“Cour Design tasked us with coming up with visuals based on a nighttime journey through Billie’s dreams and nightmares,” says Tom Brightman, Creative Director of Comix, which handled the content design. “We set to work developing individual treatments for the songs. The show would begin by introducing a nightmarish landscape then each song would be represented by its own dream world from the inner demons of ‘Bury a Friend’ to the doppelganger-infested forest of ‘Copycat.’ We were excited, we knew Billie’s reputation for pushing creative boundaries combined with this interesting concept and could tell this was going to be a great experience.”
According to Lewis Benfield, Video Director, “disguise has a lot of advantages when handling a show like this. Its versatility is perfect for a camera-heavy, time-coded show from its pinpoint accuracy when playing back large-format content with timecode, to Notch integration and the smooth capture and playback of cameras, which were all paramount to this show. We couldn’t afford any lag anywhere in the system and it was all going to be time coded so it made perfect sense to use disguise as our playback system.”
With a very short turnaround time “combining content creation tactics alongside disguise’s layering of sequences and ability to edit on the go, and work in the timeline like editing software does resulted in a very productive workflow both for rehearsals and the ongoing show,” Lewis reports.