How to Stage Projection Mapping: The Process from Planning to Show, Choosing a Venue and a Breakdown of Costs

A projection mapping event cannot be staged simply by producing visuals. Preparation covers a wide range, from permission for the building to be projected on and the place where equipment will be set up to the safety of spectators, consideration of light’s effect on the surroundings and contingency plans for the weather. Based on local governments’ calls for proposals, guidelines from the Ministry of Land, Infrastructure, Transport and Tourism (MLIT) and the Tokyo Metropolitan Government, the requirements of a subsidy from the Tokyo Metropolitan Government and the Tokyo Convention & Visitors Bureau, police materials and other sources, this article outlines the process from planning to removal and evaluation, how to choose a venue and a breakdown of costs. The basics of the medium are explained in What is projection mapping?

The range of scale is wide. In seven local government calls for proposals for fiscal 2025–2026, maximum contract amounts ranged from ¥9.5 million in Shimada, Shizuoka Prefecture, to ¥265 million for the Tokyo Metropolitan Government. On April 28, 2026, the Tokyo Metropolitan Government and the Tokyo Convention & Visitors Bureau began accepting applications for a subsidy for new projection mapping and drone show initiatives, and also announced a general consultation desk.

The overall process: Seven stages from planning to removal and evaluation

Comparing the tasks described in calls for proposals with national and Tokyo materials, preparing an event can be broadly divided into the following seven stages. The order is a guide; consultations about permits and site surveys proceed early, in parallel with planning.

• Planning: Decide on the purpose, target audience, dates and times, and budget. The call for proposals from Yatsushiro, Kumamoto Prefecture, set out the aim of promoting nighttime circulation around the city and longer-stay tourism

• Site survey: Check the shape and material of the projection surface, the darkness of the surroundings, where equipment can go, the viewing area and the power supply

• Consultation and permits: Obtain permission from building and land owners and managers, and complete outdoor advertising, road, park, fire and other procedures

• Production: Measure the shape of the target and create visuals and sound to fit it, checking display standards for flashing and so on

• Equipment planning and test projection: Decide the number of projectors, brightness and installation method, and check how it looks on site or on a model

• Show operation: Manage the screening schedule, guide visitors and decide on weather-related cancellations

• Removal and evaluation: Remove the equipment and evaluate effects such as visitor numbers

Local government calls for proposals give a sense of the timeline. The five projects that began lighting or projection in November–December (Osaka City, Osaka Prefecture, Matsumoto, Miyagi and Shimada) all opened their calls in April–June, five to eight months before the month of the show. Contract periods, including removal and other tasks, often run until late February or the end of March. How contracts are awarded and details of each call are summarized in our article on seven local government calls for proposals.

Permit procedures also take time. MLIT’s “Projection Mapping Implementation Manual” (March 2018) notes that the time from application to permit varies by local government and says it is desirable to consult early, from the planning stage. Yokohama asks that, for projected advertisements at events and the like, organizers hold preliminary consultations at least 60 days before display where possible and submit requests for consultation at least 30 days before.

Choosing a venue 1: The projection surface and the darkness of the surroundings

The starting point for choosing a venue is the projection surface. In a 2014 commentary in the academic journal Kogaku (Japanese Journal of Optics), Michiyuki Ishita of the Projection Mapping Association of Japan wrote that transparent objects and black walls are usually hard to project onto, but that applying high-brightness reflective film makes images show clearly. A Barco case study describes the facade of Dongdaemun Design Plaza (DDP) in Seoul, South Korea, with its glossy metal finish, as a difficult surface for projection.

Ambient light also affects visibility. The 2001 paper “Shader Lamps” listed the need for dark, controlled ambient lighting as a limitation of the technique. For the 2025–2026 projection at Matsumoto Castle, the organizers cautioned that because sunset comes later in the second half of the run, the images might be hard to see at the start of screenings. Light from streetlamps and signs, and sunset times during the run, are also conditions to check on a site visit.

There may also be conditions on the projection area. Yatsushiro’s fiscal 2025 project projected onto the boiler wall of Nippon Paper Industries’ Yatsushiro Mill, and the call for proposals required that the projected area never exceed one-third of the wall area. How surface shapes are measured and turned into data, and how to think about the number of projectors and brightness, are explained in How projection mapping works.

Choosing a venue 2: Equipment placement, viewing area and power

Once the projection surface is decided, look for a place to put the projectors. The national manual says permission from the owner or manager is needed to place a projector on land you do not own. It also says that no procedures with road or river administrators are needed if the projector is placed so as not to extend into a road or river area and projects onto a building across the way.

Placement should also take into account the distance and angle to the projection surface and facilities to protect the equipment. Yatsushiro’s project included building a projection room to house the equipment, at a cost of ¥5,775,000 (including tax). For the permanent screenings on the Tokyo Metropolitan Government Building No. 1, a dedicated housing with seismic, waterproof and dustproof performance was developed for permanent outdoor installation. Installation methods, heat dissipation and safety distances for laser light sources are covered in our article on how to install projectors.

Viewing areas should be planned with crowd safety in mind. The 2024 White Paper on Police notes that crowd accidents can occur when large numbers of people gather at festivals, fireworks displays and events, and that police guide organizers to take necessary safety measures. A directive from the Gifu Prefectural Police chief (September 10, 2019) says organizers are to be guided in advance to determine a venue’s safe capacity and draw up a security plan including detour routes, evacuation areas, zones where entry or lingering is prohibited, the deployment of security guards and means of public communication.

At actual events, too, managing the flow of people is a pillar of operations. Senso-ji Temple’s “ASAKUSA CULTURE & LIGHTS 2026” asked visitors to move one way through the venue under staff guidance and said entry might be restricted when crowded (see our article on the Senso-ji projection mapping).

Power also affects equipment choice. Panasonic Connect’s product page for the PT-RQ45K notes that maximum light output is limited to 21,000 lm or less when used on AC 100–120 V. The specifications for the 50,000-lm PT-RQ50KJ say light output drops to about one-fifth on AC 100–120 V. Whether a 200 V supply can be secured changes which models, and how many, can be used.

Choosing a venue 3: Permits, notifications and consideration for the surroundings

For outdoor projections, depending on the conditions, the images may be regulated by ordinance as outdoor advertisements. Tokyo’s ordinance and enforcement regulations provide that displays for public-interest events that meet four requirements, including a display period of three months or less and corporate advertising making up roughly one-third or less, can be shown without a permit if notification is filed. The national manual says displays aimed at visitors within the grounds of theme parks, parks and the like do not count as outdoor advertisements.

There are procedures beyond outdoor advertising, too. A road use permit is required for events on roads that significantly affect general traffic, among other cases; according to the Tokyo Metropolitan Police Department, applications go to the police station with jurisdiction over the road. Occupying an urban park with temporary structures requires permission from the park administrator (Articles 6 and 7 of the Urban Parks Act). The Tokyo Fire Department advises that stalls using fire at events where many people gather must be notified to the fire chief with jurisdiction at least three days in advance. Details of the procedures are summarized in Projection mapping and outdoor advertising rules.

There are also guidelines on display hours and effects on the surroundings. Tokyo’s “Guidelines on the Display of Projection Mapping” (July 1, 2020) ask that late-night displays be avoided in areas where consideration for the living environment is needed. Yokohama in principle limits display of projected advertisements at events to 10 p.m., and Kamakura’s guidelines say displays should be avoided from 11 p.m. until sunrise. The Ministry of the Environment’s Light Pollution Guidelines include temporary lighting for illuminations and events as landscape lighting (see our article on the Light Pollution Guidelines).

Projecting onto cultural properties such as castles, temples and shrines requires additional care. Altering the existing state of an Important Cultural Property or performing acts that affect its preservation requires permission from the Commissioner for Cultural Affairs (Article 43 of the Act on Protection of Cultural Properties). Ways to avoid fixing equipment to buildings and fire precautions are covered in Projection mapping on cultural properties and the care it requires.

Production and test projection: Flashing standards and on-site checks

There are also standards for the content of the visuals. Tokyo’s guidelines ask that flashing images or light, in principle, not exceed three flashes per second, and that flashing of saturated red be handled with particular care. Flashing is deemed to exceed the standard when it occurs simultaneously over more than a quarter of the screen with a change in luminance of 10% or more. Even when exceeding the standard, flashing should be limited to five times per second with luminance changes of 20% or less, and not used continuously for more than two seconds. The guidelines also ask that regular patterns such as stripes, spirals and concentric circles not occupy most of the screen.

Finished visuals are checked on site or on a model before the show. Yatsushiro’s project held projection tests from November 17 to 22, 2025, projecting footage promoting the Yatsushiro Myoken Festival. In 2014, ahead of the start of a projection show on Cinderella Castle, Tokyo Disneyland released test footage projected onto a 1.5 m-tall model of the castle (about 1/30 scale). The instructions for Epson’s throw distance simulator also note that brightness and contrast results are calculated values and do not guarantee actual values.

The format of operations is also best decided at the production stage. In 2025–2026, Matsumoto Castle projected a roughly nine-minute show continuously with breaks of about three minutes, while “AICHI NAGOYA ART&LIGHTS” at the Aichi Prefectural Government Office and Nagoya City Hall alternated about five minutes of projection with about five minutes of illumination. The length of screenings and breaks also bears on turnover and crowd management in the viewing area.

Cost breakdown: From calls for proposals and subsidy-eligible expenses

The cost structure can be read from the scope of work in local governments’ calls for proposals and the expenses eligible for subsidies. Combining the tasks in the calls with the eligible expenses for the Tokyo Metropolitan Government and Tokyo Convention & Visitors Bureau’s “Projection Mapping Promotion Support Subsidy,” the main cost items are as follows.

• Content production: Planning and production of visuals and sound. The fiscal 2026 call for Osaka City Central Public Hall treated production, projection, and installation and removal as a single contract

• Equipment: Rental or purchase of projectors and lenses, playback and control equipment and so on. The subsidy covers equipment rental, but for private businesses the purchase of projectors and lenses is not eligible

• Facilities and setup: Facilities such as projection rooms, and venue setup and removal. Yatsushiro budgeted ¥5,775,000 (including tax) for its projection room

• Venue operation and security: The subsidy covers outsourcing costs for venue setup and operation (including security)

• Venue occupancy and rental fees, and insurance: Both are listed as eligible expenses for the subsidy

• Publicity and evaluation: Announcements and publicity, counting visitors and evaluating effects. Miyagi Prefecture’s project at the Tagajo Ruins included promotion and evaluation of the event’s effects

Total costs vary greatly with the scope of work. Osaka City Central Public Hall’s fiscal 2026 project, a 15-day projection onto a single facade, had a maximum contract amount of ¥18.7 million. Yatsushiro’s fiscal 2025 project set a maximum of ¥23,666,000 including the projection room, which accounted for about a quarter of that. Matsumoto Castle’s 2026–2027 project set a maximum of ¥36 million, including garden lighting and related programs.

Subsidy programs are available as funding sources. The Tokyo Metropolitan Government and Tokyo Convention & Visitors Bureau subsidy covers up to two-thirds of eligible expenses for new projects (up to ¥25 million), up to half in the second consecutive year (up to ¥20 million) and up to one-third in the third year (up to ¥15 million). At the national level, programs such as the Agency for Cultural Affairs’ subsidy for projects utilizing cultural resources have been used for night events at cultural properties. Requirements for each program are covered in Subsidies for illuminations and projection mapping.

Where to get advice: Tokyo’s general consultation desk, municipalities and police stations

For projects in Tokyo, you can consult the Projection Mapping General Consultation Desk at the Tokyo Convention & Visitors Bureau. According to the Tokyo Metropolitan Government, it accepts inquiries by phone and email and, depending on the content, dispatches experts free of charge (up to five times). The desk advises that outdoor advertising permits are handled by wards, cities, towns and villages, and lists police stations as the contact for traffic impacts and event safety standards.

Companies that handle planning, production and equipment operation can be traced through the selection results of local government calls for proposals and event announcements. Major companies in Japan and their track records are introduced in our article on production companies. For examples of metrics for measuring an event’s effects, see our roundup of attendance and economic impact of light events.

Editor’s perspective

Laying out the stages makes it clear that producing the visuals themselves is only part of the preparation. In Yatsushiro’s project, the projection room accounted for about a quarter of the maximum amount, and local governments’ calls list tasks ranging from safety measures to removal and evaluation. It can be said that venue conditions determine much of the cost and timeline.

The conditions involved in choosing a venue are interconnected. The surface material and the darkness of the surroundings determine the brightness needed; brightness determines the model and power supply; and the model and placement affect facility costs. The size of the viewing area bears on the security plan, and display hours on the surrounding living environment. Checking all of these at once during the site visit is likely the quickest way to avoid having to redo plans.

Subsidy requirements and local governments’ evaluation criteria also include counting visitors and continued implementation. What is called for is designing equipment placement and operating systems on the premise that the event will continue in future years, not as a one-off.

Frequently asked questions

How long does preparation take?

It depends on scale and procedures. Among local government calls for fiscal 2025–2026, the five projects with shows in November–December opened their calls in April–June, five to eight months before the show. The national manual notes that the time from application to permit varies by local government and recommends consulting early, from the planning stage.

How much does it cost?

Costs vary greatly with the size of the projection surface, the length of the event and the scope of work. In seven local government calls for proposals for fiscal 2025–2026, maximum contract amounts ranged from ¥9.5 million to ¥265 million. New events in Tokyo may be eligible for a subsidy from the Tokyo Metropolitan Government and the Tokyo Convention & Visitors Bureau covering up to two-thirds of eligible expenses (up to ¥25 million).

What should be checked on a site visit?

Based on the materials cited in this article, the main points to check are the material and color of the projection surface, ambient brightness and sunset times, where projectors can be placed and who owns that land, the distance to the projection surface, the viewing area’s capacity and evacuation routes, power capacity (whether 200 V is available) and the effect of light on nearby homes and roads. For cultural properties, also check whether equipment can be fixed to the building.

Articles for each stage of planning are gathered in our guide to articles for those planning projection mapping and light events.

Budgets and attendance for local government cases are compared in our comparison of 13 local government light events, and drone show costs and procedures in our article on how to stage a drone show.

*Information as of October 24, 2026. Please check official websites for the latest information.

Please confirm specific procedures and requirements with the office responsible for each program or ordinance.

Terms such as lumens, throw ratio and edge blending are briefly explained in our projection mapping glossary.

The system that lets local governments procure from certified businesses through negotiated contracts without bidding is explained in our article on policy-purpose negotiated contracts.

*Top image: Documentary photo of the projection mapping on the facade of Osaka City Central Public Hall at OSAKA Hikari no Renaissance 2025 in December 2025 (from HITOHATA, INC.’s press release)

*This article was compiled by the TOKYO ART SPHERE editorial team based on local governments’ calls for proposals, public materials from MLIT, the Tokyo Metropolitan Government, the police and others, the Tokyo Convention & Visitors Bureau’s application guidelines, official announcements by manufacturers and organizers, and researchers’ papers (as of October 24, 2026).

Text: TOKYO ART SPHERE Editorial Team

A note from the publisher

*Disclosure: Among the events cited as examples in this article, the projection mapping at Senso-ji Temple, Matsumoto Castle, the Aichi Prefectural Government Office and Nagoya City Hall, and Osaka City Central Public Hall (top image) involved HITOHATA, INC., an affiliate of HITOHATA ASSOCIATION, the general incorporated association that operates TOKYO ART SPHERE, in planning, production and other roles (About us).

HITOHATA, INC., an affiliate of HITOHATA ASSOCIATION, the general incorporated association that operates TOKYO ART SPHERE, plans, directs, produces and operates projection mapping at National Treasures, Important Cultural Properties, World Heritage Sites and urban landmarks, as well as immersive exhibitions. The company offers consultations for those at the stage of applying the processes, costs and procedures outlined in this article to a specific venue and budget. Inquiries, including those at the stage before a budget is set, are accepted through HITOHATA, INC.’s contact form (which has an option for local government and public projects). The company’s past work is introduced on HITOHATA, INC.’s project portfolio page.