The design relied on the ability to project a single image across 18 different scenic surfaces in 9 different z depths. In addition, the majority of these scenic surfaces were automated in the x y or z plane. disguise provided the ability to maintain an accurate model of the stage with feedback from scenic automation and place content precisely in relation to the physical set.
Understanding the disposition of the scenery was even more critical as the primary output was a full stage shot, comprised of an array of 4 10.6k projectors. Not only did these 4 projectors need to be converged in each of the 9 different z depths, the touring schedule allows less than 45 minutes for projector focus start to finish.
With disguise, it became a trivial problem to map content to totally arbitrary combinations of stage surfaces, allowing environments to co-exist or overtake each other in an organic-feeling manner, frequently eliminating the need for cross-dissolving or fades to black between scenes.