“disguise has a proven track record on projects of this size and complexity,” adds Porter. “A large number of outputs were run from a single disguise using their VFC card technology. This allowed the whole tour to be consolidated on a single server plus another for back up.”
The production was designed as a timeline show, notes Fletcher, and disguise helped demonstrate that “a big show can be done easily on a timeline.”
The MultiEdit feature, with multiple operators performing network editing using their own timecode “was vital and unique to disguise,” says Porter. “The file versioning system was used extensively due to the high turnover of content.”
“Everyone quickly saw how powerful the system was for programming,” reports Luke Halls. “IMAG was a huge part of this show, and trying to cut different feeds for different sides of the Monolith was a complicated task. We used disguise to cut from the four HD-SDIs via timecode, taking some pressure off of the video director.”
Notch realtime generative effects made for especially interesting visuals on the Monolith from old-style film grain added by Fletcher to IMAG of Daddy Lessons to colorful, motion-affected particles created by Halls for Drunk in Love. “Notch’s tight integration with disguise enabled us to give the audience some different things to look at,” says Fletcher.
Fletcher gives “a shout out to the amazing support and responsiveness we received from disguise on the tour. We were always on the latest build of software.”