Why Planning Digital Projections Early Matters
There’s a moment in every production when the pieces finally start to come together. The actors are off book. Blocking is settling. The world of the show is beginning to feel real.
And then—sometimes too late—someone says:
“Okay… now let’s add the projections.”
This post is about why that moment matters more than most directors realize—and how planning digital backdrops earlier can save time, reduce stress, and actually improve storytelling.
The insights below come straight from a candid conversation between theatre director Blake Minor and projection designer Mitch Stark, reflecting on a real production experience and the lessons learned the hard way.
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The Lesson Learned the Hard Way: Projections Affect Blocking
During a community theatre production of Elf the Musical, projections were introduced after blocking had already been established.
At first, everything seemed fine.
But once the digital backdrops went up, something unexpected happened:
the projections began driving blocking decisions.
Directional signage inside the projected image (“North Pole this way”), scenic elements placed off-center, and embedded visual storytelling cues suddenly conflicted with where actors had already been staged.
No one had done anything “wrong.”
But the projections weren’t neutral backdrops anymore — they were active storytelling elements.
And that changed everything.
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Why This Happens (and Why It’s So Common)
Many directors—especially those newer to projections—are used to scenery behaving in predictable ways:
- A painted drop with a central focal point
- Flats that frame the stage evenly
- Backgrounds that don’t “speak” unless actors interact with them
Digital projections can be very different.
They often include:
- Asymmetrical compositions
- Environmental storytelling cues
- Visual pathways meant to be noticed
- Implied movement or direction
When those elements arrive late in the process, they can force:
- Re-blocking
- Awkward stage pictures
- Actors unintentionally “standing inside” the image
- Lost rehearsal time
None of this is about technology failure.
It’s about timing and intention.
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The Core Takeaway: Projections Are Part of Storytelling
One of the most important ideas that emerges from the conversation is this:
Digital projections are not just technical elements — they are storytelling tools.
When projections are introduced early, directors can:
- Let visuals support blocking instead of fight it
- Decide when projections are a “hero” and when they should fade back
- Align movement, composition, and design into one language
- Avoid last-minute compromises
When they’re introduced late, projections feel like something to “work around.”
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A Simple but Powerful Practice: Get Something on the Screen Early
One of the most practical tips shared in the conversation is also one of the simplest:
Get something on the screen as early as possible.
It doesn’t have to be final.
It doesn’t even have to be the image you’ll use in the show.
Just seeing any projected image allows directors to:
- React to scale
- Notice color saturation
- See how costumes read against the background
- Understand how light behaves
- Make better blocking choices early
It’s the same reason costume designers do line-ups and scenic designers build models. You can research forever — but you don’t truly understand until you see.
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Why Waiting Until Tech Week Creates Stress
Projections introduced during tech week tend to feel like emergencies:
- “Why is this so bright?”
- “Why are they standing in the image?”
- “Why does this suddenly pull focus?”
At that point, directors are already juggling:
- Lighting cues
- Sound transitions
- Costume changes
- Performer nerves
Adding fundamental scenic decisions that late makes projections feel like a problem — when they could have been an asset.
The truth is simple:
Any element introduced too late becomes stressful.
Projections are no different.
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Planning Early Doesn’t Mean Locking Everything In
One common fear is that planning projections early removes flexibility.
In reality, the opposite is true.
Early planning allows directors to:
- Experiment safely
- Adjust blocking gradually
- Discover visual storytelling opportunities
- Decide where simplicity is better than spectacle
It gives you options instead of forcing decisions under pressure.
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Why This Matters for Teachers and Schools
For theatre teachers and school programs, time is already limited. Re-blocking costs:
- Rehearsal minutes
- Student confidence
- Creative momentum
Planning projections early helps:
- Keep rehearsals efficient
- Give students clarity
- Build confidence in technical storytelling
- Model professional production practices
It turns projections from a “tech thing” into a teaching tool.
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Watch the Full Conversation
The video at the top of this post dives deeper into:
- Real-world rehearsal experiences
- How projections shape movement and focus
- Practical ways to start early without overwhelm
- Why this mindset applies to any show
If you’re a director, teacher, designer, or student learning how modern theatre works, it’s well worth the watch.
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Ready to Explore Digital Projections Thoughtfully?
If this conversation sparked ideas, curiosity, or relief — you’re not alone.
At Theatre Avenue, our digital backdrops are designed specifically to:
- Support storytelling
- Work flexibly with blocking
- Integrate smoothly into rehearsals
- Serve schools and community theatres realistically
👉 Explore our digital projection collections
https://theatreave.com/
And if you’re ever unsure where to start — start early. Even a little.
(Or you can always reach out to us for a little help:)
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