How FRAY Studio used Disguise to reimagine Live Camera for Olivia Dean’s sold-out The Art of Loving Tour

As Olivia Dean’s sold-out The Art of Loving tour moved into major arenas across the UK and Europe, the production team faced a creative challenge: how could they bring audiences closer to Olivia and her band while preserving the soft, organic aesthetic of the stage?

FRAY Studio, working with production and lighting designers 1826 Studio, developed a video system powered by three Disguise GX 3 media servers. Instead of conventional IMAG screens, cinematic live camera feeds were projected onto large curved drapes behind and around the band, turning the set itself into a live visual canvas.

The challenge

“The aim was to integrate cameras seamlessly with the rest of the set, create beautiful grading, and ensure each audience member could experience the energy on stage, no matter their seat,” says Kira O’Brien, Video Designer at FRAY Studio. 

As the drapes were the production’s only projection surfaces, they needed to perform the practical role of IMAG while remaining part of the scenic design.

Their concave and convex curves, combined with 75% fabric fullness, also created significant projection challenges. Six projectors covered the upstage drape, while two Front of House projectors covered the downstage curtain. As projection distances changed between venues, outputs had to be realigned and warped for every show.

The live imagery also needed to reflect the cinematic identity of each song. FRAY Studio developed custom LUTs and used real-time colour correction in Notch to ensure camera feeds remained consistent with the lighting and wider visual production.

With only 25 days from the beginning of the creative process to opening night, the team needed a workflow that supported fast creative development while remaining adaptable throughout the tour.

The solution

FRAY Studio used Disguise to bring live-camera processing, real-time content and projection control together within one system.

Three GX 3 media servers powered eight Barco projectors and four Notch Blocks. Using Disguise Designer’s mapping, Dynamic Blending and Output Feed Warping tools, the team could align imagery across the curved fabric, correct distortion and manage the blend zone on the upstage drape.

Disguise Operator Jack Nicklin-Jewell helped FRAY Studio develop a browser-based plugin that allowed feed warps to be adjusted remotely, enabling operators to make changes while standing closer to the projection surface.

Camera signals, including Program, ME2 and two AUX feeds, were routed through Disguise and processed in Notch, where custom LUTs, colour correction and real-time effects could be applied.

One standout use of the system came during moments when Olivia sang in harmony with her backing vocalists. FRAY Studio combined separate camera feeds into choreographed compositions across the drapes, with individual grading applied to each performer before the images were brought together.

This allowed audiences throughout the arena to experience the intimacy and connection between the performers.

The results

With Disguise, FRAY Studio and 1826 Studio transformed the live camera from a practical arena requirement into an integral part of the show’s visual language.

“The most rewarding part of the project was working collaboratively across all departments to create a visually beautiful show,” says O’Brien. “By choreographing moments with the camera director and lighting designer, we ensured the emotion and energy on stage was captured and reflected in the projection in real time.”

The production supported a sold-out run including six shows at London’s O2, two at Manchester’s Co-op Live and two at Glasgow’s OVO Hydro, alongside dates across Europe.

By combining live camera processing, real-time Notch grading and projection mapping within Disguise, the team brought intimate moments on stage to every seat in the arena while maintaining the soft, cinematic aesthetic of The Art of Loving.