“The show used three different frame sizes for the tour – small, medium and large – but we did not have enough time to see all of the different sizes in rehearsal. We relied heavily on the 3D previs in disguise to confirm how content would look on each of those different sizes. When we loaded into the first venue using the smaller size, the content was mapped perfectly and required minimal changes during load in.” The new EVO workflow was also used in the early previz stages, merging the disguise and MA3D environments, and creating additional opportunities to integrate lighting and video departments. “For Bad at Love, the EVO overlay gave us the ability to see the Video and Lighting elements merged together in a single screen, and Arlo was able to program the stage lighting to match the lighting within the on screen content”, says Danny.
With the disguise Designer workflow, All Of It Now was able to program all three show files in parallel using the track export and import functionality to push specific programming changes to each of the show files. That saved a lot of time, according to Danny, because the track did not have to be reprogrammed three times.