Roy’s team also “used a combination of direct and parallel mapping so certain content could stick to the moving screens as they moved through a larger, parallel-mapped environment. We created a futuristic neon club environment for the song ‘S.O.L.,’ so the side screens had colourful shelves of liquor that slid through the club environment as the screens moved across the stage.”
He says disguise offered a number of advantages to the production. “Being able to unify automation data and previs it in the visualiser, along with the different blend modes and the ability to mix mappings were invaluable in allowing us to create unique experiences through the screen content,” notes Roy.
During pre-pro, the screen automation was programmed and recorded into disguise so Roy’s team was able to play back and test screen content in the visualiser without having to wait until load-in to see how it it would look, he adds.