics for extreme distances (up to several kilometres)
  • HDBaseT extenders and repeaters for medium distances
  • Wireless transmission systems for temporary installations or inaccessible areas (pay attention to latency and reliability)

Network connectivity and remote control

Network capabilities make it easy to manage projectors in complex installations.

Professional projectors support a range of control protocols:

  • RS-232/422/485: Reliable serial connection for precise control
  • IP/Ethernet: Control via a standard network for easy integration
  • Art-Net/DMX: Integration with stage lighting systems
  • Crestron, AMX, Extron: Compatibility with building management systems

Professional installations benefit from :

  • Open APIs for custom integration
  • Centralised monitoring software to supervise the status of projectors
  • Preventive warning systems (temperature, operating time, filter status)
  • Automatic on/off scheduling

Network integration also enables remote firmware updates, essential for large fleets.

Budget and Purchase Recommendations

Cost/Benefit Analysis According to Projects

The investment should be proportionate to the needs and the usage context.

Small Events (budget €3,000 – €8,000)

These solutions are suitable for small museums, art galleries, and corporate events in controlled indoor environments.

Recommended specifications:

  • Brightness: 4,000 – 7,000 lumens
  • Resolution: Full HD or WUXGA
  • Technology: 3LCD or single-chip DLP
  • Light source: Hybrid lamp or LED for occasional use

Representative models:

  1. Epson EB-L510U (5 000 lumens, laser, WUXGA)
  2. BenQ LK953ST (5 000 lumens, laser, short throw)
  3. NEC P525UL (5 000 lumens, laser, silent)

Medium Events (budget €8,000 – €25,000)

Suitable for cultural events, medium-scale architectural mappings, and national museums.

Recommended specifications:

  • Luminosité : 7 000 – 12 000 lumens
  • Résolution : WUXGA ou 4K
  • Technologie : 3LCD professionnel ou tri-DLP
  • Source lumineuse : Laser ou hybride laser-phosphore
  • Fonctionnalités : Warping avancé, edge blending, objectifs interchangeables

Representative models:

  1. Panasonic PT-RZ970 (10 000 lumens, laser, WUXGA)
  2. Epson EB-PU2213B (15 000 lumens, laser, WUXGA)
  3. Christie D15WU-HS (15 570 lumens, laser, WUXGA)

Large Events (budget €25,000 and above)

For large international events, monumental mappings, and prestigious permanent installations.

Recommended specifications:

  • Brightness: 15,000 – 75,000+ lumens
  • Resolution: WUXGA, native 4K
  • Technology: Professional 3-chip DLP
  • Light source: Pure RGB laser
  • Features: Advanced cooling system, remote monitoring, redundancy

Representative models:

  1. Barco UDX-4K32 (31 000 lumens, laser, 4K)
  2. Christie Griffyn 4K35-RGB (34 000 lumens, RGB pur, 4K)
  3. Digital Projection INSIGHT Laser 8K (25 000 lumens, résolution 8K)

You have a video mapping project ?

In 30 minutes, we help you make the right choice

Our selection of projectors by project category

Detailed technical comparison table

 Epson EB-PU2010B (Museum)Christie DWU880-GS (Restaurant)Panasonic PT-RQ25KU (Fitness)
Brightness10,000 lumens8,800 lumens20,000 lumens
ResolutionWUXGA + 4K EnhancementWUXGATrue 4K
TechnologyLaserLaser phosphorLaser
Throw ratio1.44:1 – 2.32:11.2:1 – 2.13:1Variable
ContrastHighHighHigh
Light source lifespanUp to 20,000 hUp to 20,000 hUp to 20,000 h
Media server compatibilityOptimalOptimalOptimal
AdvantagesHigh precisionSilent, compactUltra bright, durable
DisadvantagesHigh initial costSlightly limited brightnessSignificant investment

For museums: Epson EB-PU2010B

Specifications:

  • Brightness: 10,000 lumens
  • Resolution: WUXGA with 4K Enhancement technology
  • Technology: Laser
  • Throw ratio: 1.44:1 – 2.32:1 (interchangeable lens)
  • Light source lifespan: Up to 20,000 hours
  • Media server compatibility: Optimal

Why is it suitable for museums?

The Epson EB-PU2010B is ideal for museum environments thanks to its high brightness and precise resolution. It delivers detailed images on complex surfaces while ensuring faithful color reproduction. Its laser technology offers minimal maintenance, which is essential for permanent installations. Additionally, its interchangeable lens provides increased flexibility to adapt projection to different configurations.

For immersive restaurants: Christie DWU880-GS

Specifications:

  • Brightness: 8,800 lumens
  • Resolution: WUXGA (1920×1200)
  • Technology: Laser phosphor
  • Throw ratio: 1.2:1 – 2.13:1 (motorized zoom)
  • Light source lifespan: Up to 20,000 hours
  • Media server compatibility: Optimal

Why is it suitable for immersive restaurants?

The Christie DWU880-GS is perfect for immersive restaurants thanks to its silent operation and laser phosphor technology, which ensures exceptional color stability. Its high brightness delivers sharp projections even in moderately lit environments. The motorized zoom makes installation easier in confined spaces, while its compatibility with our media server ensures smooth management of immersive content.

For fitness centers: Panasonic PT-RQ25KU

Specifications:

  • Brightness: 20,000 lumens
  • Resolution: True 4K (3840×2160)
  • Technology: Laser
  • Throw ratio: Variable depending on the lens (interchangeable lenses)
  • Light source lifespan: Up to 20,000 hours
  • Media server compatibility: Optimal

Why is it suitable for fitness centers?

The Panasonic PT-RQ25KU is designed for dynamic environments such as fitness centers. Its exceptional brightness guarantees optimal visibility even in brightly lit spaces or with constant movement. Its True 4K resolution delivers unmatched precision, ideal for motivating and immersive projections. The laser technology ensures durability and reduced maintenance, while its compatibility with your media server allows for easy integration of interactive or synchronized content.

Professional installation and optimisation

Test and calibration procedures

The professional installation of a mapping system involves rigorous procedures.

Luminance and colorimetry measurements

To ensure optimum image quality:

  • Use a professional spectrophotometer to measure and calibrate colour temperature and white balance
  • Check the uniformity of brightness across the entire surface (maximum tolerance of 20% between centre and edges)
  • Measure effective contrast levels in real-life conditions
  • Create specific ICC profiles for each projection surface
  • Document measurements for future reference and maintenance

Tools such as the Klein K-10, X-Rite i1Pro or Colorimetry Research CR-100 are references in the field.

Precise multi-projector alignment

For installations using several projectors:

  • Use specific alignment charts with reference points and geometric patterns
  • Start with precise physical alignment before digital adjustments
  • Use camera and auto-calibration systems such as Scalable Display or Vioso
  • Check edge fusion at different brightnesses and with different content
  • Confirm alignment from different viewing angles, particularly for curved surfaces

Calibration should be checked and adjusted regularly, particularly in the first few weeks of installation.

Preventive maintenance

Regular maintenance ensures the longevity and reliability of your installations.

Maintenance schedule by technology

Floodlights :

  • Visual inspection: every 100 hours
  • Filter cleaning: every 100-500 hours depending on the environment
  • Preventive replacement of lamps: at 75% of their rated life
  • Optical alignment check: after each lamp change

Laser/LED projectors:

  • Visual inspection: monthly
  • Filter cleaning: every 3 months or after system notification
  • Colorimetric check: every 6 months
  • Firmware update: according to manufacturer’s recommendations

Consumables management

For optimum management :

  • Keep a stock of critical parts on site for permanent installations
  • Accurately document hours of use and maintenance history
  • Draw up maintenance contracts with a guarantee of rapid intervention
  • Plan an annual maintenance budget representing 5-10% of the value of the equipment
  • Use remote monitoring systems to anticipate failures

FAQ

What is the minimum brightness required to project in daylight?

For projection visible in daylight, even with special high-gain screens, a minimum of 30,000 to 50,000 lumens is required for small surfaces (15-20m²). For optimum results, combine this power with sunshades or structures to limit direct light. Daytime projection remains a major technical and budgetary challenge.

How to manage heat in a closed installation?

Provide a ventilation system that extracts 2.5 to 3 times the heat generated by the projector (convert watts into BTUs). Ideally, use a ventilation circuit separate from the main air-conditioning system. For cabinet installations, silent fans connected to heat exchangers offer an effective solution. Monitor the temperature with connected sensors.

What's the difference between calibration and warping?

Calibration involves adjusting colour, brightness and contrast to obtain a faithful image. Warping (or geometric distortion) adapts the projection to a non-planar surface by modifying the geometry of the image. These are two complementary procedures: first calibrate the colours, then apply warping to preserve chromatic fidelity after deformation.

Convinced by video mapping?

Find out more about our solution, and in 30 minutes you'll know everything.

Common issues and solutions

To avoid unpleasant surprises, here are some frequent mistakes:

  • Underestimating brightness: a projector with insufficient lumens will produce a dull image, especially outdoors.

  • Overlooking the throw ratio: without properly calculating the distance and image size, the content may be poorly framed.

  • Forgetting geometric correction: if the projector lacks keystone or warping functions, the image may be distorted on uneven surfaces.

Issue: Color mismatch between multiple projectors

Solutions :

  • Use strictly identical projectors (same model, same age)
  • Perform cross-calibration with a professional spectrophotometer
  • Create color profiles for each projector and surface
  • Use an external image processor to standardize signals
  • Integrate a larger overlap margin to soften transitions
  • Pro tip: create color layers in the media server

Issue: Image distortion after several months of use

Solutions :

  • Check the integrity of mounts and fixtures (possible loosening)
  • Control ambient temperature and ventilation (thermal expansion)
  • Inspect lenses for internal shifting
  • Regularly document settings to simplify adjustments
  • Schedule a full recalibration every 3 to 6 months

Trends and technological developments

Recent innovations in projection technologies

The video mapping sector is benefiting from several significant advancements:

Pure RGB laser: Projectors using pure RGB laser (with three separate laser sources) offer an unrivaled color gamut, reaching up to 98% of the Rec.2020 color space. These systems deliver more vivid colors and highly impactful projections, particularly well-suited for demanding artistic works.

8K projectors: The arrival of 8K projectors (7680×4320 pixels) opens new possibilities for very large surfaces and projections where audiences are positioned close to the image. However, this extreme resolution requires a fully adapted infrastructure (servers, bandwidth, native content).

Automated calibration: Camera-based calibration systems are becoming more common, using computer vision algorithms to automatically map complex surfaces. These technologies greatly reduce setup time and improve accuracy on challenging geometries.

Standardized IP interfaces: The shift toward AV over IP infrastructures is making signal integration and distribution over long distances easier. Standards like NDI, SDVoE, or ST2110 allow for more flexible and scalable installations.

The future of professional video mapping

Several trends will shape the future of this discipline.

Integration with augmented reality

The convergence between projection mapping and AR makes it possible to create hybrid experiences where projected content interacts with virtual elements viewed via mobile devices or smart glasses. This approach opens up entirely new narrative possibilities.

Real-time interactive mapping

Advances in real-time engines (such as Unreal Engine or Unity) enable projections that instantly respond to the environment and audience. Content generated or modified live transforms mapping from a linear medium into an interactive experience.

Miniaturization and mobility

The development of compact laser projectors and battery-powered systems makes temporary and mobile installations easier. These solutions open up mapping to new contexts: pop-up events, spontaneous urban interventions, or mobile scenography.

Artificial intelligence and adaptive mapping

AI is starting to integrate into mapping workflows, automatically optimizing content according to surfaces, adjusting brightness to ambient conditions, or generating architecture-specific content in real time.

Key criteria for choosing your video projector

Selecting a projector for professional mapping requires a thorough analysis of your specific needs. Beyond technical specifications, several factors are essential. Project suitability is paramount: the best projector is the one that precisely meets your installation, environment, and content requirements.

The total cost of ownership, including purchase, maintenance, energy consumption, and depreciation, must be assessed for a complete financial perspective. Prioritize modular solutions, such as interchangeable lenses, to safeguard your investment against future technological developments.

Integration within your technical ecosystem is also crucial to ensure compatibility with your existing systems and creative workflows. Lastly, support and service — particularly the availability of spare parts and the responsiveness of technical assistance — are just as important as the hardware specifications.

In short, by considering project suitability, total cost of ownership, scalability, technical ecosystem, and support, you’ll be equipped to make an informed, long-lasting decision.

Need advice? Contact us for personalized guidance and find the right equipment for your installation!

Would you like to discover our video mapping solution?

30 minutes, no more — your time is valuable.

Video projector glossary

  • Blending: A multi-projection system that combines several projectors to generate bright, high-definition images.
  • Distortion: The process of adjusting an image to fit an uneven or irregular surface.
  • Lumens: A measure of the total amount of visible light emitted by a source.
  • Media server: Computer system used to play video content and images.
  • 3D scanning: The process of analysing a real-world object to collect data about its shape and appearance.
  • Projection Mapping: Another term for video mapping, often used interchangeably.
  • Warping: the process of adjusting the projected image so that it fits the shape of the target surface perfectly and looks natural.