It was during two consecutive concerts given at the Tony Garnier Halle (in Lyon) and, a few days later, at the Accor Hotel Arena (Paris, nicknamed “Bercy” since its creation) that we were able to experience this fabulous show.
Vincent Lérisson is a lighting designer known for his impressive and energetic lights, which are completely done live – no time-code or other lighting equivalent of “lip-syncing”. Vincent advocates a certain approach to live lighting interpretation, making it his trademark.
He’s just won the “Opus – German 2019 Stage Award” for Stage Production for his former work on the Justice “Woman Worldwide” tour.
This honorary award is given annually on the occasion of Prolight + Sound exhibition, in Frankfurt.
The jury and board of trustees of the award are made up of representatives of the The German Entertainment Technology Association (VPLT) and the European Association of Event Centers (EVVC), as well as experts, representatives of the trade press and Messe Frankfurt.
The Svobodas provide depth and warmth, the “stockings” create volume, and the light of the MagicPanels creates a show.
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Though he is not alone in being deeply attached to the living energy of light and its manual control (as is the case with other lighting designers, including myself), we can still emphasize that, in this field, he is among the best of his kind in our country.
If we add to this a taste for his unique lighting and a “touch” that we can recognize as his signature, it was important for us to highlight his latest work, which was so successful and remarkably well received by all those who were able to attend one of these concerts.
Besides, this fellow is used to it. He has already demonstrated his talents on a regular basis with some outstanding achievements. It is important to note that he is also the lighting designer for Justice. If you can read French (or just enjoy the photos and the diagrams, they speak by themselves), we invite you to read the article we had previously written about him on Louise Attaque’s tour.
The Bercy team including (standing, from left to the right): Olivier “L’Abeille” Alain, Jules Lajoie, Vincent Lérisson, Aurélien Visbeq, Marion Hervieux, Jean-Maxence Chagnon, Sébastien Sacco, Martial Blond, Christophe “Poussin” Beaup, Philippe L’Écu Ducouret, Jérémy Dufeux, Louis Perrin, Sébastien Richardon,
and kneeling: Antoine Tomasi, Christophe Janin, Cyril Vlaemink, Yvan “Vanvan” Petit Pierre, Alexandre “La Mangue” Tuloup.
As is usually the case, a project like this is the work of a team. Vincent also has his associates, who play an essential role. We can mention in particular Sébastien Sacco, who manages and integrates all the network systems… There is Rico, who manages the stage machinery conceived by the designer, and who must operate a bunch of mechanisms that move up and down throughout the show… There is also Jérémy who assists Vincent at the console and who replaces him on dates when he is not able to be there.
There is “Ecureuil” (“Squirrel”) and the MECAoctet team who developed the whole complex motorization process to give life to huge elevators that are illuminated and that constantly modify the appearance of the stage… There is also… in short, there are lots of people who brought this beautiful concept to life.
A global view of the scenographic infrastructure.
The lighting of the stage is largely based on two well-defined elements, which are unique and outstanding in the design of this show.
The first of these is a backdrop, entirely covered with Svoboda fixtures, while the second is a roof, which is in fact an impressive mechanism of motorized “pods” that can work at any height, reshaping the space and scale of the stage as the songs are performed.
Other more traditional elements complete the project, and we’re going to take a closer look at how.
The backdrop – the “svobs”
Vincent Lérisson in front of his wall of Svobodas.
So let’s talk about the backdrop. It is a wall of 60 Svoboda fixtures mounted on Spotlight motorized yokes.
The assembly was carried out by Dushow, who provided all the lighting equipment for the tour, following Vincent’s requests.
The backs of the fixtures are fitted with mirrors, taking up the distinctive and asymmetrical shape of the Svoboda. The mirrors are made of Dibond, a material on a panel designed to be used for cut-out elements in the creation of signs, scenery, etc… Each Svoboda with its moving yoke weighs 54 kg.
The control of the fixtures is carried out through four 16-bit pan and tilt parameters (i.e. two channels per function) and a fifth channel for the external dimmer using the conventional method. The units are positioned on a gigantic grid constructed specifically for this purpose and arranged into six rows of ten fixtures. This assembly consists of separate modules.
The formidable effectiveness of the Svobodas.
Each module consists of four fixtures, arrayed in squares, which are transported mounted and cabled in bins of three modules each. They are mounted level by level and taken down in the same way. When suspended, the whole thing – including the lights, cabling and grid – weighs about four tons. Side-Up created this hanging system, as well as a significant part of the set.
Personally, I found it absolutely magical. The warm and “traditional” look of this ensemble, worked into the middle of a decidedly modern structure – in stark contrast to this type of source – is incredibly impressive. Vincent specializes in this kind of union. It’s part of his signature and he has mastered it.
The roof, the pods and their “stockings”
The entire upper part of the stage is occupied by a huge system of trusses that supports a set of 21 moving elements, organized in three rows of seven. Each element has a Claypaky Mythos and three Ayrton MagicPanel-FX on its underside.
The “stockings” system fully extended.
This square, with its fixtures, can be lowered almost to the floor, leading to the deployment of the white fabric stretched over its four sides, inside which there are two Claypaky K20s that enable the whole thing to be completely colored.
The deployment occurs over a course of nearly ten meters and allows quite spectacular spatial effects: bringing the fixtures they support into play at angles that constantly vary and so that they can be used “low to the ground” above the musicians’ heads, but also providing a medium for video projection over the entire surface of the fabric and on three sides. In short, it is a very complex structure that we would never be able to fully describe and that is heavily exploited during this show.
The stocking system in its retracted position.
When the pods are retracted into the upper section, they give way to a broad and uncluttered scene, in which the beams of the Svobodas and Mythos radiate out over large spaces.
For the following song, when it descends almost to the limit, the roof “squashes” the artists, who are confined with a very low clearance, just a few dozen centimeters above their heads…
The effect is striking – as the motorization of large-scale scenic elements can often be – but here again, the concept is really pushed to a whole new level and each time offers a surprising visual effect and a powerful emotional vector throughout the show.
The floor
The upstage floor, with the Mythos and Chorus Lines at the foot of the array of Svobodas.
The floor seems almost empty because the kit that occupies the top and bottom of the set is so imposing, but it is of great importance, especially for its interaction with the two large moving structures.
It consists of Claypaky Mythos, Elation Chorus Line motorized LED battens, and a bunch of Martin Atomic LED strobes.
The upstage floor is occupied by six Mythos and seven Chorus Lines. These provide sometimes very intense and impressive backlighting, and the Mythos also allow beams to be directed to the MagicPanel-FXs located higher up, or even to the rear mirrors of the Svobodas.
Playing with the Chorus Lines.
We also find two lateral deployments, with three sets of two Chorus-Lines mounted vertically in pairs, plus three Mythos on each side.
All this floor kit allows for a multitude of combinations that are very well thought out.
The Mythos on the floor projecting gobos onto the deployed “stockings”.
The key lighting and cross lighting.
The lateral trusses with BMFLs.
A front truss equipped with ten BMFLs provides key lighting for the musicians. Between these fixtures, eight Chorus Lines are positioned to respond to those on the floor and to direct flat beam blades towards the stage or the audience.
A set of four BMFLs per side, positioned on lateral trusses, completes the lighting for the musicians.
The video, a strategic support with finesse.
During certain parts of the concert, often the more intimate ones, Vincent uses the resources of automation, light and video…
The video in this show is not predominant and is simply used to convey certain content related to the songs, or close-ups of the performers.
The images are projected on the canvas deployed by the descent of the pods, from six video projectors, two frontal units of 30,000 lumens each, and two units of 20,000 lumens each on both sides to project certain images for depth onto the sides of the “stockings”.
Alabama provided the video production and crew. The dressing of the corners of the “stockings” allows for a very nice depth and still reinforces the “three-dimensional” aspect.
…to create paintings, some of which are perfectly intertwined to create a scene specific to each song.
Interview with Vincent Lérisson
We met Vincent Lérisson to ask him some questions about his work on this tour.
SLU : How did you get involved in this project and what were the criteria?
The video projection plays with the mirrors on the backs of the Svobodas…
Vincent Lérisson : Calogero and his artistic director had been following different things I had done since the 2012 Justice tour, without my being aware of it, and they contacted me and proposed that I work on this project, because they wanted to change their universe: “We like your touch,” and so on. At the very beginning, there was actually a potential set designer, and they finally entrusted me with the scenography as well.
…and the Mythos with those of the MagicPanels.
As for directives, I didn’t really get any, except maybe from Thierry Suc, the producer, who wanted a rather colorful design and not too “black and white”. And this corresponded well with the artist’s requests for something lighter and more “pop”.
SLU : We can recognize your “touch”, with some key elements that you are fond of and that you use in different ways, especially with this movement of material in space.
Vincent Lérisson : I like it when things can come magically to life. It’s something I’ve been working on for a long time; something I’m always looking for. I like to modulate space with light. This involves the suspension of the lights, the animation using movements with props that move around the artists on stage.
I am lucky to have found people who know how to do it and who support me.
The NPU rack and network connections via Luminex Gigacore switches.
SLU : On this tour, there is a lot of material that has obviously been designed and built specifically for this show. In this case, who finances the creations and what is the proportion of specific purchases and rentals?
Vincent Lérisson : There are two parts. The production finances part of it, such as the frames, the pod hardware, everything that is purely decorative and various accessories that are entirely specific to the show.
And for all the mechanization and technology developed for this show, it is the vendors who have invested to develop the equipment.
Obviously there is a cost that is passed on in the “per date” billing for the service by the vendor, but it has been a very big investment for those companies and they have spent a lot of time developing very specific systems for this tour.
SLU : Regarding the video, what was your approach to integrating it into the show? Was it your idea to integrate cameras or a request from the artist?
Vincent Lérisson : The project was born with the idea of not using any video. The artist, though, still had the feeling that it would be a little frustrating for the audience far from the stage in the larger venues not to see the performers well. However, he wanted to avoid the traditional video screen placed on stage or suspended.
Since I had conceived this concept with the white “stockings” that unfurl, I thought that we could project onto this surface, even onto the three sides that are visible to the public. This required placing lateral projectors, but the idea of a three-dimensional effect was really cool.
Then, technically, we set up a whole mapping system that links the movements of the stockings to the video projection. There is an interface that ensures that the image never protrudes beyond the surface deployed by the movements of the “stockings”.
A mix of video and Mythos effects on the “stockings”.
The video is not done here as a key element of the show, but once we had the video projectors integrated into the kit, we tried to use them intelligently at different times to create certain textures or dressings. The content was developed internally with Seb Sacco.
As the basis of the presence of video in this show is the I-Mag, we have a total of four cameras, including one FoH camera that captures a good part of the show, and three remote ones distributed around the stage, controlled from a small control position near the stage. Everything goes through an Avolites AI server and the mix is done live from the lighting console. The cameramen only have to take care of the frame, zoom and focus.
SLU : Let’s talk about your famous “pods”.
Vincent Lérisson : In fact, it was an idea I had, but I didn’t really know how to make it happen. It was intended to take a prominent role in the show. We have a system that both supports the fixtures and allows for unlimited angle changes. This allows us to modify the volume of the scenery above the musicians. These elements are decorative and are illuminated from the inside, and lastly there is the “video” aspect, because the system serves as a projection screen. It is a multi-purpose set piece.
Very impressive backlighting and color effects.
I contacted a company that designs and creates this kind of thing for our industry – MECAoctet. They are very skilled in both automation and servo-control of all kinds, and they know how to adapt industrial equipment to create a lot of things that simply don’t exist for the entertainment industry. And this company is run by people who are familiar with our business and with touring. And they fulfilled and even exceeded our expectations, and even more.
Spectacular special effects through the use of the motorized stockings and their internal coloring by the K20s.
SLU : How is the system operated during the show? Do you send commands from your console?
Vincent Lérisson : No. The system is controlled by Rico, who is stationed at the side of the stage. It uses a dedicated software developed by MECAoctets that reacts to specific commands.
The operator is essential mainly for safety considerations. The pods are capable of descending all the way to the floor, but we have set up limits to avoid any incidents.
SLU : I saw that you really use a lot of ambiance lighting on the audience. Is it your intention to illuminate the public so intensely?
Vincent Lérisson : It was a request from the artist, who needs to see the audience. It may seem a little harsh on the crowd, but it’s really important to him. It lets him feel more comfortable. It’s part of the compromises I have to make. During the tour, we added trusses all over the venue above the audience with SGM P5 LED fixtures to illuminate the audience from a less blinding angle.
A balanced mix of video and lighting effects.
SLU : Is this rig intended for big venues only or do you plan to be able to take it to festivals?
Vincent Lérisson : For festivals, we take everything but the pods with us. There are two reasons for this. The first is that we’re going to be playing on certain dates that won’t be able to accommodate such a structure.
The second is wind… the system of pods represents such a wind catcher that it isn’t possible to use it on outdoor stages. They are veritable sails, arranged just a few centimeters apart…
We take the whole wall of Svobodas, all the floor kit and, for the rest, we adapt.
Vincent Lérisson and Jeremy Dufeux in action.
SLU : Tell us about your team.
Vincent Lérisson : I have a few main people who are competent in very specific fields and with whom I like to work.
Seb Sacco, for the network, Jeremy at the desk who replaces me on certain dates, Rico runs the motors, and Poussin does one of the followspots.
And I work with the Dushow team, which is made up of really great people. In particular, there is Aurélien, the lead followspot operator, who has worked with Calogéro for a long time, and who helped me a lot on many occasions during the creative process.
SLU : You’re not on all the shows because you’re touring with Justice at the same time, if I’m not mistaken?
Vincent Lérisson : Yes, exactly. This is the first time that I have not been at the helm of one of my creations every night. It’s sort of a new experience for me. It has both positive and negative aspects. The good part about it is that, when you go back on the tour after a while, you get a fresh look at the show.
But on the other hand, I am very fond of making the show evolve as the tour progresses, because very often the artist’s interpretation itself can change, and here, I can’t do that. When there are changes along the way, I need to see things to make my sequences evolve, so it’s quite difficult for me in that sense.
I like to modify, refine, test, and then discuss it with the team. I like to take everyone’s thoughts into account. Everyone brings something to the show, so I include them in that process.
SLU : I noticed that there is a lot of light that can sometimes seem a little aggressive for the musicians’ eyes on stage. Do you have any problems with them, as far as that is concerned?
The MagicPanels used for massive impact…
Vincent Lérisson : It is true that “my touch” is known for throwing some violent lights, so from the very beginning I warned them. I therefore started the discussion so that everyone would be comfortable and understand what I was going to do. There are black-outs, bright lights, radical angle changes, “punches” and so on. I ask them to be open-minded and to try to understand the artistic dimension as much as possible.
…with an intense and effective exploitation of their limitless tilt rotation.
Then, if there are things that raise purely technical problems, solutions are found.
It was a conversation I had first with Calogéro, in particular, so that he would be well aware that on stage it was likely to move, but also that a good part of the lighting effects that I use would also come from there. Everyone has been on board and, overall, things are going well.
The motorized pods by MECAoctet
We met with Philippe Ducouret, one of the managers of MECAoctet, who developed the entire motorized pod system. Interview.
SLU : Philippe, can you tell us about your company and its involvement in the Calogéro show?
Philippe Ducouret : The company is called MECAoctet and we are a young company founded about three years ago, based near Toulouse. There are four partners: two software developers and two electromechanical specialists. We work in the field of motor control systems, and develop our own hardware and software for our projects.
Aggressive and impressive backlighting.
We come from very different backgrounds: a PhD in mathematics, industrial engineers, but also show business people, like me, who have been working in this sector for many years.
We have known Vincent for some time now, having already worked with him on some projects.
SLU : And what exactly is this system you have designed?
Philippe Ducouret : The concept consists of 21 pods, each with a square base measuring 2.3 m x 2.3 m. They are motorized and independently controlled. The descent of each pod deploys a canvas “stocking” which forms a backlit surface that also serves for projection. Each element weighs 495 kg, for a total weight of 13 tons for all the pods.
SLU : Technically, what does it consist of in terms of hardware?
Philippe Ducouret : The mechanical design of each pod is based on two frames. One is fixed, attached to the grid that supports the entire assembly, and the other moves vertically powered by a system of motors that drive three chains.
This frame pulls the fabric with it, which unfolds, and the whole thing can be lowered nine meters and supports a set of four moving heads. The purely “metalwork” production of the frames was done by Side-up, a company based in Nimes, who also manufactured most of the baskets and trolleys used to transport the technical elements of this show.
When the Svobodas create a pop/rock/romantic atmosphere.
SLU : And for control?
Philippe Ducouret : We developed the software that controls each pod independently, but also with a degree of interpolation (which allows for example to create “waves” in the movements between pods).
The software development also required the implementation of a control interface for the show operator who runs the system live. Depending on the needs of the show, he can “draw” a shape in real time that can be used for the entire set, and also manage the movement of each unit. It can be a repositioning, as well as an evolution in motion.
The baskets for the Svobodas are brought in for the load-out to the trucks.
SLU : As for safety?
Philippe Ducouret : For this ensemble that evolves above the stage, we had to devise several levels of protection. This involves braking systems that block all movement in the event of a power failure, monitoring the data transmission network, an emergency stop button, of course, and more. Everything is organized so that there are no incidents.
SLU : And for the implementation?
Philippe Ducouret : It’s quite simple: there’s a square grid of 500 mm trussing provided by Transit (who provides the rigging on the tour), which is supported by twelve 2-ton hoists configured with pulleys, and which is mainly composed of three trusses – corresponding to our three depths – and on which we hang our 21 pods (3 x 7). When folded, these modules had to be 1.3 m high, including the fixtures, to be able to load ten of them into a semi-trailer.
SLU : You tackled the project from a technical point of view, but did you also look at it from an artistic point of view?
Philippe Ducouret : Absolutely! It is important to include emotionally relevant information. For example, strictly speaking, a simple movement of the stage curtain is a purely technical action, but one which you can “bring to life” by the way you manipulate it. Here it is a kind of the same thing. There was much thought given to movement, the speed of the movement, how the elements will evolve among themselves, and how to deliver a result that meets the artistic’s expectations.
The power and energy of the light from the motorized Svobodas. Absolutely beautiful.
We were once again captivated by the sumptuous lighting of Mr. Vincent Lérisson. Here again, he has created a splendid design that demonstrates a superb use of technology in a surprising and grandiose production, with a dazzlingly vivid light, entirely controlled “live” by the hand and the sensibilities of the lighting designer.
Nothing will ever replace it as long as “live” music at least purports to convey an emotion to the audience. Bravo!
Contact Vincent Lérisson : [email protected]
The teams.
Lighting equipment list.
Lighting plot – floor.
Lighting plot – trusses.
Lighting plot – pods.
Video control diagram.
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