MadMapper offers many creative possibilities when it comes to shaping projections, but one function that changed a lot about the visual control is the use of masks. Until now, my process was more about experimenting with shapes and textures, projecting videos onto surfaces, and adjusting effects to see how they behave. Masks, however, introduced a new level of focus and intention. They let me decide exactly where the light should appear, and where it should disappear. A mask in MadMapper allows you to isolate certain parts of your projection. Instead of applying movement or animation to the whole area, you can restrict it to a small detail, a corner, a line, or even a floating shape.
To better understand how the masking system works, I followed a very clear and practical tutorial by Thomas Grogan on YouTube. The video introduced not only the basic tools but also demonstrated how to use masks in a structured and creative way. What helped me most was the clear, hands-on approach that didn’t overcomplicate things. It was a reminder that even simple setups can be powerful if they’re used with intention.
A few things stood out to me in the tutorial:
- Masks are added directly to surfaces and don’t require complicated preparation.
- They can be inverted easily, which is perfect for situations where you want to hide everything except one specific part.
- Feathering options let you control the softness of the edges, which helps when working with organic materials or creating dreamlike transitions.
- The mask shape itself can be animated or moved in space, which adds another layer of rhythm to the projection.
Instead of focusing on abstract technical explanations, the tutorial showed how to apply these techniques in a small, realistic setup — and that inspired me to try the same with my own material. I didn’t need a huge concept; just isolating a piece of an image or a shape was enough to change the whole feel of the projection.
I started with simple test cases, animating only a section of an image while keeping the rest completely still. It created a calm, almost surreal atmosphere. As I got more comfortable with the tools, I began to experiment with overlapping masks, animating their shapes, and adjusting transparency. Instead of turning everything on at once, I could now reveal one layer at a time. This change also had a big effect on how I worked with different materials. I went back to some previous test setups and applied masks to see how they behaved differently. One of them was my photo wall with analog images. I had used it before, but now I could focus on just one part of a photo and bring only that fragment to life. To better understand and reflect on these moments, I documented the process more carefully this time. I recorded short video clips and took still photos from different angles. The most valuable insight from this experiment was that limiting the projection area made the overall visual stronger.
