Ido points out that the production originally called for three projectors hanging on the mezzanine and balcony to cover three main surfaces, but due to the balcony shake the projectors were relocated, and a fourth was added. They hung from each box seat on the sides to cross shoot and cover the entire stage.
“The blending and converging over multiple surfaces was something disguise saved us with, plus I could redo the mapping for such an extreme change [as the projector relocation] in a four-hour session – it was unbelievable,” he reports. “That was possible thanks to the separation between the content side and the output side in disguise. I just needed to recalibrate the projectors in their new positions, and that got us 80 percent there, then we did some manual calibration, and we were good to go.”