The wall has all of the
main character’s emotions. So there are a lot of metaphors of places she wants
to leave behind, to transgress, a society she is at odds with. So the stage design has to stand out and the multimedia imagery
has to compliment so that all of a sudden,
you’re plunged into the depths, and you’re inside. There’s a few moments where
the content is really in the screen, and it’s almost cinematic, and sometimes it’s more,
like, also like a bit more scenographic, so we’re trying to
install a place. My name is Dominic Lavigne. I’m the Project Manager,
Video Content. Today, we’re just going
to show you a little of what we’re working on. It’s all still a bit
of a work in progress, but it’s really starting
to be visually interesting. Let’s go check it out. So here is our lovely
mock-up of Central Park. At first, our challenge was: do we do it in 3D or film it? We decided to go with a mock-up, which really suited our style. We’ll insert Noby into this scenery. She goes on a journey through different settings, in a sort of dream. I would say we tried
to create our own aesthetic. Sometimes,
we go for more of a vintage, 1960s feel, something
a little crazy. But at other times,
we go to extremes that are more futuristic, with lines and a more minimalist look. It has to be clear
that all the worlds we explore in the show are in her head. So we asked ourselves,
if we’re dealing with memories, memories are not linear. We can move from
one thing to another. So I would say each scene has a different influence. Keep in mind, we took things a little further. We have interactive video, video that reacts to the skaters and changes based on what they are doing. Having interactive aspects
to it is really nice. The skaters can have, like,
an impact on the projection. It’s reacting well. We’re not finished tweaking it, but it’s reacting well. We had talked about
the circles being too big. – Yes.
– We made them smaller. – Yes.
– It’s quicker. – Yeah, I find it, like… it’s moving more.
– OK. Right now, I’m working
on a particle effect for the main character’s
reflection. So we filmed the actress
doing her choreography. Then we keyed her,
so we removed the background. And then, we generate particles that will be driven by infrared sensors. That gives us slightly
more realistic movements, since the particles are moving in real time with the person on the ice. It’s very technical and very innovative. Not a lot of people are doing this, so we’re testing. This white diffuser has a LED. An infrared LED. And then we have 19 cameras hung throughout the various grids, and they pick up the infrared, so they would say, “Oh, hey, Julien is at XYZ coordinates”, and then it relays that information to Lighting Department and to Video Department. So, like, if something were to fall, and you couldn’t be in your
exact spot for your cue, your instruments are
already following you, so when your cue hits, the lights come on,
and they follow you. Things are moving fast. We are almost ready to leave. I think people are pretty excited about moving on to Lafayette, Louisiana. So we’ll have all of our tools with us. ’Cause we’re missing a few pieces here, due to building configuration. I’m someone new,
in a new place. A sharp tingle.
A chill. A smell I’ve never smelled. Steel. Glass. Doll. Dollar. The air is crowded. I am… some… thing…
else. We have a show now. In St-Roch, we had about…
70% of the show. Because we didn’t have
the track and trolley, which takes us from
one place to another. These acts were a labour of love for my wife and me. We wanted to make sure they
were Cirque du Soleil calibre and to make certain it all worked. We decided to wait and
do the finale here. Seb I prefer to work by… if we attack something,
we attack it. We try to really go from beginning to end, and we’d rather do that
and then not do this, then do a fast thing
of everything. You see what I mean? So, in Saint-Roch there were some
things we just had not yet created and did while we were here,
so that’s great. And we did automation, which takes forever
and, in fact, that was really difficult. We had, like, four or five days
we couldn’t actually work, in a sense, you know, work creatively, where we were, just,
you know, dealing with how to tighten up
the rig, the track and trolley, Jérome got in the straps, nothing worked… [JÉROME SORDILLON]
[STRAPS SPECIALIST] The biggest thing is the automation. What I mean is that when I have to go up, it’s all codes. It has to be super precise, because I go up on musical
cues, at certain times. So there’s someone
upstairs giving the cues. The person with the cues presses the right buttons
at the right time, and that’s how the cues are done, that’s how I fly, that’s how I take Noby and I take off. So that’s why we rehearse so much, so we can be spot on. We faced a lot of problems. I like when problems come up.
I find it reassuring; it gives me a chance to
think about the solutions. Usually, it all works on opening night, but there’s always a chance… But seriously, I think we’re good. Can you please stop it! See, we were getting into character. It is what we are supposed to! Come on! Keep coming.
Keep coming. Keep coming. A close-knit team:
That’s what matters most. … together. I need a bucket… for them. I want to throw it at them.
At them. Come, come!