Istomin finds disguise particularly valuable for previsualisation. “The ability to upload a 3D model of the object – in this case, the BMW 7 Series vehicle – then check the content directly on the 3D model is unique,” he says. “After that, the projector can locate the video correctly when it is placed on the real object. This feature is particularly useful at the time of content creation when we can verify content and experiment without the real model object. Then it’s useful again when we work directly at the event. After mounting the projectors at the show, the disguise set up for the car took only 15 minutes.”
With the disguise previs feature, Istomin could also “assess how the project looked from all sides and take photos for the client of how the 3D mapping will look at the event.”
He says the technical support the company receives from disguise is “beyond praise. Every month there are updates, and if we find an error updates and corrections come the next day. But overall the system works perfectly.”
Dream Laser remains convinced of the disguise qualities, Istomin says. “We regularly visit trade shows and study competitive products. But no other modern media server can build a panoramic installation as easily, quickly or simply as disguise.”
At Dream Laser Ksusha Chekhovskaya was the art director and wrote the screenplay, Anton Kolodyazhnyy was design supervisor, Konstantin Shun motion designer, Maxim Khrychev sound designer and Andrey Danyaev, Boris Tsibisov and Alexandr Romanov the technical crew.