Lewis: “As soon as we got the brief we began creating mood boards, and prototyping Notch looks for each song. Next, we storyboarded and moved into production; filming, animating, editing and drinking unhealthy amounts of coffee.”
“We flew to LA for rehearsals with our assemblage of Notch looks and began loading them into the disguise gx2, making sure to expose all key values. The seamless integration with disguise servers means that everything in rehearsals can be up and running almost straight away.”
Tom: "When mixing live cameras with content for a show like this, it's great to be able to integrate them visually. Notch’s speed and reactivity make this integration easy. We were able to unify both the real-time and rendered video with the lighting design to create a killer combination. For a creative, working in Notch is so much more rewarding."
Lewis: “We wanted to create the illusion of the camera feed being manipulated by water while keeping Billie visible. We used an Image plane for the Video In source, which allowed us more options when it came to deforming the video source. We started by generating a normal map from clips of water, which we processed into a Bump map that displaced the Image plane. Fractal noise and a Plasma node were used to drive the bump maps alpha channels. Finally, we stylised the look by adding film grading to create chromatic distortion and softened the image with a vignette. The Icing on the cake was the turbulence warp, node this gave us that extra finesse on achieving the distorted wave.”
“The show looks great, and we’ve had overwhelmingly positive responses from everyone who has seen it. The tour is running smoothly and organically evolving on the road, so everyone is happy.”
