The gx 2 servers come with a integrated Notch playback license, meaning that FRAY did not have to contend with dongles or additional costs to concern the show’s producers.
“The gx 2 has been built purposefully to allow for complex, real-time graphics,” says Young. “The component parts inside the gx 2 allow for increased head room for graphics processing. This meant that we could develop the Notch blocks much further than we previously thought we could. It allowed us to fill the block with extra details, grading and a level of finish that we previously wouldn’t have been able to achieve on a conventional machine. By using the gx 2 we didn’t have to limit the art of the show.”
FRAY worked closely with video programmer Zach Peletz and video system designer Jonathon Lyle both of whom were instrumental in integrating the Notch and disguise platforms into the Frozen video workflow.
“The importance of Jonathon and Zach’s input in the video aspect was huge, real-time work flow adds an additional layer of complexity for system designers and programmers,” says Ross. “Jonathon designed design a system to allow this and Zach became part programmer part animator making Notch do all we wanted. We couldn’t have done it without a brilliant team.”
Weaving throughout the show, across the set’s 12m x 9m LED backdrop, is one of the production’s most jaw-dropping effects - a constantly shifting, immensely intricate and entirely live rendering of the Aurora Borealis, or Northern Lights. “Night after night, the Aurora is unique and never repeats itself as it’s not on a loop,” he says. “It’s live generated using Notch, meaning no two audiences will ever experience exactly the same show.”