Your reports Find reports Projecton Mapping / Audio-Visual in Theatre I called the session because I'm interested in projection mapping specifically, and using it in a solo show. However, as more participants joined the conversation we opened it up to AV in general.Questions were asked and answers were given by various participants. Here are the topics we talked about:Q: What is the most common technology needed for projection mapping:A: You need a software programme called 'Isadora', which allows you to 'map' your projections onto various surfaces on the stage or in the performance space. Isadora costs £500 if you want to use it fully. Projectors are expensive and venues cannot be relied on to provide a projector that will deliver this level of projection. Solution? Get funding! BUT... you also don't need the most amazing projector. Jo from 1927 said it's best to start small and learn on the job.There is also a program called Catalyst, for more advanced work involving video.Quad in Derby can be hired to help with projection mapping.Blue Eye is a company that hires projectors.Dance companies use a kind of wrist technology whereby the projection or sound can respond to the performer's movements. No one in the group knew much about it except that it's out there and isn't cheap.1927 will also be offering some form of educational workshops on AV in performance in the near future. Watch this space if interested.Q: Who are some good artists to look into?A: 1927 theatre company; Kazuko Hohi; A Dandy Punk; Limbic Cinema; Folded Feather; RaucusWe discussed how much work it takes to put together a show with mapping. Actors or performers need very precisely choreographed and rehearsed movements, and it takes a long time to set up the projections. There is no room for spontaneity or improvisation but that's the compromise for making highly visual and technology-driven work. Thank you to everyone who turned up. I now feel like I have a better understanding of what is needed to create a performance piece with projection mapping.