Every projection mapping is unique and it will generate a totally new technical challenge: from a 60meters wide stage in Barcelona, with a 10K resolution, to a 360° wrapped 40 meters high tower in Baku, every time I used different approaches to be as much creative as I could, being careful to create something that was visually stunning but manageable in terms of rendering. When it comes down to projection mapping, the creative process is strictly connected to more tangible limits, like the space and the ambience light of the "stage". And we all know that working with limits is the best way to be highly creative. I modelled the "stage" in 3D and played with it in Cinema4D: a truncated rectangualar pyramid could morph into an infinite corridor. Escher, there's no need to say it, has been the main reference for my animations: playing with different camera focals, inverting the perspective of the pyramid and creating holes, I wanted to cheat the reality. The black and white worked perfectly to enhance the contrast of the projection itself. I personally realised all the sound effects and the music, trying to tie them up with the video. The virtual camera can move in these infinite rooms, shifting from stages of apparent peace to visual warfare. The Cave wants to be an emotional playground for the audience, a place where to test themselves just standing still, but always moving.