elements , performances , and virtual set pieces are seamlessly incorporated in the space – a roughly 900-seat venue in Montreal called TOHU that ’ s typically used for circus performances .
“ We scouted a few venues ,” Larivée says , explaining that several types of space were considered , including arenas . Although there was some discussion of still holding the show in Ottawa , he adds : “ That involved more traveling , and all the production was in Montreal .” Additionally , TOHU , being an amphitheatre that could be configured for performances in the round , provided options some spaces simply didn ’ t .
That flexibility is evident throughout , and perhaps particularly so in comparing two specific performances .
The first , Sarah McLachlan ’ s , was professionally staged and filmed outdoors in B . C . and presented on a large virtual screen curved to match the circular performance space at TOHU . The effect is that of watching McLachlan and her band perform through a large rectangular window , and is deepened by a blend of closeups on the video itself and shots that establish the circular “ stage ” – a flat area bordered by LED strips – and a virtual audience area created using TOHU ’ s existing bleachers and some AR effects .
The second , Alanis Morissette ’ s , was captured as multiple videos of the singer and her band playing from their individual homes . Rather than the straight Zoom gallery view we ’ ve become accustomed to , however , each player ’ s video is presented on large , multi-faceted 3D lanterns placed in the space – similar to the way risers would be in a physical setting – and surrounded by a sea of smaller 3D lanterns that glow with golden light added in and around the band and throughout the “ audience area .”
Morissette ’ s performance was one of the many standouts , and one in which the line between real and virtual was blurred incredibly effectively . “ It was beautiful having those lanterns , along with the reflections on the floor , which were also virtual ,” Larivée says .
In the end , the overall look and feel of the broadcast was notably unified despite the fact that many of the performances were recorded in very different atmospheres and spaces using a variety of capture technologies .
It ’ s a fascinating application , and beyond this being the first time augmented reality has been incorporated in the Canada Day broadcast , it ’ s also the first time Lűz has deployed this technology into any of its productions .
That said , Lűz had been working with Rec4Box and Ross Video for roughly a year prior to summer 2020 , testing and playing around with their AR solutions ; the pandemic simply pushed the actual deployment timeline for these systems up .
Since Larivée started Lűz in 2005 , the company ’ s mandate has been to create customized , signature designs , content , and systems for their clients . That grew out of Larivée ’ s early use of video as a touring LD , at a time when , while video and lighting were regularly used in tandem in live performances , they were perhaps blended less harmoniously than they could be .
In short , Larivée believed they could be better and more fluidly integrated into an artist ’ s shows by a dedicated visual design studio – a firm that provided lighting ,
Avril Lavigne ’ s remotely-shot performance displayed onstage at TOHU in Montreal
Loud & Charlotte Cardin perform at TOHU
set design , video content services , and most importantly , a unified vision for their usage to create customized solutions for artists and events .
“ At the time , I found that video wasn ’ t often tailor-made for the shows and for the artists ,” he explains , “ so in 2005 I started Lűz and hired one person to create content . Now , 15 years later , we are 23 people . Our strength is merging [ all of the visual disciplines ] together to get an overall cohesive look for a show .”
Over the years , Lüz Studio has created visual designs for a wide range of artists , including Panic ! At the Disco , Jack White , Broken Bells , Rufus Wainwright , Adam Cohen , and others . Additionally , they ’ ve worked with Just for Laughs , Francofolies de Montreal , Canada ’ s 150 th anniversary celebrations in Ottawa , the Nevada Ballet Theatre ’ s Las Vegas production of The Nutcracker , and television clients such as TVA and Télé-Québec . Depending on a specific client ’ s requirements , Lűz may take on the entire production design , any mix of lighting , staging , and video for a
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