The system consisted of MA Lighting MAnet with four grandMAs (one for each operator and one backup) and eight NSPs. All DMX for The Pyramids and The Sphinx was transmitted wirelessly via a Wireless Solution system that Gagnon says pleasantly surprised him, as it transmitted up to 1,200m. “We could jump in our own ‘world’ at any time in the process, while Hubert was crunching almost 1,000 cues via Wysiwyg,” says Tremblay. “Using this very strong MA network feature — multi-user plus word filters — we could easily work on the whole rig or any parts, according to our availability.” Tremblay also managed all DMX data/patch, the MA network, and the wireless DMX requests.

The lighting department also kept a spare grandMA at the hotel — a sort of portable Wysiwyg studio — and to take it to the more remote locations at the site for testing and basic positioning. “These days, I couldn't imagine managing this size gig any other way,” says Tremblay. “What a nice night it is to be traveling with a grandMA in an old pick-up truck, firing up our rig as we traveled in the desert.”

For the stage performance itself, Larivée used a mix of Vari-Lite and Martin fixtures, LED units from Color Kinetics and PixelRange, Robert Juliat followspots, conventionals from Strand and James Thomas Engineering, and atmospheric effects from MDG. An Airstar balloon played the role of the moon, which the performer specifically requested.

Undertaking such a monumental — literally — project was challenging, yet rewarding, from all reports. “Anyone who worked in these conditions will agree with me: everything was hard and painful,” says Tremblay. “We knew that, and we also knew we couldn't afford to be on our own and would use many local recourses. When it's hard, you can make it harder!”

And the designer himself was extremely pleased with the results of the team's hard work and the clarity of the show. “We were shooting HD, so we had a good field of depth. When you see the result, it looks almost like scenery,” says Larivée.

Talk about aging gracefully — 5,000-year-old scenery doesn't look so bad. Beladi is currently being developed into a live touring show. The HD DVD will be released in Blu-Ray and 5.1 enhanced surround sound.

CREDITS

Original creative concept:
Chantal Chamandy

Artistic directors:
Chantal Chamandy
Genevieve Dorion-Coupal

Director: Gérard Pullicino

Lighting designer, programmer, operator:
Matthieu Larivée,
Luz Lighting Design

Choreographer:
Genevieve Dorion-Coupal

Set designer:
Guy St-Amour, Productions
Artéfact Inc.

Director of photography:
Jean-Philippe Bourdon

Assistant LD, programmer, operator:
Valy Tremblay, Proluxon

Programmer, operator:
Hubert Gagnon

Lighting co-director:
Michel Pomerleau

Lighting co-director/production head electrician: Denis Ayotte

Project supervisor: Axel Lemaitre

Project director: Denis Adrien

Lighting vendor: Procon, Belgium

Lighting and audio vendor: Solotech, Canada

Wysiwyg services provider: Proluxon Inc.

Production: Nine Muse Entertainment

LIGHTING AND EFFECTS

63 Vari-Lite VL3000 Spot

8 Vari-Lite VL3000 Wash

12 Vari-Lite VL3500 Spot

19 Vari-Lite VL500

72 Martin Professional MAC 2000 Wash

54 Zap Technology BigLite 4.5kWk

100 Color Kinetics Color Blast

100 Griven Kolorado MK3 2400

2 PixelRange PixelLine 1044

15 Strand Lighting Nocturne 1,000W

24 James Thomas Engineering 2-Light PAR 36

4 Robert Juliat Cyrano Followspot

4 Robert Juliat Ivanhoe Followspot

8 MDG 5000 Fog Generators

4 MDG Atmosphere Hazers

1 Airstar Balloon

1 Zap Technology Big Mirror

20 PAR64

CONTROL

MA Lighting MAnet

4 MA Lighting grandMA (one for backup)

8 MA Lighting NSP

All DMX transmitted wirelessly via a Wireless Solution system