In pre production, disguise was used to “take a look at the content’s relationship to the screen surround and how things felt in different positions in the room,” says Eric. “Having a model to look at for pre production was really key, as well as having the TAIT Navigator automation integration via UDP. With the moving, bi-part wall and the 8 matrix lifts, we needed to be able to parallel map the content on both of these surfaces. The 3D workflow that disguise provides is the only choice for these features in the set.” He gives kudos to the new system hardware.
We push the system pretty hard with such a large texture size: 8 outputs and 7K worth of texture would bring most any media server to its knees. But the disguise gx 2 stands strong for almost everything we ask it to do."
Eric points out that the support from disguise was also integral to the technical setup of the show, “as we have continued to use disguise on these large shows, the need for some on-site support has grown. The disguise New York office sent on-site Support Specialist Chet Miller to help Drew and I get everything running smoothly. This was invaluable as Chet was able to help tweak the automation integration and dial in overall system performance - especially as we were using some of the first gx 2s in the US market. We also had some direct lines of communication back to the London office, which helped to document anything that arose, keeping our rehearsals and the London office working efficiently across two different time zones”.