Kings of Leon doesn’t ever play to tracks: Every channel of sound is live instruments, therefore we cannot sync nor have the show running off a timeline. He believes that the disguise Sockpuppet feature “has been crucial for me and my style of programming and operating.” He worked with the disguise team to customize Sockpuppet and the grandMA2 to create a workflow similar to what he’s been used to in the past. “The disguise server allows me to do this fast and efficiently and has given us more power to control whatever is presented to us, even at the last minute,” he says.Ĭairns uses 35 video layers and four Notch layers to run the tour.
“Without the physical screens, this would have been much harder on any other server,” he reports.Ĭairns also likes the ability to add custom screens on site, which is useful for one-off corporate gigs where he has to customize the show to fit the corporate design. During a few days off in Dublin he re-delivered much of the content and pre-programmed the show using clips up to 11,000 pixels wide. While Cairns was preparing for Hyde Park, he worked with disguise to import the extra pieces of the Hyde Park configuration, provided by Video Design, into his show. This was crucial during our rehearsals and also on the road.” Having the show programmed into the grandMA2 meant that after adjusting global settings on my disguise feeds I could focus and tweak the grandMA2 and we would be able to turn around new and different shows very quickly.”Ĭairns explains that the disguise Visualizer has meant “countless times I could work on the show and make adjustments before the LEDs and cameras were finished loading in. “disguise has allowed me to very quickly adjust my outputs. We’ve been bouncing between festivals, arenas, stadiums and sheds and having to work with not only our touring screens, but local screens, shapes and sizes,” he notes.
“The main advantage for using disguise for me is the ability to work offline. “Combining live cameras with content we use the disguise server to drive all the screens,” which include Roe 7mm LEDs for stage left and right IMAG chevrons, a club chevron, an upstage wall masked into a V shape by disguise, and a W-shaped riser on the riser facia, says Cairns. A dozen HD cameras run through a Grass Valley Karrera switcher four auxiliary lines from the Karrera feed the disguise media server. We set up a week of training during which my eyes were really opened to the power and sophistication of the disguise solution.”Ĭairns has main and understudy 4x4pros on the tour, each with three VFC cards genlocked to Trisync from the camera system. The thing that appealed to me was 3D real world visualiser and the potential to block out design ideas in prepro before stepping foot on site. I decided to make the jump to using disguise for the start of this tour after years on other media servers with Kings of Leon. He then followed this up with custom in-house disguise training from Rodd McLaughlin at the disguise New York office. Cairns was first introduced to the disguise solution by Stefaan ‘Smasher’ Desmedt at V Festival in 2016.
This marks his first outing with disguise systems. Visual Director Anthony Cairns built the show, programmed the disguise media servers and operates them on the tour. Their seventh studio album reached #1 on the Billboard 200 Albums chart. The multi Grammy Award-winners’ tour supports their 2016 LP, WALLS (We Are Like Love Songs). Accompanying the band across the globe are two 4x4pro media servers provided by PRG two more, provided by Video Design, were added to drive the additional equipment used in the Hyde Park show.
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