By associating with the biggest French-language album seller of the year for his sold-out tour, Paul Chappet, the lighting designer, left his favourite stomping ground, the clubs, to accompany the bouncy Belgian on a major world tour with customised lighting design.
A nice presence of LEDs on this scene, between the Ayrton MagicPanels assembled as matrices suspended in the air and changing, quite magically with the help of motors, and the Clay Paky Aleda B-Eye on the floor and their crown effects and diode lines, all in a superb white!
And as both the Pauls (a beautiful name also borne by Stromae) have known each other since the artist’s first tour, the lighting of which was done by the young lighting designer, they share the Paris Zenith stage with full confidence and complicity, one filling it with his incredible presence and the other dressing it up with beautiful floodlights in their element, appropriate for the show, completely new and electric.
It is a few hours before the dimming of the lights, and we met Paul Chappet and his team backstage in a very warm and committed atmosphere. It was the opportunity to learn a little more about the lighting of the “Racine Carrée” album and a remarkable artist if there ever was one.
The Lighting team with left to right, Nicolas Meyer, Paul Chappet, Boussad Brahimi, Michel Malinge and Clément Laurent.
From the Trianon to the Zenith, a continuous adventure.
By already having designed the lighting for the previous tour that would clearly showcase Stromae to the general public and having accompanied him earlier on stages of clubs all over the country, Paul Chappet has developed a close relationship with the artist, his teams and his production.
It was therefore only natural for him to put his mark on the lighting design of a new club tour launched last year, which took the duo to the Trianon, among others, and is now performing a more important part in the Zenith, at French festivals, as also at European ones as well as in the United States.
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Similarly, it was unimaginable for the lighting designer not to use the lighting provider who has been his constant companion since his beginnings in clubs, Régie Lumière, to fit-out the largest stages.
Trust, loyalty and work, these are values common to the designer, to his artist and his technical service providers, which result in a creation designed with a free hand.
Vidéo : The MagicPanel ceiling on mirror side and the Mac Viper Profile gobos provide a very well-designed scene.
SLU : Paul, have you had carte blanche to design the lighting for this show?
Paul Chappet : I would rather speak of constant collaboration. Stromae is an artist who knows what he wants, but with whom I can communicate very easily and intuitively because we know each other very well by now. I have in fact accompanied him on two tours, which helps in understanding each other! Therefore, I would not use the word “carte blanche”, but rather the freedom of choice and suggestions.
SLU : Therefore the “common” idea was based on what?
Paul Chappet : The key feature was a stage uncluttered and free of any obstacles or floodlights. We have almost no trusses and very little floor space. We wanted a large stage with minimum items above, on the side and outside. And thanks to Stromae it is far from being empty!
We were opposed to a “big production”, this is not at all pejorative, but this was not the intention here, we did not want to exaggerate.
Another beautiful scene that shows to what extent the Zenith stage has been enlarged by an uncluttered floor, side graphics with totems fitted with LED video elements matching those of the square roots, and a ceiling made of MagicPanel matrices, second star of the show after the Belgian maestro.
Vidéo : The Ayrton MagicPanel moving heads used in mapping, upstage invisible black video screen to receive the texture, and square roots made up of integrated LED elements that play out the light decorations: Paul Chappet knows how to capitalise on the qualities of each of the sources selected in his kit.
SLU : However there is a large video screen upstage.
Paul Chappet : Yes, and we have chosen an invisible black screen just to be in sync with this desired simplicity. We also have risers on the stage and totems on the sides with another key item of the concept: everything on stage can be controlled. Everything can and will move during the show, in accordance with the scenes, the square roots and decorative elements, as well. Thus, depending on what we want, we can have an almost empty and uncluttered stage with the curtain in front of the stage or even in front of the screen, or on the contrary the presence of the MagicPanel pratos and matrices (also controlled).
The elegance of the Invisible Black Xenon LED video screen with 6-mm pitch and 16.9 x 5.8 m dimensions used upstage, is indisputable. Especially with the right media.
On the Zenith stage, Stromae and his band can also put themselves in the shadows in front of a screen that above all becomes a light source.
SLU : This was also Stromae’s choice?
Paul Chappet : He likes to challenge himself, such as, for example, starting the show with an empty stage, or dressing up all the technicians and musicians in costumes. With risers that move, and silhouettes, we searched in many directions. To get a sober but rich scenography, we are not separating important elements, like the video, the tulles for rear projection, the controls and the beautiful floodlights.
Paul’s comfortable “little kit”.
And in addition to the 64 Ayrton MagicPanels organised in matrices of 16 elements, it is not at all surprising to come across beautiful innovations in the kit.
Having toured the clubs with a small but already effective list including the Ayrton MagicPanel, Martin Mac Aura, Clay Paky Alpha Wash and Spot, among others, Paul Chappet’s lighting team is fussing over a kit, a small one at the Zenith (… in the words of the designer!), containing some 160 floodlights with LEDs or lamps, each one selected for its specific qualities.
Rear truss, alternating Sharpy/Mac Viper action for the beam and abundance of batons and the 4 moving matrices of MagicPanel 602
The backstage is entrusted to Mac Viper Profile Martin always accompanied by Sharpy and B-Eye Wash Clay Paky.
A stage front well-guarded by the Sharpy and Clay Paky Aleda B-Eye Italian army.
Front truss all in Clay Paky Alpha Profile 1500.
SLU : Tell us about your choice of floodlights, there are a lot of the latest LEDs on the stage such as the Ayrton MagicPanel or Clay Paky B-Eye K20?
Paul Chappet : Although the stage is as uncluttered as possible, we nevertheless have a front truss and rear trusses, and washes on the floor in the front and rear as well.
The Ayrton MagicPanels are organised in matrices of 16 floodlights, we have 4 of them, controllable, which form an integral part of the show.
They are moreover covered with a mirror film on their rear side to give the reflection effects of beams.
MagicPanels were fitted with a mirror film on their inner side, in order to provide multiple options.
Paul Chappet wanted to fit the Ayrton MagicPanel moving heads with a mirror face to reflect, among other things, the Sharpy light batons. A very good choice for this scene with the perfect drama.
I’ve also chosen them for their square design, which went well with the album’s name and visual and the atmosphere of the concert, based around square roots (Roots also present as part of the stage setting. Also lit up with the integrated LED panels, they reflect the media being played on the video screen and totems).
Yes, the Ayrton MagicPanels combined in matrices of 16 moving heads are primarily large LED washes, here as a powerful shower of pure colour.
I especially wanted a big wash above, while making use of the mapping and the video in response to the one broadcast on the invisible giant screen.
Since I saw the video on the Ayrton website, I couldn’t wait to try them!And I am very happy!
For example, when they pick up the media of the video screen or when they dish out powerful and mobile washes. On the other hand, we do not use infinite rotation that much, which can quickly turn into a “beacon”.
A beautiful colourful atmosphere where the Mac Viper Profile beams rigged to the upstage trusses show off the pretty Clay Paky B-Eye LED washes on the floor, with MagicPanel mapping, and a video screen always sober in monochrome.
SLU : Will one also find B-Eyes in this design that gives pride of place to the Clay Paky moving heads?
Paul Chappet : Yes I wanted to test them because I think that the Aledas are cool floodlights with an interesting design. The colours are very nice, the graphic effect and the rotary crown are great and as a bonus they do everything that I expect from a LED wash.
I also have the Clay Paky Alpha Profile 1500 of which I am very satisfied and the Martin Mac 2000 washes on the side, which are really essential in this venue and for this use. Sharpy Beams are an obvious sure thing for getting sticks just like the Martin Mac Viper Profile is for beams and gobos.
Each machine is there for its qualities. We even have two DLCs for highly electro random effects and further the LEDs in mobile settings and totems.
Vidéo : You have clearly reproduced a wash shower? Warm white Ayrton Magic Panel in the air and deep blue Clay Paky B-Eye on the floor.
Video as the dressing.
SLU : Exactly how did you imagine the two luminous square roots that move about the stage?
Side totems covered with LED panels support the brand with MAC 2000 Wash XB Martin.
Paul Chappet : It was my friends from All Access Design who fitted and developed the totems and the square roots with LED elements with a 16-mm pitch. The idea was to pick up videos from the upstage screen on these elements and on the side.
An interesting anecdote with square roots is that the artist and the team wanted an impression of relief, that is a 3D design and I explained that to them with light, by lighting up the two parts of the root with different colours, an optical illusion would produce that effect of depth.
However, it took me a month to convince Stromae who did not believe me!
A fine example of Paul’s work between the use of washes and colours, and the actual contribution of a fully moving rig enabling positions of the decor (mobile video square roots), and floodlights (the MagicPanel matrices) that transform the Paris Zenith stage at every new scene.
SLU : How did you integrate the video into your light design?
Paul Chappet (left) lighting designer and Vincent Leroy, head of Catalyst who has the difficult task of ensuring that the time-coded media, mapping or videos from media servers co-existed.
Paul Chappet : I think that we should not fear the video and all those sources. I do not succumb to this feeling. I measure, I constantly monitor the levels, especially from the upstage screen, so that the video playbacks from the totems and roots go hand-in-hand and that light is present on stage.
All these LED elements are also floodlights after all! It is primarily about dressing, the important thing is not to attract all the attention but rather to support the artistic intention on stage. For this, the 6-mm pitch of the invisible upstage screen is ideal.
SLU : The media that are broadcast on this screen are very real, how were they selected?
Paul Chappet : They were mostly all ready and we added some textures and flat tints.
We have three Catalysts to manage the media and sources, one for pure video, one for mapping (on MagicPanel in particular) and one as a backup. However, good part of the video is managed in time code with kick-off, the rest is controlled via the console.
Video : Stromae did not invite all his dancers in person on stage. No problem, the LED video display and time-coded media is here to fix it !
SLU : You’re behind the console?
Paul Chappet : Yes, I definitely cannot do without live reproduction of the show and rhythm. This year we have two grandMa2 MaLighting in the system, and we have encoded the show with Cedric, whom I did not know, and we immediately got along well.
We share the scenes but without preference of machines or anything else. We have a large network of data with many DMX universes (about thirty) and the optical fibre between the production and the blocks. And it is precisely when he is behind the console that the “comfort” that the young designer can feel on this tour, is perceived.
A pink monochrome where focus is on the LEDs with beautiful Ayrton MagicPanel washes in the atmosphere and the Clay Paky Aleda B-Eye on the floor, coupled with LED elements of the square roots that become a little more than just light decorations.
A word choice entirely relative for this first really big design that he is again developing with Stromae’s lights, or for his lighting team that mounts and dismantles a not-so-modest kit every night for 3 hours, since it includes a wide variety of sources, floodlights as well as video and decorative features.
No, when Paul Chappet speaks of “comfort”, it evokes a design with which he is comfortable, the floodlights that he wanted and selected freely thanks to a relationship of trust with Auguri, the production company, Stromae, the artist, and also Régie lumière, service provider and committed partner on the journey, who did not hesitate to buy the pretty sources of the designer’s dreams.
The visual result is obviously enjoyable!
Firstly, thanks to Stromae, an incredible artist with a rarely seen stage presence, and then a Zenith stage that became disproportionately large with a stage devoid of any technical obstacles and constantly in motion.
Vidéo : Perspective techniques with the superposition of a kabuki in front of the upstage giant screen and a rear projection. Silhouettes are also one of the multiple tricks used by Paul Chappet for this rich yet understated lighting design using a stretched canvas in front of the stage.
Not a single minute is boring, everything moves, the risers light up, appear and disappear, the tulles fall or rise, playing with silhouettes with a video screen fully used as a light source, the lively Belgian running everywhere, his technicians even more so and the MagicPanels rise above the stage majestically!
It must be said that these 4 matrices with 16 moving heads do not go unnoticed, especially since they are motorised and take on highly surprising and frankly beautiful positions, such as during a scene in which they can be found at 45 degrees above the square roots that are also suspended, while sweeping the room with heavy batons of blue light. Or another one where they illuminate themselves this time forming fixed luminous masses: light ceiling never seen before.
A scene that fully justifies the use of risers and motors to literally turn the Zenith Paris stage inside out, it is graphically very effective and really clever.
Sides with mirrors are a nice bonus, with which Paul does not go overboard As earlier with other floodlights full of resources such as the highly surprising Clay Paky Aleda B-Eye K20, which really produce diverse effects and beautiful colour galore. Present in the most of the scenes, they truly exist.
It is graphic, but always appropriate, sometimes (very) electro, we are also there to dance! And finally, contrary to expectations, scenes without any video, in purified light, will be those that thrilled us the least, despite some good ideas, such as the use of the Mac Viper gobos, less original, but still as powerful and remarkable.
Vidéo : Colours and beams unleashed for the first Stromae number “Alors on danse”.
We feel that our two Pauls are highly connected, and a sense of artistic and human unity emerges from the spectacle wholly led by an artist who is the troop leader, for an audience that is fully captivated in a packed house, before a stage swept by powerful MagicPanel and Clay Paky Sharpy Beam, which are definitely not ready to go out of fashion … The lighting designer also shares this view and moreover can hardly wait to try their big brother Super Sharpy!
For Stromae’s return to Paris, why not this time on the Bercy stage…. To be continued!
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