Preparing a Mapping Project: 2D vs 3D Workflow

Introduction

When preparing a video mapping project, one of the first decisions to make is whether to go with a 2D or 3D approach.

This decision impacts everything: preparation time, budget, the image studios' workflow, and the final render quality.

I've worked on projects where we did simple 2D (photo survey, flat projection), and on others where we did a full 3D scan with retopology and integration into Modulo Kinetic.

Both approaches have their place. Here's how to choose the right one.

2D Workflow: The Quick Method

When to use the 2D workflow?

Typical use cases:

• Projection onto a flat facade (or with minimal relief)
• Tight deadlines
• One-off event, not a permanent installation
• Primarily 2D content (illustrations, graphic animations)

The idea: You take survey photos, create a test pattern in Photoshop that will serve as the basis for content creation. No 3D model, no scan.

The steps of the 2D workflow

1. Framing and projector positioning

First step: on-site survey. Where will you install the projectors? What distance? Which lenses?

Tool: Use the projection calculator to determine throw ratio, image size, and required lumens.

2. Photo survey

You photograph the projection surface from each projector position. These photos serve as a basis for:

• Creating calibration test patterns
• Giving the studios a visual reference
• Preparing the warping on site

Tip: Take the photos at night, under actual show conditions. This avoids unpleasant surprises.

3. Creating 2D test patterns

From the photos, you create calibration test patterns: outlines, reference points, grids. These patterns are used:

• By the studios to align their content with the actual geometry
• On site for quick warping

Tool: The multi-projector calculator automatically generates pixel-perfect test patterns with grids and reference markers.

4. Studio workflow: 2D creation then rendering

The studios receive the test patterns and create their content in 2D (After Effects, Photoshop, etc.). But often, for aesthetic reasons, they model the facade in 3D to animate volumetric elements.

Important: Even if the studios create in 3D internally, they deliver a flattened 2D media, ready to project. This 2D media is what the media server will play back.

5. On-site calibration

On the day, you warp using the prepared test patterns. If the facade is relatively flat, it goes quickly.

Advantages of the 2D workflow

• Fast: no scan, no modeling
• Economical: less preparation time
• Accessible: no advanced 3D skills needed
• Sufficient for many projects (flat facades, one-off events)

Limitations of the 2D workflow

• Limited precision on surfaces with relief
• Manual warping takes longer on site if the geometry is complex
• Studios work "blind" without a precise 3D model
• Difficult to perform accurate photometric studies

3D Workflow: The Professional Method

When to use the 3D workflow?

Typical use cases:

• Surface with relief (historic facade, complex architecture, sculpture)
• Permanent installation where precision matters
• Budget allows investing in preparation
• Need for positioning studies in a 3D environment

The idea: You create a precise 3D model of the surface, import it into Modulo Kinetic for your studies, and deliver a complete toolkit to the studios.

The steps of the 3D workflow

1. Framing and preliminary study

Same logic as the 2D workflow: where to project, how many projectors, what distances.

But additionally, you plan the modeling: is a scan necessary? Photogrammetry? Or manual modeling?

2. 3D scan or photogrammetry

To obtain precise geometry, you have two options:

3D scan (LiDAR or laser scanner):

• Very high precision (millimeter-accurate)
• Captures architectural details (cornices, sculptures, reliefs)
• Costly in time and equipment

Photogrammetry:

• Less expensive (just a camera and software)
• Good precision if executed well
• Result: point cloud then 3D mesh

Result: A "raw" 3D model (high poly), very detailed, but often too heavy to use as-is.

3. Retopology: creating a low poly model

The raw scan contains millions of polygons. Impossible to use in real time in a media server.

The retopology step consists of:

• Recreating an optimized mesh (low poly) on top of the scan
• Keeping important details, removing the superfluous
• Obtaining a lightweight, usable model

Why this matters:

• The low poly model can be imported into Modulo Kinetic for studies
• It can also be used directly in a real-time 3D engine (for generative content)
• Studios can work with it to create their 3D animations

4. Import into Modulo Kinetic: projection studies

Once the low poly model is ready, you import it into Modulo Kinetic.

What this enables:

• Position projectors in 3D space with millimeter precision
• Test different configurations (distances, lenses, overlaps)
• Run photometric studies: are 10,000 lumens enough? Do you need more?
• Choose the right lenses by visualizing the actual render

This is an enormous time saver: you validate everything upfront, with no surprises on site.

5. UV unwrap: creating 2D patterns

Even if you have a 3D model, studios often work in 2D. So you need to "unwrap" the 3D model into 2D, known as UV mapping.

Result: 2D patterns (flat images) that, once applied to the 3D model and projected, align perfectly with the actual geometry.

These patterns are delivered to the studios along with the 3D model.

6. Delivering the turnkey toolkit

You deliver to the studios:

• The low poly 3D model (for 3D animation if needed)
• The 2D patterns (UV unwraps)
• Calibration test patterns
• Projector configuration (positions, resolutions, overlaps)

The studios have everything they need to work with precision.

7. On-site calibration (with autocalibration option)

Two options:

Manual calibration: You warp by targeting reference points on the 3D model imported into Modulo Kinetic. Precise, but time-consuming.

3D autocalibration: If you have the budget and equipment (cameras, dongles), Modulo Kinetic can perform automatic projector calibration. Massive time savings.

Note: 3D autocalibration will be covered in a dedicated article (manual and automatic calibration).

Advantages of the 3D workflow

• Maximum precision: the model reflects reality to the millimeter
• Upfront studies: technical choices validated before arriving on site
• Complete toolkit for studios: they work with precise references
• Time savings on site with autocalibration
• Superior final quality on complex surfaces

Limitations of the 3D workflow

• Preparation time: scan, retopology, UV mapping
• Cost: equipment, 3D skills, software licenses
• Requires advanced skills in 3D and media server operation

Comparison Table: 2D vs 3D

How to Choose?

Ask yourself these questions:

1. Does the surface have significant relief?

• No (flat facade, smooth wall) -> 2D workflow is sufficient
• Yes (recessed windows, cornices, sculptures) -> 3D workflow recommended

2. Is this a permanent installation or a one-off event?

• One-off -> 2D workflow is often sufficient
• Permanent -> 3D workflow guarantees quality and longevity

3. Do you need to validate projector positions upfront?

• No (flexibility on site) -> 2D workflow
• Yes (strict constraints, client validation) -> 3D workflow with Modulo Kinetic

4. Do the studios need a precise 3D model?

• No (simple 2D content) -> 2D workflow
• Yes (complex 3D animations) -> 3D workflow

Conclusion

There is no "best" workflow. There is the workflow suited to your project.

The 2D workflow means efficiency and speed. The 3D workflow means precision and total control.

Take the time to properly scope your project upfront. Evaluate the stakes, budget, and complexity. Then choose the method that makes sense.

Need help defining the right workflow for your project?

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• Projection calculator: throw ratio, lumens, pixel size
• Multi-projector calculator: full sizing + test pattern exports

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