These capabilities “allowed us to make much bigger visual statements with big surfaces that could change depending on the performance. We could fly in big scenic pieces during the awards that became part of the architecture of the show and a giant video surface for disguise to map. We had a new presence and new visual vocabulary for this show.”
The flexibility of disguise facilitated creative changes during rehearsals, notes screens programmer Matthew Cotter. “Content changes happen right up until the last minute as artists rehearse. With disguise the entire creative team was able to look at the lighting, media, scenic and performance elements for the first time on camera. Content versioning and content frame replacement allowed for quick replacement of media assets.”
Findley says that the disguise “UV mapping for our close down projection was a great way to allow us to design content that mapped correctly regardless of projector location. I also used content frame replacement for the first time this year and love the flexibility it provides.”
Cotter says he’s become “an avid user of the timeline environment” of disguise; he used the system’s QuickCal feature for fast projector calibration and “put the 14.2 beta release through its paces.”
The compact size of the disguise media servers really streamlined equipment requirements, Cotter adds. “disguise provided a lot of outputs in a tiny footprint. Our show this year had 16 feeds with redundant backups; in previous applications this would have meant 10 or more rack cases of gear. With disguise, it was reduced to two or three.”
Cotter also gives kudos to the disguise on-site support. “We had two disguise reps with us for all of rehearsal week helping with any questions or issues we had. It was great!"