It was Spider’s goal to deliver a unique experience for the audience, something that would “turn into memories and stay with them for years and take them on an unforgettable two-hour journey". Spider was however, challenged by a tight turnaround, with limited time for rehearsals and set-up at the stadium.
Spider teamed with Notch Artist and Programmer Brett Bolton on the part of the content for the show using a remote workflow to bridge the gap between Spider’s Warsaw and Bolton’s Las Vegas locations. “I’ve been using Notch for a couple of years already so I knew exactly what I wanted to achieve. The creative concept, shared ideas and references were discussed and then Brett translated these ideas into the Notch world and used his experience and creative input to build Notch blocks.
Once beta versions were ready Spider tested them using MA2 and disguise at their previz studio. "We then sent back comments and additional requests where relevant, this ensured we got everything working exactly how we needed it to". "It was a great experience to use this workflow and collaborate with Brett” Spider explains.
Except camera effects, Spider talks about how they also created some 3d environments controlled in real time to build stage looks for some songs. Some of the parameters were exported as MA2 device to get faster and more precise access while programming Notch blocks from desk level. "I choose disguise gx 2 for its Notch integration capabilities and the graphics power to get these 3d environments to render out in real time with different HD-SDi camera inputs. Simple and quick access gives you an option to adjust your look exactly the way you want” Spider adds.