Projection Designer

Owned by Karen Cook (Unlicensed)
Jan 19, 2015
4 min read

This document details some of the work generally performed by the projection designer. It is not a definitive document as the duties of the projection designer will always be influenced by the needs of the production and the assigned crew.

 

Job description

The projection designer is responsible for any projected images used in the performance. The projection designer’s work is often tied to the lighting and sound, and so these designers should work in collaboration. The projection designer will supply the Head of Projection with a cue list and equipment list, including determining the position of the projectors. They may also be responsible for creating original images or video. During the projection plot they will determine the placement of cues, and attend technical and dress rehearsals to make any necessary changes.

 

As soon as you are assigned to a production

  • Obtain information about the set design, so you know the visual and physical plane you are working in.
  • Get a copy of the script and read it, once to just read it, then again making notes on your first impressions of the video design.
  • Meet with the director to discuss your first thoughts regarding the design, and the director’s thoughts and requirements. Use as many reference images as possible, such as photographs, paintings, and movies.
  • With the head of projection, stage manager and production manager, set dates for any equipment needed in rehearsal, deadlines for video files, and plotting.
  • Obtain a venue equipment list and determine if any equipment will need to be hired.

 

The next step (as soon as possible)

  • Begin creating your design concept and discussing it with the director. Focus on the overall “feel” of the projection rather than specifics at this stage. Use references where possible.
  • Once you have formalised your design concept, begin sourcing your images, or creating new images if need be. Share them with the director in frequent meetings.
  • Give a list to the head of projection, of any files you would like them to source/create. Check in with them frequently. Discuss how you will playback the video. If you are using QLab, which also controls sound, you can arrange with the head of sound to share the same laptop. Determine who will be operating for the tech and dress rehearsals, and shows.
  • If you are incorporating sound in your projection design, arrange meetings with the sound designer to discuss this.
  • NOTE: If you are using copyrighted music in your video, you usually need to apply for permission to use it in your performance, and should do so as early as possible. This is NOT required at the Hayman as an exception is made for educational purposes.
  • Meet with the lighting designer to discuss lighting levels and angles and how they will affect the projection. It is best to do this as early as possible so you can both coordinate your work.

 

For each rehearsal session

  • Read the stage manager’s rehearsal report to check for any relevant information, and respond to it.

 

Three to four weeks prior to first performance

  • Meet with the head of projection frequently to share any files either of you have obtained or created. Continue to do this until all video files are finalised.
  • Attend any full runs of the show in rehearsal and make any additional notes.
  • Notate cue points on the script. Use pencil, as these will likely change.
  • Make a draft cue sheet and video files, using QLab or another suitable method. If using QLab, remember to negotiate shared equipment with the head of sound.

 

Two weeks prior to first performance

  • With the head of projection, do a trial run of any live video, such as camera inputs.
  • Attend any more full runs of the show in rehearsal.
  • Have a cue meeting with the director, stage manager and head of projection, where you discuss the draft cue sheet and video files. This is an opportunity to make sure you haven’t missed a required image, and for the stage manager to start marking cues into her or his prompt script.
  • Finalise all the image files, if you have not already done so.

 

One week prior to first performance (production week)

  • Oversee the projection bump in, including the positioning and focus of projectors.
  • Plot the projection, with the director, stage manager, and head of projection (and head of sound if required). This is where each cue point is finalised and other details such as transitions are set in the theatre. You may also wish to include the lighting designer to make sure the projection isn’t washed out. It is advisable to plot lighting and projection at the same time, unless projection is only used sparingly or in blackouts.
  • Make any changes required from plotting.
  • Attend all technical and dress rehearsals, and make changes as required.

 

For each performance

  • Read the stage manager’s performance report for each show, and respond to anything relevant.

 

After the season (bump out)

  • Final design documents should be archived for future reference.
  • Evaluations and feedback