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Workflow, software platforms, and façade-mapping methodology.
Every phase of our pipeline begins from one primary input: the actual geometry of the Music Hall's façade. Rather than design visuals first and conform them to the map, we would model the building first, light its surfaces in 3D, and coax forth our thematic elements based on what the architecture itself invites creatively.
A map of the façade is the project's source of truth. Every render and composite is keyed to that plate.
Multimple render engines are used in parallel: Notch and TouchDesigner for simulations and audio-reactive look-dev; Unreal for cinematic 3D and architectural matte work. Outputs converge in compositing.
The piece is cut to the CSO recording of Copland's Fanfare from day one. Every transition, every swell, every held beat is articulated before being committed to a final render.
Generative content, particle systems, audio-driven look-dev. Notch carries the live, breathing quality of the piece. Outputs are pre-rendered for the composite, captured as lossless high frame-rate renders.
For the prairie horizon, the steel construction climb, and the tunnel-perspective inversion. Lumen-rendered architectural matte paintings, Niagara particle systems for sparks and pixel-streams.
Used selectively as a supplemental real-time render layer alongside Notch when a scene calls for it. Outputs feed back into the compositing pipeline as additional plates.
After Effects compositing, layer integration of Notch and Unreal passes, beauty work, light-spill control, and final color and grade. Premiere for assembly, timeline, and master output.