Project Brief

Produce fully immersive projection environment through a three-projector system that surrounded the audience on three walls. The system required flexibility, reliability, and to be operated easily for the show operator, while maintaining strong visual impact. Every cue was structured to support the narrative arc and rhythm of the performance, allowing projection to move seamlessly with the music and staging. 

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Involvement Throughout the Process

My involvement began early in the design phase, where I attended production meetings alongside Director Chip Decker, Stage Manager Kathryn Harding, Lighting Designer Katy Sigmon, and Projection Designer Caleb Sigmon to understand the director’s vision and how projection could enhance storytelling. From there, I contributed to system planning, including projector placement, content layout, and the logic of the stitched visual canvas that would surround the audience.

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I designed media assets tailored to the dimensions and geometry of the space, ensuring content flowed naturally across all three projection surfaces. Once assets were developed, I programmed the entire projection system in QLab, building a structured cue sequence that followed the show’s pacing and emotional beats. I also created detailed documentation that mapped out cue flow, playback logic, and operational procedures so the system could be run confidently and consistently.

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Throughout rehearsals, I collaborated closely with designers and operators to refine timing, brightness, transitions, and alignment. This process was highly iterative, allowing projection to evolve alongside lighting, sound, and staging. My role became a point of continuity between creative intention and technical reliability.

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Design Challenges & Adaptation

One of the most significant challenges of this project was working within a highly condensed production timeline. The show was produced as a summer production, which limited the projection design process to roughly two weeks. This required an elevated level of preparation, efficiency, and intentional planning. Rather than relying on extended experimentation time, every design decision needed to be purposeful and aligned from the start.

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To navigate this, I placed strong emphasis on pre-production meetings. These became essential for establishing a clear list of wants, needs, and expectations that reflected both the director’s vision and the demands of the script. By defining these priorities early, I was able to create a focused design roadmap that prevented wasted time and ensured projection served the storytelling rather than becoming an isolated visual layer.

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Once inside the theater, another challenge was defining responsibilities and workflow within the limited timeframe. We established clear roles for my position as Assistant Projection Designer so that creative development, system programming, and technical setup could move forward simultaneously. This structure allowed for efficient collaboration and avoided bottlenecks during rehearsals.

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We also intentionally built time into the schedule for the director to work directly with projection. This was critical in translating the conceptual vision into a fully realized visual experience. These sessions allowed us to refine timing, transitions, and emotional impact while ensuring projections felt organically integrated with performance, lighting, and sound.

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This process taught me how essential strategic planning and communication are under pressure. Working within such tight constraints strengthened my ability to anticipate needs, adapt quickly, and make confident design decisions. It reinforced that successful projection design is not only about technical execution, but about clarity of vision, collaboration, and thoughtful time management.