PHOTO : ERIC MYRE
Main Canada Day Together set at TOHU in Montreal
and 24 Phantom Lighting System curved LED strips were deployed for The Sheepdogs ’ onsite performance .
The rig was controlled via 2 MA Lighting grandMA 2 consoles operated by Normand Chassé and Charles Morin and , like all of the lighting gear , supplied by Solotech Montreal .
In all , to provide enough power to use projections effectively in tandem with the lighting rig , 14 Barco UDX 32K laser projectors were deployed – 10 for the bleachers and four for the floor . “ So , at the end of the day , it looks like a massive video display , but we were shooting with very low light ; otherwise , as soon as you hit a BMFL for the floor , it would wash out the entire stage .”
In some instances , like co-host Serena Ryder ’ s performance , for example , the X Bars alone were used instead of the BMFL key lights . “ With that , we wanted to avoid any lighting on the floor because the importance was to get a defined projection effect like you would use on a rink before a hockey game , for example .”
For the AR enhancements , three Ross Voyager servers were deployed . All of the crew and their equipment were working from the section of the amphitheatre where the seating had been removed in front of the empty performance space . In addition , 3D aftereffects were created using Maxon ’ s Cinema 4D Houdini Engine .
The results were stunning , but explaining Lűz Studio ’ s vision to agents , artists and their teams wasn ’ t always easy , and did require some back-and-forth . “ Honestly , it was hard to sell because some people didn ’ t quite understand what we were doing ,” Larivée admits . Also , some artists were initially wary of signing up for yet another performance opportunity of a variety that ’ s become somewhat tired when , unfairly but unavoidably , compared to a pre-pandemic live experience .
Although the 2020 edition of Canada Day Together isn ’ t the type of event that would completely replace live performances , Larivée sees the use of AR in a similar context to this as something that could be – depending on the situation we find ourselves in later on in 2020 and throughout 2021 – a real option for other nationwide televised events such as the Juno Awards .
For the application of AR to be effective , however , he says : “ You need to avoid trying to fake the real situation ; you need to go elsewhere , like a movie or video game would . This is what I was telling my crew when we were creating this : ‘ Don ’ t try to do a regular stage ; let ’ s do something magical .’
“ I think that ’ s one reason Lűz Studio is good with this kind of project ,” he continues . “ We have the lighting designers , we have the set designers , we have video people and content creators .” As important a component as the virtual set pieces and effects were to his vision , it ’ s the knowledge and skills of each part of the team that contributes to the creation of something truly unique .
Inevitably , this type of technology will increasingly become part of concerts and other entertainment experiences of all descriptions whether they ’ re live , broadcast , or both . “ Absolutely ,” Larivée agrees , “ but I think there ’ s going to be a curve . I think that we ’ re going to use this now . Then , once shows start back again , there ’ s going to be a pushback against virtual stuff for a while because people want that human vibe . But then , I think , it ’ s going to merge all together .”
Kevin Young is a Toronto-based musician and freelance writer .
Fall 2020 |
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