Bronski explains, “with Stormzy, we had previously had two 4x4pros running his major Wireless Festival headline slot, but for the remaining festival dates featuring significantly fewer pixels – Sziget, Super Bock Festival, Warsaw Live, etc – we were able to use the solo, and load in and scale the same show day by day to utilise the house stage and IMAG LED video screens available. Staying in the disguise platform meant we could really make the canvases available to us do what we wanted to achieve.”
“We felt that the solo really hit a sweet spot in terms of what it offered us and, more importantly, some of our artists and the large majority of shows they had coming up,” says Bronski.
“With both shows, we ran multiple layers of content, in order to build our final look depending on the screen layouts at each festival. We also took SDI feeds of PGM and often some ISOs. Both shows also ran to timecode.”