Our cutting-edge <a href="https://www.broadwaymedia.com/stage-gear/projectors">Stage Projectors</a> are made for the stage and will transform the way you experience digital backdrops, delivering brilliantly bright projection with zero shadows. With brightness ranging from 5,000 to 16,000 lumens and ultra-short throw lenses, our projectors ensure stunning, shadow-free visuals, guaranteeing that every magical moment takes center stage.

Our Stage Projectors are made for the stage and offer many benefits to enhance your <a href="https://www.broadwaymedia.com/search">digital scenery</a>. The ultra short-throw lens of all our Stage Projectors displays a big, shadow-free image. <a href="https://www.broadwaymedia.com/stage-gear/projectors">Visit our projectors page to read all about our short throw projectors that work seamlessly with our animated scenery.</a> Better yet, schedule a consultation to talk to a member of our production team for more in-depth information.

While renting these projectors is a simple process, there are a few things you should keep at top of mind.&nbsp;

We understand that budget is crucial when putting on a show, especially in an educational or community theatre environment. Compared to traditional backdrops, projections are much more cost effective.&nbsp;

<a href="https://www.broadwaymedia.com/stage-gear/projectors/premiumstageprojector">The Premium Stage Projector</a> (our highest quality projector rental) is engineered for productions held in large venues, yet remains affordable compared to current price of sets built from <a href="https://www.broadwaymedia.com/blog/lumber-is-seriously-expensive-right-now-heres-what-you-should-consider-when-planning-your-upcoming-show">lumber (which is seriously expensive right now)</a>, paint, and other physical materials.

Our <a href="https://www.broadwaymedia.com/stage-gear/projectors/economystageprojector">Economy Stage projector</a> is a budget friendly rental option at just under $1,200! But it is still bright enough with 5,000 Lumens and 1280x800 Resolution. This affordable projector is ideal for small stages, multi purpose spaces, and black box theatres.

<a href="https://www.broadwaymedia.com/blog/hardware-choosing-a-projector">Read our blog on what goes into choosing the right projector for your production.&nbsp;</a>

Your projection space is the space where the image fills your theater. Your projection surface is what you’re projecting onto, or in other words, the surface that will display the Scenic Projections or Digital Backdrops as illuminated by the projector.

Confirm the width and height of your stage space and projection surface so we can offer the right projector for you. See the table below to understand which projectors work best with different spaces:

&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;

We recommend mounting a short throw projector from your grid above your actors and in front of the projection surface. This will ensure uninterrupted visuals behind the performers on the projection surface (see image below). If you don't have a grid to hang from, you can also place the projector on the ground in front of your projection surface!

Our Stage Projectors come with a lens tailored for stage use, allowing it to be placed upstage, away from the action. This is an effective way to eliminate most shadows without reducing the depth of your stage. You can project on any light colored surface that isn't true black, and use an existing cyc, scrim, painted flats, painted back wall, or even build your own projection screen.

<a href="https://www.broadwaymedia.com/blog/projection-hardware-with-gabrielle">Learn more about projection hardware on our blog!</a>

Lighting with Digital Scenery is essential for your projector. Hear what director David Tate Hastings at Olathe High School, who used our Basic Projector, for a nearly shadow-free backdrop replacement, advises:&nbsp;

"Be judicious with your lighting. There was no light focus within 8 feet of the cyc. That might seem like it would be dark, but it really isn't. We used lighting from our front-of-house positions for the downstage areas. Everything upstage was lit by top or side ellipsoidals - I would avoid scoops or pars without more of a spot lens."

<a href="https://www.broadwaymedia.com/blog/olathe-south-high-school-has-shadow-less-30-foot-wide-digital-backdrop">Read the full blog of how David Tate Hastings used our projectors to display Digital Scenery for a high school production of Les Miserables.</a>

Avoid last minute hassle by renting your projector in advance. Inventory is limited, so we&nbsp; recommend securing your rental at least two months before your first performance.&nbsp;

The earlier you start your rental, the more prepared you’ll be to use your projector correctly. You can hang your projector and test the projections using StagePlayer, our intuitive, user-friendly software. Our crew hand checks every item and performs rigorous quality checks before every shipment.&nbsp;

In addition, you will ensure that we don’t sell out and avoid additional shipping costs!

Hear from real schools and directors who love using our Stage Projectors for their productions.&nbsp;

<a href="https://www.broadwaymedia.com/blog/built-upstairs-set">See how our Plus Projector allowed director Tracy Gatte at Truman High School to project a 16-foot tall image for its production of Kinky Boots. They were able to build the upstairs office scaffolding/platform to work with the projected elements!</a>

<a href="https://www.broadwaymedia.com/blog/Anastasia-Digital-Scenery-Shines">Marvel at how Edward Schafer used a Basic Projector to beautifully replace the backdrop and highlight Aaron Rhyne’s animations to direct Anastasia with our Scenic Projections.</a>

Stage Projectors make it easy, ensuring you get the best fit for your stage. <a href="https://www.broadwaymedia.com/support">Talk to one of our specialists to pick the best projector for you. </a>

Our projector rentals sell out fast, so call now to speak to a specialist to help you claim your rental ASAP! Broadway Media is happy to work with your team to ensure you’re equipped to handle and implement our cutting-edge Stage Projectors.&nbsp;

Looking to bring digital scenery to your stage? Knowing what you and your space will need is the hard part - but we can help! Let’s see five most important things to consider when diving into Stage Projector rentals. 

Learn these must-know tips about renting your projector with Broadway Media, so you can display digital, animated backdrops with ease!  

5 Most Important Things to Consider When Renting Your Projector | Broadway Media

5 Most Important Things to Consider When Renting Your Projector

Chitty Chitty Bang Bang is a whimsical family-friendly musical that audiences have cherished for years. Adapted from Ian Fleming’s children’s novel of the same name, a quirky inventor, Caractus Potts, and his children Jeremy and Jemima restore an old race car from the scrap heap. Together, they discover the car’s magical abilities to soar and sail. Trouble ensues when the selfish Baron Bomburst wants the car’s magic for himself. Joined by Truly Scrumptious and Grandpa Potts, they travel to Vulgaria to free the kingdom from its cruel child-hating rulers.

The title character, Chitty Chitty Bang Bang doesn’t need a grand dance number or a prolonged note to belt at the top of their lungs. Chitty steals the show by flying through the air and over the patrons in the front rows. On Broadway, Chitty’s flight has been made possible through a hydraulically controlled armature that comes up from the center of the stage, or in other theatres, from wires and spotlight hoists. Technology like this costs thousands of dollars, not to mention the construction of the car itself. The 2002 production of Chitty Chitty Bang Bang at the London Palladium, spent $1.07 million on the construction of Chitty alone, and currently holds the Guinness World Record for the most expensive stage prop. Today, with Broadway Media's Chitty Chitty Bang Bang’s Scenic Projections Package and a few staging tricks, any theatre can recreate Chitty’s travels.

Our Scenic Projections were created to showcase the action happening onstage. That’s why we have designed Chitty’s travel sequences while keeping Chitty placed centerstage. Whether you’re using a creative Chitty alternative or a built Chitty we have a few staging tricks to take your stage to sea and sky!

They used a front view of Chitty placed at the feet of the actors, so they appear to be seated inside the vehicle. With the tires held by four uniform ensemble members, they can be turned giving the illusion that the car is in motion as the actors remain in place. The tires can also be oriented downwards to propel Chitty on the water, or diagonally for flight.

*When traveling down the dirt path, the actors inside the car can bounce up and down and subtly move side to side for an added driving effect.

Another staging suggestion that works for either a creative Chitty alternative or a built Chitty is making sure the children seated in the back, can be seen behind the adults seated in front of them. For a great stage picture, have the adults in the front seats sit slightly apart, creating a small center aisle, while the kids sit on top of phonebooks or milk crates and can be seen by the audience.

These are just a few suggestions of how you can pair our Scenic Projections with your production of Chitty Chitty Bang Bang.

<a href="http://www.theatrecrafts.com/archive/documents/lsi_may2002_chitty.pdf">Truly Scrumptious</a> from Lighting and Sound International

<a href="https://www.youtube.com/watch?v=6p_YK33teI4">Stage Automation Engineer</a> by American Theatre Wing, stage Automation Engineer, Chuck Adomanis walks us through the technology behind his largest projects.

<a href="https://www.theatrepeople.com.au/the-most-expensive-theatre-prop-in-history-chitty-chitty-bang-bangs-flying-car-arrives-in-oz/">The Most Expensive Theatre Prop in History </a>by Theatre People Newsroom for Theatre People

...and if producing Chitty Chitty Bang Bang is in your future, fill out the form to speak with one of our Production Specialists!

Whether you’re using a built car – or creative alternative – we have a few staging tricks to take your stage to sea and sky!

Whether you’re using a creative alternative or a built Chitty car, Broadway Media has a few staging tricks to take your stage to sea and sky with Scenic Projections!

Making Chitty Chitty Bang Bang Soar | Broadway Media 

Making Chitty Chitty Bang Bang Soar

Organization: Olathe East High School

Digital Scenery Use: Backdrop replacement and animation

Surface Material:&nbsp;Cycloroma and Scrim, we used the scrim for the Act Curtain and location titles.

Projector Details:&nbsp;7,000 lumens; .038 throw ratio lens; hung 13 feet, 6 inches from the surface and 38 feet in the air

Operator:&nbsp;On an iMac in the stage left wing

I would definitely keep everything downstage as much as possible. This will help keep lighting at a steeper beam angle and shadows off the image. I would use blocking and choreography that coincides with the animation. The moving images help create engaging movement that can be used as a great tool for choreography and/or scene transitions. Use that to your advantage. When you first get your projection package go through each scene and note the direction each slides moves so you can block/choreograph accordingly. I would also take note of color and shapes used in the images. Then, design your show with shapes and colors that match. For example, the Anastasia package has a recurring window motif that we incorporated into our permanent set design.

Advice for lighting with digital scenery:&nbsp;

As you get closer to the projection surface, use more top and side lighting. We used lighting trees in the wings to light the actors up stage when needed. This helped keep the lighting from bleeding onto the projection surface. It will also help eliminate bounce off of the stage floor. As stated previously, we kept most action down stage and utilized our front of house positions for the majority of the lighting. If you can keep most action downstage it will allow you to keep the beam angles steeper and provide less upstage bounce. We also put our spots in the front of house positions. Doing this allowed our spot operators to illuminate the actors without spilling onto the back of the cyc.

We hung the projector high to keep actors’ shadows from hitting the images. I would definitely recommend a short throw lens so you can keep the projector as close to your surface as possible. This will make your images brighter and help eliminate shadows.

Edward Shafer has been the Director of Theatre at Olathe East High School in Olathe, KS since 2010. Prior to teaching at Olathe East, Edward taught for three years at Westlake High School in Waldorf, MD. He is also the Thespian Sponsor for International Thespian Troupe 5078. Edward has been Events Coordinator for Kansas Thespians since 2016 and currently sits on the Executive Board. During his time at Olathe East, the theatre program has been nominated for 106 Starlight Blue Star Awards including Outstanding Overall Production in 2014, 2015, 2018, 2019, and 2020. Since 2010, Edward has had 70 students qualify for the National Individual Events competition, with 16 of those students earing a Superior rating. In 2018, Edward was selected as the artistic director for the Kansas All-State Thespian Production of Bring it On, which performed at both the Kansas Thespian Festival and at the International Thespian Festival in 2019. Edward was awarded the "Heart of the Arts" award in 2020 by the Kansas State High School Activities Association for his ability to provide meaningful theatre opportunities during the Covid-19 pandemic. Edward studied Theatre and Film at California State University Northridge and the University of Kansas where he received a Bachelor of Arts in Theatre and Film and a Bachelor of Science in Secondary Education. In 2012, Edward completed his master's degree in Curriculum and Instruction at the University of Kansas. His wife, Meghann Shafer, teaches German at Park Hill High School in Kansas City, MO. They have two children, Hannah and Oliver.

Edward Shafer directed Anastasia at Olathe East High School and used a 7,000 lumens projector to beautifully replace the backdrop and highlight the animations of Aaron Rhyne's Scenic Projections.

Anastasia Digital Scenery Shines

Venue Type: Shared High School Auditorium, used for band/chorus/drama

Digital Scenery Use: Backdrop replacement, partial backdrop replacement, and animation used in special moments

Projector Placement: 13' from the surface, 14' off the ground

Operator: StagePlayer with technician in the tech booth

Staging/blocking advice:&nbsp;Flexibility with blocking and choreography is a must.&nbsp;I was able to share sketches and had to be flexible with exact positioning of the set piece.&nbsp;The built platform actually rotated in time with the projection in the background. This enabled to audience to see the "whole" factory.

Advice for lighting with digital scenery:&nbsp;Have a lighting plot worked out prior to not have to reconfigure. Avoid onstage lighting that may alter the coloring of projections or alter the lighting effect within the projection, especially if they are transition projections

Director's Advice to Theatre-Makers: Print the user guide and let BM know what day and time zone in case there needs to be a service call.

Tracey Gatte is the director of Truman High School’s internationally recognized theatre program in Levittown, Pennsylvania. She is also a full time theatre teacher at Truman, her alma mater. Tracey is featured in the book Drama High by Michael Sokolove and was the inspiration for character “Tracey” on NBC’s RISE.

With a 12,000 lumens projector placed just 13-feet away from the surface, Truman High School was able to project a 16-foot tall image. With the short throw lens and the tall image, they were able to build the upstairs office scaffolding/platform to work with the projected elements.

See how Truman High School was able to build the upstairs office platform to work with digital images, using a short-throw projector to display Scenic Projections for Kinky Boots. 

Using A Short Throw Projector for Kinky Boots | Broadway Media

Short Throw Projector Works with an Upstairs Office Set Piece in Kinky Boots

Let’s get started with the basics. Here are the three necessities to run projections in your theater:

1. A light colored projection surface - This can be an existing cyc, scrim, painted back wall, painted flats, or dead hanging muslin. Keep in mind that your surface texture will be visible. If you decide to hang muslin, be sure to weight the bottom with washers or pvc pipe. You can also build a wood frame and stretch the muslin to create a large, removable canvas.

2. A playback device - Mac or PC to run the StagePlayer software and an HDMI or CAT6 Cable to connect to the projector. For distances under 50 ft we recommend an HDMI connection and feeding the HDMI cable down the grid to run the projections from the wings. If you prefer to have the projectionist running StagePlayer from the booth in the rear of the theater, a CAT6 cable will be required.&nbsp;

3. A short-throw projector with a minimum of 5k lumens (lumens is the measurement of brightness of the projector). A projector under 5k lumens and a width over 16 ft will not produce an image bright enough to combat being washed out by stage lighting.

Projections will work with any projector, but it’s important to keep in mind that the quality of your image output is dependent on the projector itself. Projecting a large (over 40ft wide) AND bright image can prove to be costly, and often overpower your stage. There are many ways to produce a bright and crisp projection using a lower grade projector. 

You can achieve a brighter image by reducing the size of the projection and thus cutting costs on hardware rentals. Think of a projector like a flashlight. As you shine the light against a wall and walk towards the surface, the circle of light gets smaller, but brighter. As you walk away from the wall, the circle gets bigger, but dimmer. The same is true of a projector. 

One of the easiest ways to reduce the width of your projected image is to bring the travelers in on the sides. You can also dead hang complementary curtains that correspond with the theme of the show to jazz up the classic black travelers. For example, using free form, green fringe dropping down from the fly for a production of Disney’s The Little Mermaid during the scenes that take place under the sea, give the illusion of seaweed dancing in the wings all while framing your projected backdrop to fill the whole stage. Strategically adding twinkle lights throughout can also serve as a representation of fireflies in weeping willow branches during “Kiss the Girl”.

Another avenue to explore is adding built-set elements downstage of the projection surface. This creates depth, allows for new options for blocking an entrance, and can incorporate traditional design like groundrows and platforms.

We saw this successfully implemented for a production of Mamma Mia! This production used a reduced width upstage center projection surface for their backdrop replacement, and integrated built Taverna flats (each with entrances) downstage left and right of the surface.&nbsp;

For theaters without the ability to mount the short-throw projector onstage, we’ve got you covered. You can rear or front project from the ground, a table. or built-in shelves within platforms placed in front of the projection surface.&nbsp;

It’s important to note that there will be a vertical shift of the projected image when using a fixed lens projector from the floor, meaning the image will start above ground level. Use a platform downstage of the projector or design a “groundrow” scenic element downstage of the projection surface is great way to avoid a gap between the floor and the image. This will help create parameters for the actors to walk about the stage without casting shadows, help protect the projector itself as well as cover the projector from the view of the audience.&nbsp;

Staging “magic” in productions in traditional theatre without the help of projections can prove to be extremely challenging. Roald Dahl’s Matilda is a perfect example of a production that has moments that are impossible to manifest or even imply without the use of projections. The magic chalkboard setting is a must-have. Broadway Media’s official MTI approved Scenic Projection show package includes 2 different versions of the “Chalkboard R-E-V-O-L-T-I-N-G” scene to fit the needs of your production. Option 1 is a full backdrop replacement of the classroom with the chalkboard included in the illustration. Option 2 is the magic levitating chalk and writing on a black background. This version allows for the setting to be projected on a physical chalkboard. A clever staging of Option 2 is to put one of the children’s desks downstage and facing the chalkboard, with a small classroom projector built into a cubbyhole. This allows for the backdrop to be projected from the rear, while integrating a physical chalkboard for interaction with the actors, without sacrificing the magic.&nbsp;

Speaking of magic, “A Whole New World” from Broadway Media’s Disney’s Aladdin JR Scenic Projection show package transports the audience on a believable magic carpet from Jasmine’s balcony up through clouds and starlit sky. The traditional staging of this musical number relies heavily on the audience’s ability to read between the lines as well as extra stagehands on the crew. A common way to create the illusion of flying is to put a rolling cart on a pulley system with 4 stage hands (2 per side) to pull the actors across the stage, drape the whole stage floor in black fabric and then place the carpet on top of the rolling cart, with the actors on top. Using the projections on our upstage projection with the magic carpet stationary center stage, takes 2 clicks of your mouse: “blackout” and “cue next”. Think about adding a special “wow” factor to the magic carpet set piece, such as small fog machines mounted on the underside of the platform to create clouds while it “soars” through the air.

Production with multiple quick scene changes can prove to be problematic for theaters with small stage crews. Disney’s The Little Mermaid has a number of rapid transitions from land to sea that take precision and a ton of extra hours to get the tech of the show down perfectly. Traditional staging utilizes hydraulics for Eric’s ship and flying the actors portraying Ariel and Eric for the drowning sequence. Most theater spaces do not have the massive space required to implement this design successfully. Scenic Projections are perfect for productions such as this, with a large number of moving parts. Every element requires extra attention. Projections allow for Ariel to seamlessly transition from land to sea and allows for more focus on her costume change from fin to legs.&nbsp;

Digital scenery should be used as a tool to relieve the pressure of producing recognizable show moments to complete the story. Here’s to the MacGyvers of our industry!

Projections offer staging solutions for theaters regardless of size and budget. A common misconception is that equipping your theater with the proper hardware to run projections will cost an arm and a leg. We’re going to explore ways to successfully integrate scenic elements to increase production value without draining your production budget. 

Explore ways to successfully integrate scenic elements for your projections to increase production value without draining your production budget. 

Integrating Digital Scenery on a Budget | Broadway Media

Integrating Digital Scenery on a Budget

Throughout the history of cinema and theatre, the two art forms have often looked to each other for inspiration for the next hit. Adeptly transferring a story from one medium to another means conquering certain challenges (like the scenic flexibility of cinema), while capturing the essence of the story and creating an engaging onstage experience. While big budget productions can do this with relative ease, making the title universally playable across theaters of all shapes and sizes? Well, that’s where scenic projections come in!

Let’s dive into some of our favorite screen to stage adaptations, and how scenic projections have been utilized as a powerful storytelling tool.&nbsp;

Anastasia is inspired by the 1997 animated musical film and the 1956 Fox film, featuring the popular songs from the animated hit, including “Journey to the Past” which was nominated for the Academy Award for Best Original Song. The songwriters,<a href="https://ahrensandflaherty.com/"> Lynn Ahrens and Stephen Flaherty</a>,&nbsp;remained onboard for the stage musical adaptation, composing an additional 16 new songs for the show.

When adapting a piece of cinema (particularly one on the scale of Anastasia), naturally challenges in creating fluid scene changes. With Act 1 set in St. Petersburg and Act 2 in Paris, the growth of projection technology in theatre gave the creative team (projections by <a href="https://aaronrhyne.com/">Aaron Rhyne</a>) the opportunity to direct a full travel sequence by train.

In Anastasia, Rhyne demonstrates that projection design not only solves the screen-to-stage conundrum, but can serve as a powerful storytelling tool that is as rich in emotion as it is detail. Check out this Paris sequence:

<a href="https://www.broadwaymedia.com/shows/anastasia/anastasia/scenic-projections">Explore our scenic projections for Anastasia here.</a>&nbsp;Broadway Media also offers scenic projections for the Youth Edition of Anastasia, which you can explore <a href="https://www.broadwaymedia.com/shows/anastasia/anastasia-youth/scenic-projections">here</a>.

<a href="https://www.broadwaymedia.com/blog/Anastasia-Digital-Scenery-Shines">Click to read our blog to see how Olathe East High School utilized our scenic projection in their production of Anastasia</a>!

Adapted from the smash-hit animated motion picture,<a href="https://www.mtishows.com/shrek-the-musical"> Shrek The Musical,</a> sheds the pop soundtrack (save for Smash Mouth’s “I’m A Believer”, because of course) for an all-new score by Jeanine Tesori (Caroline, Or Change, Fun Home) and David Lindsay-Abaire (Rabbit Hole, High Fidelity). The storyline remains much the same, and provides plenty of opportunities for amazing costumes, sets and puppets to create an amazing onstage spectacle – just as Tim Hatley did for the original Broadway production.

When accounting for all the different settings and special effects required to tell the story (yes, there’s a fire-breathing dragon), your production budget could give you a case of the ogre-level grumpies. Not to worry! Our scenic projections are an affordable and gorgeous solution. Check out the following Princess Fiona rescue sequence.

<a href="https://www.broadwaymedia.com/shows/shrek-the-musical/shrek-musical/scenic-projections">Explore our scenic projections for Shrek the Musical here.</a> Or check out&nbsp;<a href="https://www.broadwaymedia.com/shows/shrek-the-musical/shrek-musical-jr/scenic-projections">Shrek the Musical Jr </a>or <a href="https://www.broadwaymedia.com/shows/shrek-the-musical/shrek-musical-tya/scenic-projections">Shrek the Musical TYA scenic packages</a>, written for family and youth theaters to perform.&nbsp;

<a href="https://www.broadwaymedia.com/blog/big-bright-and-beautiful-inside-shrek-the-musical-scenic-projections">Click to read our blog highlighting how Shrek the Musical has come straight from the storybook with productions that utilize our scenic projections.&nbsp;</a>

With a story that features the transatlantic adventures of a boy and life-size insects aboard a gigantic peach, scenic projections can help with the many of the cinematic qualities of the script and, in turn, become a valuable storytelling tool for audiences. In the following sequence, the giant peach falls from the tree and begins its journey – flattening Spud and Spike, busting through a well-known confections factory, and out to open water!

<a href="https://www.broadwaymedia.com/shows/roald-dahls-james-and-the-giant-peach/james-giant-peach/scenic-projections">Browse our scenic projections for James and the Giant Peach here.</a>&nbsp;

Or take a look at <a href="https://www.broadwaymedia.com/shows/roald-dahls-james-and-the-giant-peach/james-giant-peach-jr/scenic-projections">James and the Giant Peach Jr</a>&nbsp;or <a href="https://www.broadwaymedia.com/shows/roald-dahls-james-and-the-giant-peach/james-giant-peach-tya">James and the Giant Peach TYA scenic packages,</a>&nbsp;written for family and youth theaters to perform.&nbsp; &nbsp;

“I passed through the seven levels of the Candy Cane forest, through the sea of swirly twirly gumdrops, and then I walked through the Lincoln Tunnel”.&nbsp;

The cherished fish-out-of-water comedy starring Will Ferrell received the musical treatment in 2010, and has been a regular addition to theaters’ festive season programming ever since. Eschewing only a few scenes from the movie upon which it is based, a dynamic set is required to bring the North Pole and New York to life. But what about Buddy’s fabled journey? Well, check it out:

<a href="https://www.broadwaymedia.com/shows/elf-the-musical/elf-musical/scenic-projections">Make your production sparklejollytwinklejingley with our Elf the Musical scenic projections.</a> We also offer the junior version with<a href="https://www.broadwaymedia.com/shows/elf-the-musical/elf-musical-jr/scenic-projections"> Elf the Musical Jr scenic projections.</a>

Madagascar – A Musical Adventure JR.&nbsp;

From screen zoo to stage, Madagascar – A Musical Adventure JR follows all your favorite crack-a-lackin’ friends from the blockbuster movie from Dreamworks as they escape from their home in New York’s Central Park Zoo and find themselves on an unexpected journey to the madcap world of King Julien’s Madagascar. Bringing the tropical island to life is one thing, but how about the boat? Watch the video to see how we do it.

<a href="https://www.broadwaymedia.com/shows/madagascar--a-musical-adventure/madagascar-musical-adventure-jr/scenic-projections">Take your production on a trip to&nbsp;Madagascar with our scenic projection package here.</a>

Rent Your Scenic Projection Package for Your Show Today

Are you producing one of these titles as part of your upcoming season? Fill out the form below to connect with one of our Production Specialists. Or <a href="https://www.broadwaymedia.com/contact">schedule a call</a> and speak with our team of professionals, eager to answer your questions and enhance your production.

Let’s dive into some of our favorite screen to stage adaptations, and how scenic projections have been utilized as a powerful storytelling tool in theatre.

Read some of our favorite screen to stage adaptations & how Scenic Projections have been utilized as a powerful storytelling tool in theatre.

From Screen to Stage: Using Technology as a Storytelling Tool in Stage Adaptations | Broadway Media

From Screen to Stage: Using Technology as a Storytelling Tool in Stage Adaptations.

Theatre is a unique experience. From the performers showcasing their chops, the team of directors and designers creating an immersive space, to the energy and feedback from the audience – it’s this collaboration that creates a powerful and emotional storytelling experience. But often the role of set, lighting, sound and projection design in theatre is overlooked. These technical disciplines play a critical role in the success of a production equal to the writing, directing, and performances. Let's touch on how projection design should interact with other technical theatre disciplines to ensure your production is a smash hit!

How Scenic Projections Elevate Your Production

It’s a common misconception that projections are here to replace traditional scenic designs (and the designers!). That is not the case. &nbsp;Projection design is a separate artistic discipline that helps eliminate spatial limitations of any stage when used alongside scenic design. For example, Let’s take a look at the train sequence in projection designer’s <a href="https://aaronrhyne.com/">Aaron Rhyne’s </a>work for <a href="https://www.broadwaymedia.com/shows/anastasia">Anastasia The Musical.</a> Check out the sequence:

Here’s a brief promotional video from the Broadway production, demonstrating how set design and projection design integrate together. (Starts at :53)

In traditional theater, the impression of motion is often conveyed by the movement of actors, like bobbing and swaying. In this instance, Rhyne (projections) and Alexander Dodge (set) have collaborated to take us on the train ride with the actors, following all the curves of the landscape as the train appears to whizz through the countryside, creating an immersive travel sequence from Russia to Paris. Rhyne’s groundbreaking projections have made geographical restrictions a thing of the past and have opened new doors for playwrights.&nbsp;

Scenic Projections for Plays &amp; Performances

Projections are not just for musicals. You can really elevate the production value of a straight play to a whole new level by integrating projections with the commonly-used unit set (a single physical set that doesn’t change through the duration of a play). There’s typically only one or two settings, centralized around a single set. Using short throw projectors mounted behind an interior set in built in windows of the walls, gives us the ability to control the weather and the time of day, adding a new emotional layer to complete the story according to the author’s intent.&nbsp;

We saw a great example of collaboration between scenic and projection design at <a href="https://gcplayers.com/">Good Company Players</a> (a community theater in Fresno, CA) production of Seven Brides for Seven Brothers. Using a unit set for the town in which the characters interact during the kidnapping scene, the avalanche was projected onto a lowered translucent material. The effect was an impactful, fresh element to a very traditional show, without having to rely on the audience to fill in the blanks.&nbsp;

Keeping Your Budget in Mind with Projections

Your production does not need a Broadway budget to create a unique, buzz-worthy experience for your audience. ‍

Danielle Miller, Theatre Director at Hoboken High School (NJ), took her custom projection design beyond the fourth wall. We helped create projections for the theatre’s proscenium and auditorium walls for her production of <a href="https://www.broadwaymedia.com/shows/the-addams-family/addams-family-school/scenic-projections">The Addams Family</a>. Trees were projected onto the walls as the audience entered the theatre, instantly transporting them to Central Park. It set the tone and I was immediately engaged. She opened my eyes to the endless possibilities that can really help set a production apart.

As a result of the pandemic, many theaters have lost their performance space and set storage, so many theatre-makers are performing in shared spaces. <a href="https://www.broadwaymedia.com/scenic-projections">Scenic Projections</a> used as backdrop replacement give you the ability to strike the set by turning your <a href="https://www.broadwaymedia.com/stage-gear/projectors">projector </a>on and off. Yes, you read that right. No more shipping, hanging and folding countless drops.

To make performing shows easier, we’ve partnered with <a href="http://mtishows.com">Music Theatre International </a>and <a href="https://www.theatricalrights.com/">Theatrical Rights Worldwide</a> to provide pre-programmed, script accurate Scenic Projections show packages to insure you have every setting mentioned in the script without having to break the bank for shows with massive numbers of scenes.

Going Beyond Scenic Elements with Projections

Projections do not have to be limited to scenic elements. You can even use projections on costumes. Take the transformation in <a href="https://www.broadwaymedia.com/shows/cinderella/cinderella/scenic-projections">Cinderella,</a> for example: Constructing Cinderella's "rags" costume in a light gray or white fabric provides a surface for a projected transformation gown during "Bibbidi-Bobbidi-Boo." By blocking the actor to stand stationary and implementing projection mapping you can achieve real, tangible, on-stage magic. Imagine the actor removes a colored apron to reveal a solid gown, and then cue projected spiraled sparkles dancing around the dress while interacting with the movements of the Fairy Godmother. Talk about a WOW factor! ‍

We can now cue everything that happens within a production, often with one software, but we should be wary not to sacrifice the ability to adapt on-the-fly and ensure a smooth-running production. In a perfect world, there are no dropped lines, no actors in the wings on their phones missing entrances, or nerves getting the better of the tempo in a dance number. There are so many "human" elements that we do not have control over that can derail the production.&nbsp;

We often get asked about cueing sound and scenic projections together, but while it cuts down on operators, it can be a risky move. Take for example "Let It Go" in the Disney's <a href="https://www.broadwaymedia.com/shows/disneys-frozen/frozen-jr/scenic-projections">Frozen JR. Scenic Projections Show Package</a>. While the projections are timed to match the music, they are not meant to be filtered together with audio in a single program. By doing this, you've officially removed any room for error.

Imagine the setting crossfading before Elsa has finished the number, simply because the cues were combined and started too early. The sound engineer and projectionist will follow a cue sheet, along with the direction of the Stage Manager to ensure teamwork and coordination. This allows for each individual to focus on the specific needs of their discipline. Changing sound levels and transitioning scenes are big roles, and should be treated as such. And be sure to test this out during tech week - our projections are available to you in advance of your show.

How Lighting Design &amp; Scenic Design Work Together

The most important collaborative relationship for projections is lighting design. When planning your stage lighting, stick to cool tones (blues, purples, and greens) as red and amber light tend to grey-out projections. Have the actors stand downstage of the projection surface with a space of a minimum of 3 feet between. If your actors use the space right up to the projection surface, it can be tough to light the actors without also washing-out the image. Angle all stage lights down and away from the projection surface. 

It’s important to also note the finish on the floor of your stage. The more reflective a surface is, the more bounce and light scatter will occur, diminishing the brightness of your projected image. 

This is the same with the color of a floor. White floors are highly reflective, so darker finishes are better. Keep in mind that with the use of follow spots, you will lose the projected image within that circle of light, so positioning your follow spot from up high and pointing toward the deck will prevent unnecessary image pollution. In addition, using a light lilac or light teal gel gives off the same impression as a white spot, while limiting the amount of wash-out of the projections. There are a lot of tweaks to be made to stage lighting to help get the most from your projector. Be sure to meet prior to tech week to plan lighting cues and positions.&nbsp;

Collaboration is the Key to Theatre-Making Success

Planning, practice, and communication amongst designers is key. The goal of a director is to tell the audience where to look. The production staff is tasked with providing visual context and interest to reinforce the storytelling. Each of these art forms used in collaboration and harmony together will truly captivate an audience and complete the story. 

There's no better feeling than standing in the lobby and listening to the audience sharing the personal impact and stand-out moments from the show as they make their exit. It's what we strive for as theatre-makers. Let Broadway Media enhance your next production with stunning scenic projections, <a href="https://www.broadwaymedia.com/digital-backdrops">digital backdrops</a>, <a href="https://www.broadwaymedia.com/choreography-guides">choreography guides</a>, <a href="https://www.broadwaymedia.com/stage-gear/wirelesssystems">wireless microphone systems</a>, &amp; more.

Projection Design is not here to replace traditional scenic design – it's there to enhance it, and help playwrights tell stories of greater breadth. But no discipline is an island. Amazing theatre is created when collaboration is put first. 

Collaboration leads to amazing theatre. Learn how projection design should interact with other technical theatre disciplines to ensure your production is a smash hit!

Why Collaboration Is Key To A Successful Production | Broadway Media

Creating Amazing Theatre: Why Collaboration Is Key To A Successful Production. 

As the COVID-19 pandemic triggered a serious economic downturn last spring, sawmills dramatically scaled-down production in anticipation of a housing slump. Instead of the expected housing crisis, the economy was greeted with a significant surge in home buying and renovation. This is no doubt brought on by rock-bottom mortgage interest rates and a renewed focus on improving our at-home spaces to accommodate our new do-everything-at-home reality.&nbsp;

This boom triggered a 359% increase (<a href="https://www.agweb.com/news/business/taxes-and-finance/labor-shortage-wet-weather-cause-lumber-prices-surge-359">Ag Web</a>) in the cost of lumber, and this new reality is not going away anytime soon. In fact, it’s been a long time coming, and it’s not simply due to a shortage of timber. Timber – raw wood material – remains available, but new import taxes and a decade-long reduction in demand has resulted in the closure of many sawmills, and, therefore, a bottleneck effect on the supply of lumber. The nationwide impact of a dwindling lumber industry combined with a unexpected and sudden surge in demand has resulted in an average increase of $36,000 for the price of a new single-family home.

This is further complicated by the hyperlocal structure of the lumber industry – different states are being disproportionately impacted by this shortage. Some states have plenty of timber, but not enough sawmills to manufacture lumber, and in others it’s the opposite. Opening new sawmills? According to sawmill and plywood mill-owner Steve Sawnson in an interview with Vox, it’s not simple:

“They’d like to see our industry respond to these prices and make new lumber, but a new sawmill today is $100 million, it takes two years to build, and there’s no guarantee you’re going to have the raw materials to run it.” (<a href="https://www.vox.com/22410713/lumber-prices-shortage">Vox</a>)

While the housing and lumber industry stakeholders petition the new administration to focus on the supply chain issues and solutions to the sky-high prices, we can anticipate that the problem is not going away in the immediate future.&nbsp;

As theatre organizations and schools plan their comeback seasons, directors and administrators are pondering the effects of a lost season on production coffers and making staffing decisions to protect the viability of their organizations. The unwelcome news of inflated lumber prices will undoubtedly throw a wrench into production budgets for the upcoming season.&nbsp;

The good news: We don’t have to sacrifice production values in the face of a raw materials cost increase – and we can look to Broadway for inspiration. The majority of new shows opening on the Great White Way are utilizing projected multimedia alongside more minimalistic built elements to create rich scenery. The industry-wide surge toward projections is lowering the barrier to entry, and resources like Broadway Media’s Scenic Projections are making the licensing and implementation of projected digital scenery easier and more affordable than ever before. In fact, many producers are switching to an entirely digital set to lower their costs and increase the storytelling potential of their stage.&nbsp;

Using Projected Digital Scenery as Backdrop Replacement

The easiest, and most cost-effective way to control your production budget as we come out from a bruising COVID-19 hiatus is to entirely replace the built environment onstage with Scenic Projections. The nature of Scenic Projections provides an opportunity to project all the settings of a show without the need for additional set pieces to help explain the story. Scenic Projections are a powerful storytelling tool and are designed specifically for organizations and schools working on a tight budget, have limited storage, or perform in a space to which they don’t have unrestricted access.&nbsp;

Using Projections to enhance a built environment

Arguably the most effective way to utilize projections in a production is to integrate them with physical elements for a more immersive, three-dimensional set. Not only will you be cutting down on the physical materials required to create a set, but you’ll overcome spatial constraints that limit the number of hanging drops and flying physical elements in and out to create different settings.&nbsp;

Scenic Projections are designed to do much of the heavy-lifting in regard to the production values of a play or musical. As you can see in the below images from Artpark Theatre Academy’s 2019 production of Disney’s Aladdin JR., the design relies heavily on projections, with smaller props (like the magic carpet) used to great effect alongside the animated digital scenery.&nbsp;

This is a great technique for productions with large casts. Projections maximize stage space and provide storytelling tools, like animated scene changes, scripted “magic” moments, and changes in light and weather that reflect the mood of a scene. 

For Broadway Buffs, Dear Evan Hansen is a great example of a set that depends on projections and minimal set pieces for its storytelling, and reflects the era in which the story is based. See below. ‍

The Integrated Projections Method for Catch Me If You Can‍

Physical set pieces can be enriched with multimedia elements – like digital scenery – to make a set both visually and physically interactive. The physical set pieces provide depth for the projections,while projections help convey movement, time and mood changes without the need to move different set pieces on and off the stage for each scene. Importantly, this hybrid model (which is favored by most set designers) cuts down on materials like lumber and scaffolding.

As you can see, their unit set evolves with the lighting throughout the show and provides visual depth to the onstage action.&nbsp;

At a rapidly increasing rate, theaters and schools across the country are utilizing projections as part of their set design – either as a backdrop replacement or enhancing their built environment. As the lumber market faces an ongoing crunch, take advantage of the affordability and versatility of this exciting new development in scenic design. For more information, fill out the form below to contact one of our Production Specialists today.

The housing and home renovation boom has left lumber mills spinning, and supply cannot keep up with the demand. The soaring price of lumber is leaving theatre stunned. But there's a solution! Read on to learn more. 

Save time & money when producing your next show with Broadway Media's Scenic Projections, a more affordable & accessible option compared to giant wood sets.

What You Should Consider When Planning Your Upcoming Show | Broadway Media

Lumber is seriously expensive right now. Here’s what you should consider when planning your upcoming show. 

AARON RHYNE’S designs have been seen on stages around the world in over 100 productions of musicals, plays, operas, and dance performances. He designed the Broadway, touring, and multiple international productions of Anastasia, for which he won a Drama Desk and Outer Critics Circle Award for Outstanding Projection Design. Other projects include The Sound Inside on Broadway, the Broadway and National Tours of the Tony Award winning A Gentleman’s Guide to Love and Murder, Septime Webre’s new touring ballet production of The Wizard of Oz, Disney’s Frozen at Disneyland, The Thirteenth Child at Santa Fe Opera, and The Ghosts of Versailles at LA Opera. Mr. Rhyne currently teaches Projection Design at UCLA in Los Angeles.&nbsp;

Each of your shows has its own unique personality. What makes A Gentleman’s Guide unique and, aside from the script, where did you draw inspiration for your projection design?

AARON RHYNE: In most shows you start with an overall design idea and create the production with that specific inspiration. For example in Anastasia everything is heightened in fantasy and elegance, or with Bonnie and Clyde it was true crime and historical documentation. But with Gentleman’s Guide each of the D’Ysquith characters have their own distinct style and story, and each are uniquely different. So instead of creating an overall design aesthetic, we created different vignettes to tell each of their stories. Each vignette is defined by a specific character’s personality and style, and the projections take their cues from that inspiration. Eziekel is very much an homage to Hitchcock, Asquith D’Ysquith, Jr. is a kind of winter wonderland Norman Rockwell fantasy. Sibella’s worlds are an Elizabethan version of Legally Blond, and the end of act one is all inspired by turn of the century graphics from travel postcards. Every character inhabits their own world, which each has a distinct style that acted as our inspiration for the projection design.

The show features a palette of rich, deep colors. How do you make these choices?&nbsp;

AARON: Every project starts with different inspiration, but with Gentleman’s Guide, the color palate was inspired by <a href="http://lindacho.com/485269/gentlemen-rsquo-s-guide-to-love-and-murder/">Linda Cho’s costume designs</a>. Before I had started designing any of the projections, Linda showed me all her sketches and sent me fabric swatches of most of the costumes, so I was able to specifically tailor my color work to the costumes in each scene. The end result is that the colors aren’t just rich and deep, but they all compliment the costumes, scenic and lighting design color worlds in every scene.

Do you have any tips for budding projection designers for keeping a cohesive show aesthetic?

AARON: Focus on the storytelling first. Make sure anything you create is in service to the story that the entire creative team is trying to tell. Anything that is too much, too bold, too confusing, too anything can harm the production. If your design work distracts or confuses or takes the audience out of the story even just for a moment, you are not in service of the play. Before putting anything on stage, make sure that it first passes that test, then you’ll always have a cohesive design.

One of our customers from Michigan, said, “the projections even get applause and uproarious laughter!” How do the projections contribute to the comedy and absurdity of this show?

AARON: Before our opening on Broadway we had the opportunity to do two different productions out of town which taught us the value of a design element punctuating the joke of each murder. We found that a projection moment often gave us exactly what we needed to find the right tone of humor to indeed let the audience know that in this production it was ok (and encouraged!) to laugh at a murder. The first moment that we experimented with was the blood oozing out at the end of the Lord Ezekial scene. When we first tried out this moment in tech, it was very controversial. Many on the creative team didn’t think it was the right thing to do, or that it was a cheap laugh, or possibly set the wrong tone. The beauty of getting to do the show for preview audiences is that it gives you an opportunity to try things out and gage the audience’s reaction. The blood was an immediate hit the first time we did it and the audience went wild, so I was thrilled that we kept that moment. We slowly tried other gags – the <a href="https://www.youtube.com/watch?v=hE2iIrJGisM">ice cracking</a>, <a href="https://www.youtube.com/watch?v=EZPsn3HaFKU">the bees</a>, feathers, as well as some others that didn’t make the cut. Comedy is a very delicate balance in theatre, and we always had to find the right mix of helping the joke land, but not disrupting the narrative of the story. It really was so much fun playing with the comedy moments and getting the opportunity for the projections to help sell the jokes is such a bold visual way.

What is the most satisfying thing about seeing your finished product onstage?

AARON: I think more than the finished product, the best part of my job is seeing how audiences react to a live performance. During previews of my shows I’m notorious for wandering around the back of the theatre listening to audiences, seeing how they react, what they applaud to, and most importantly what they don’t react to at all. I like to toy with moments over and over until they strike just the right reaction for the given moment. Sometimes you want an audience to laugh, sometimes you just want a quiet recognition, and many times you don’t want them to notice at all. But hiding in the back and taking in how an audience reacts to my design choices is certainly what I love most about what I do, and that preview process is what leads to a satisfying finished product on stage.

Did you have any creative challenges designing for this show? How do you face and overcome creative challenges?

AARON: After two very successful runs in Hartford and San Diego, we were very excited to move the show to Broadway. However, when I first got the plans for the Walter Kerr Theatre I nearly had a panic attack when I realized how small the stage of the theatre is. In our out of town productions we had the space to do rear projections for the show, but on Broadway we had about 6 feet from the back wall of the theatre to the rear screen of the set. At the time LED walls were not high enough resolution, so I fought against using LED because the projection content would have looked digital and pixelated, which was not right for an Elizabethan period show.&nbsp;

We had a ton of trial and error on that production during tech, we kept changing the layout of the projectors, the size of the screen, the number of projectors, it was really stressful trying to make it all work in such a tight space. We ultimately got it working, but I was thrilled that when we sent out the first U.S. tour, LED technology had improved to the point that we were able to change from projectors to a LED wall and keep the quality of our high-resolution visuals. It was a much easier process once we changed to LED.

What is your favorite scene? Why?&nbsp;

AARON: I’ve tech-ed Gentleman’s Guide 5 different times, and I’ve probably watched the show close to 100 times over the years, and every single time I watch the Lady Hyacinth I can’t stop laughing. It’s just absolutely ridiculous, and the song is absurdly hilarious, and I really love the postcard moments that I got to create in the projections. <a href="https://www.theatermania.com/broadway/news/final-bow-the-9000-deaths-of-jefferson-mays-in-a-g_75329.html">Jefferson Mays</a> who originated the role(s) of the D’Ysquiths had such a specific portrayal of this character that even now remembering his take on the role is making me chuckle. I’ve seen a number of actors do this role over the years and the writing is so good that they each are able to make it their own, and in every production this scene remains my favorite.

What would you like schools and theatres producing A Gentleman’s Guide to Love and Murder to understand about using your projections?

AARON: Timing is everything in this production. If you throw a cue at the wrong time you can kill a joke, and killing one laugh in a production where its success replies on communicating cleverly to the audience that it is ok to laugh at a murder…could murder the entire show!

Can you share a guiding principle for good projection design?

AARON: A good projection design works in harmony with all the other elements of design, the script, direction, music, and the performers on stage to all tell the written story cohesively. Everything has to work together in service of the play for it to be a success. Video and Projections are a very “loud” art form, there is a lot of visual power when you put a video image on stage, so you have to use that power in a theatrical context very carefully. Often designers fall in love with a really exciting visual or animation that they have made and try and force it onto a production because they love what they created. But good projection design is also about editing and knowing when to pull back and let something else on stage have the focus.

Looking to learn more about the resources for A Gentleman's Guide to Love and Murder? Fill out the form below to connect with a Production Specialist.

The team at Broadway Media sat down with Aaron Rhyne, one of the world’s preeminent theatrical projection designers, to learn more about his A Gentleman’s Guide to Love and Murder designs, and get some tips on what good design is all about.

Broadway Media interviewed award-winning projection designer Aaron Rhyne to to learn more about his work on A Gentleman’s Guide to Love and Murder.

A Gentleman's Guide to Projection Design | Broadway Media

A Gentleman's Guide to Projection Design

Aaron explains why digital scenery was the best option for his show and how he incorporated it into the vision of his production: "The production has so many locations, there is no way we could have rented or hung that many drops to represent the various locations as effectively as the digital drops. My favorite part is the ease of use and the artistic quality of the digital elements. I think when used together with physical sets you are giving your audience the most professional look possible. Our patrons have really been impressed with our new technology, the parents are having to build fewer set elements, and the tech kids love having another hand in the performances."

Organization: Madison Consolidated High School

Digital Scenery Use: Backdrop replacement&nbsp;

Surface Size:&nbsp;28' wide, 11' tall

Surface Material:&nbsp;LED digital screen panels

Operator:&nbsp;Mac operating system, output to LED wall

System Integration:&nbsp;During our auditorium renovations, we used a local church with a digital screen backdrop. We started using that instead of painted drops on their thrust stage, with “The Addams Family”. We have used digital backdrops ever since for straight plays and musicals. We have used them as still images and animated, usually with physical set units in front of the images when required (stairs, tables, fireplaces, etc.) We are now back in our own facility with a new LED digital screen.

Set design with digital scenery:&nbsp;I really try to treat the digital drops just as a painted drop. They don’t replace the entire physical set and shouldn’t with most shows. They integrate well with furniture, landscape elements, etc. The use of the drops frees up space on our stage, takes much less time installing, and provides ENDLESS locations and looks available.

Lighting with digital scenery:&nbsp;My student techs really worked hard to match the illustrated lighting with the physical lighting in our theatre. The looks have always been spot on!

[Digital Scenery] can offer so much life to the show, especially the animated drops. We can effectively represent so many more locations with the digital drops and for the price of one or two rented drops.

Aaron lives in Madison, Indiana with his wife Jamie, and their 7 children. A graduate from Indiana University, Bloomington, he has taught Visual Arts and Theatre at Madison Consolidated High School for nineteen years. He has directed over 65 different plays and musicals at MCHS and is enjoying a recent renovation of the school’s theatre spaces.

P. Aaron Kelsey, at Madison Consolidated High School, used an LED wall in the production of 9 to 5 to replace their need for a backdrop and add special elements to the show, like the video from Dolly Parton!

Madison Consolidated High School used an LED wall for Scenic Projections in their production 9 to 5 to replace their need for a backdrop & add special elements to the show. 

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