Laufey’s A Matter of Time Tour delivers a theatrical live performance with Disguise

For Laufey’s A Matter of Time Tour, video design studio FRAY Studio was tasked with creating a theatrical visual experience that could scale across arenas and festivals in the US, Europe and Asia.

Working closely with Creative Director Junia Lin and Stufish Studio, the team developed a cohesive visual language that balanced beauty with subtle darkness. The show was structured into four distinct acts, allowing for a continuous narrative rather than isolated song moments.

The stage design, featuring arches, staircases and a central swing, meant the LED wall could not function as a standalone canvas. Instead, content was designed as an extension of the set, creating a unified visual environment.

Using Disguise, the team composited live camera feeds directly into the visuals using a combination of Notch and Disguise workflows, while projection mapping extended content beyond the LED wall onto the physical set.

The Challenge

Laufey’s A Matter of Time Tour presented both creative and technical challenges.

From a design perspective, the physical set obscured large portions of the LED wall, requiring a non-traditional content approach where video acted as scenography rather than background. The team also needed to maintain a consistent visual narrative across a flexible touring format, while accommodating evolving creative decisions.

On the technical side, integrating IMAG into the content was a key consideration. Early in the process, it was unclear whether dedicated IMAG screens would be used, so the system needed to support embedding live camera feeds directly into the visual content.

In addition, the show required the playback of large volumes of high-resolution media (over 2.5TB) demanding a stable and high-performance solution.

The solution

Disguise was used as the central platform to unify all visual elements across the show.

The team integrated live camera feeds into the content using Notch and Designer, applying grading and mattes to allow IMAG to sit naturally within the visuals. This enabled a seamless blend between live performance and designed content.

Projection mapping, also driven through Disguise, extended visuals from the LED wall onto the physical set, reinforcing the connection between digital and physical elements.

Designer’s patching workflows were critical during production. With multiple heavy renders undergoing frequent minor updates, the team was able to replace small frame ranges instead of re-rendering full sequences, significantly improving efficiency.

“We used patches particularly often on this show, as we had a few very heavy renders which kept changing very slightly,” says Hanna Schrage, Senior Video Designer at FRAY. “It was fantastic to be able to just render and replace 100 frames versus all 2000.”

The system’s reliability ensured consistent performance across all tour locations, supported by Disguise programmers Ben Roy (US) and Arthur Skinner (Europe/Asia), alongside Solotech as the technical supplier for both the US and European leg of the tour. 

The result

The final show delivered a cohesive and theatrical live experience, successfully integrating content, IMAG and set into a single visual language.

The structured four-act format allowed for a clear narrative flow, supporting both high-energy and intimate moments throughout the performance.

Key visual highlights included Carousel, where content and lighting create the illusion of the stage rotating around the artist; Forget Me Not, which uses subtle projection effects to complement the lighting design; and the finale Sabotage, featuring hand-drawn landscapes and dramatic visual effects.

The tour has achieved strong commercial success, selling out across the US and Europe, including a fully sold-out show at The O2 Arena.

“I believe we hit the brief well,” says Schrage. “The show flowed beautifully between high energy and gentle moments, and it provided a strong visual world for Laufey’s music.”