The disguise previs capabilities played an important part in the design process. “The set design features big panels of shutters that move, track and turn,” says Maloney. “With disguise previs function we were able to show the director and set designer David Rockwell the scenic moves and how they worked with projections. It used to be that you couldn’t see that type of thing in context until you got to the theater.”
The disguise systems feed four Panasonic 21K projectors tracking three sets of shutter-style sliders moving and turning through the downstage, midstage and rearstage areas. Another five Panasonic 21Ks handle a rear projection screen. “Sound Associates provided the external coders for the tracking, and disguise wrote a custom interface for us,” Maloney reports.
He found the disguise QuickCal projector calibration feature extremely useful especially as the musical charts up more performances. “It’s great for the maintenance of the show,” says Maloney. “It makes touch ups much easier.”
Maloney also cites the disguise flexibility as a key reason he likes using the system. “We went from four rear projectors at try outs in Chicago to five in New York, and the content didn’t have to be reworked.”
Maloney has established a “really close relationship” with disguise, which often provides on-site tech support for his shows. “They’ve been just great,” he says.