The production has seven 4×4pros on hand. One acts as the master controlling the video content, four are output machines, and two are understudies backing up the master and output machines. A complement of Barco 30K projectors are deployed: five double-stacked projectors for the proscenium arch, six double-stacked for the house curtain and fringe curtain, and three double-stacked for the gown. Content is displayed at 5400 × 1850 resolution. VER is the equipment vendor.
Loren Barton, owner of Bend, Oregon's Lumentech Inc. and the show’s media programmer, agrees with Cotter on the value of using disguise software to virtually manipulate the set pieces. “The show was built in disguise so we could visualize the media and in MA 3D so we could visualize the lighting,” he explains. “When the dress rose off the stage and the skirt stretched to form a projection surface, I could drive the dress in virtual space in MA 3D and disguise 3D together. I could see how the set pieces integrated with lighting and video.”
Barton says that disguise was “clearly the right choice” for the show. “It allowed us to be flexible and to render several planes of content at once. Nick produced all the content on one template while disguise handled masking and mapping. The content for the fringe curtain would go only to the fringe curtain, the content for the proscenium would go only to the proscenium. He didn’t have to create different media renders, and that was a big time saver." “I handed over just one file; I didn’t have to cut up elements to match different outputs, which is typical of other media servers,” echoes Militello. “The ability to deliver one file was huge.”
Barton says the disguise SockPuppet feature “made it easy to integrate lighting control” driven by a grandMA2 full-size console. The disguise Direct Timecode Control of media enabled him “to update parameters from DXM directly, not through the timeline.” The Media Management feature, released in the award-winningou r12 software release, meant Barton could “update media in pieces, instead of uploading whole clips, and track the history of those updates.”
The disguise “lent a helping hand throughout,” notes Militello. “They provided really good support although we didn’t need a ton of help.”
The second round of Lopez’s residency features revamped looks and content. “We added some new songs and swapped out some content, so we have been able to trim the equipment complement on this run,” Militello reports. “We’ve worked closely with creative directors Napoleon and Tabitha D’umo to bring the vision of the show to life. It’s been an amazing experience.”