Jean Michel Jarre – VR Concert Project Manager &…

Jean Michel Jarre – Welcome to the other side

Jean Michel Jarre Avatar - Zero Gravity - Welcome to the other side

The Project & team:

For New Year’s Eve, Jean Michel Jarre played on his keyboards at the Gabriel studio, his live performance was filmed, and in addition, his avatar reproduced the performance in the Cathedral of Notre Dame reconstituted in Virtual Reality. Not to mention the laser show on the façade of Notre Dame, also in CGI (computer generated images). The aim was to create a festive moment in a world where all social gatherings are forbidden. His previous concert was called Alone Together, this time it was Welcome to the other side. The first time it was about being alone but together and this time it was about being together across a different worlds and dimensions.

So it was on the 31st of December 2020 at 23:24 that the concert started, with the famous countdown for the new year.

For the TV / Flat project, comprising 3 different streams (Notre Dame façade, live at Gabriel studio and Notre Dame interior in virtual reality), a total of more than 100 people worked on it, but I will only mention the collaborators of the “Notre Dame interior” in virtual reality.

In Italy, somewhere in Turin, are those who are responsible for assembling everything and making it work: Antony Vitillo, the lead developer, Lapo Germasi, and Viktor Pukhov, his sidekick, dealing with both 3D creation and integration. Somewhere in France there is Louis Cacciuttolo, the CEO of VRrOOm, the company that produces the VR part of the project, myself, in charge of both project management and in-VR video shooting and live editing, Vincent Masson, the artist in charge of 3D animations, and of course, the star creator himself: Jean Michel Jarre. In France too, Freddy Koné and Mohamed Marouene, the managers of the company SoWhen?, took care of the design and the motion of Jean Michel Jarre’s avatar. In Russia, there is Georgy Molodtsov, a VR Mac Gyver, who combines a role of technology spotter and VR video co-director. In the same location, Denis Semionov is in charge of creating an original Quest compatible world. In the UK, Jvan Morandi, Jean Michel Jarre’s scenographer in real life since 5 years, is responsible of lighting in the virtual world.

The whole show was produced by the City of Paris. The aim was to make an interesting virtual experience, but above all one that could work without bugs!  And to make a TV broadcast that would be interesting as so. Under the leadership of a Jean Michel Jarre more determined and ambitious than ever (I say that, but this is the case for each of his projects: he considered Alone Together as an experiment and with Welcome to the other side, he wanted to offer a truly mainstream experience that was thought first and foremost for TV).

Jean Michel Jarre Stage - Zero Gravity - Welcome to the other side

Why me?

I hadn’t worked on Alone Together, and neither had Jvan Morandini. So we were the two newbies. For my part, I had already worked with the Turin team at the Venice festival. But I hadn’t collaborated with the other parties.
Originally, I was more specialised in making 360° films, but it was during the first confinement that I discovered my passion for social VR. I dreamed of taking this step, this transition towards universes made in computer-generated images, but I saw no point embarking on productions that last two or even three years with limited distribution to an elite at festivals.
So I explored social platforms, and I started my adventure there with the Break Down these walls event directed by VRrOOm. I had known Louis for a few years, professionally, and we already had chemistry: he too comes from the performing arts world.
Therefore, it was quite natural that this transition took place, initially by working for other people, then by joining VRrOOm.
On this project, in addition to managing the coordination, Louis was crazy enough to appoint Georgy and I as co-directors of the TV broadcast show. A challenge that we took up with great interest !

Jean Michel Jarre upper Stage - Zero Gravity - Welcome to the other side

My experience as project manager :

As I mentioned, we were a small team to produce the “IN” part of Notre Dame virtuelle of the Jean Michel Jarre concert. This part took place not only in virtual reality on New Year’s Eve, but it was also broadcast on many television channels and social networks.
I would say that my main mission, apart from the classic secretarial work of organising meetings and checking every aspect of the project and its progress, was to act as a buffer between the artists and the 3D developers / computer graphic designers.
The main complexity of this project was to find a workflow that works, a common language and satisfaction for everyone. So Jvan and Vincent, the artists, had to get along with Lapo, Victor and Antony to move forward.
The artists would have liked more back and forth and feedback to see their work, while the developers slowed down this process because each artistic back and forth required them to work on integration, which delayed them on the final product. In addition to important weight constraints, because VRChat has rather drastic limitations, Vincent and Jvan had to work mostly blind, and moreover, to watch the weight of their creation. Just like video games in the 80s where developers had to go to the essentials for weight constraints too.
Not to mention the SoWhen? team led by Freddy and Mo, who already had some notions about how to adapt their avatars to VRChat, but they faced bigger challenges, and they too were looking for an efficient workflow with the developers.
What I will notice on top of all is that everyone went out of their comfort zone!

Jean Michel Jarre - Notre Dame - Oxygene 19 - Welcome to the other side

My experience as a director :

We knew from the start that the show would be broadcast on television and we didn’t want a so-so broadcast, with only 5 cameras facing the stage. The ambition was enormous, and I was ready to take up this challenge with Georgy Molodstov, even though we had never worked together before, and we never have done this type of work !

Georgy is a VR Jack-of-all-trades, always sniffing out the good shots, finding the latest plug-ins created far away in Japan that could help us make more cinematic images. During his technical investigations, I explored, on an artistic level, every nook and cranny of Notre Dame.
In my first VRChat test world, I had 1 minute of the Exit song with an avatar dating from June 21st, in 5 tracking points, which became a diplodocus looked quite clumsy when it applauded and without any audience.
From there, I explored every corner of the Cathedral, I thought about the shots we could make, both shots with our integrated cameras in the VRChat world (thanks to the Vstudio plugin), with cameras that rotate around the stage, and handheld camera shots (thanks to the VRClens plugin) to make close-ups.

But I avoided close-ups in these initial tests. So, to make the final cut interesting, because we had to show some progress to the City of Paris, I took shots of the chandeliers, travellings of the ceiling, mosaics, linear trajectories all over the Cathedral. Ow, a gargoyle, let’s shoot from there!
And luck smiled at me: Jean Michel Jarre approved my very first edit! It was exactly the spirit he wanted.
From then on, we continued to work together, I made early edits for each song, Georgy took some shots, designed some cameras, learned how to handle the VRClens drone (what a tan!) and we made regular edits to give an overview. I had the impression of living an endless idyll because Jean Michel Jarre seemed to be satisfied each time. But the more time went by, the more he became picky, his endless, legendary quest for perfection taking over.

And then one day we did a rehearsal under live conditions, so we had a more recent avatar in 20 trackings points, a crowd of extras, a crowd of fake animated characters to fill in more, and cameras ready. We had 3 days to train in these conditions with Georgy, it was exciting, new, and stressful. We were looking for the best and most efficient way to work. In parrallel, Jean Michel was rehearsing his live performance with the mocap suit, and everyone at Studio Gabriel was rehearsing his part.
After these 3 crazy days, one week before the live show, I started to redo some editing, some stories, in order to get as close as possible to what we wanted to do for the live show. Jean Michel Jarre’s music is very precise and timed, the 3D effects were also synchronised, so we knew that we were working on the good tempo.

In short, I made 3 montages which I showed to Jean Michel Jarre and there, I felt a certain disappointment, but he didn’t panic, he has experienced many others creative breakdowns I guess.
After this first heartache, I drunk 3 cups of coffee, took back my brain and decided to do two more edits within the hour. I racked my head, I shot over images without the audience, I set out to conquer Notre Dame and to re-conquer what seemed to be “my artistic paw”.
This time, he seemed happy and told me that I had come to my senses.

D-4, I landed at Studio Gabriel, a mythical place for television. I discovered some of the 90 other people mentioned in the credits of this project, and the complexity of the formats, files and TV software: I discovered a whole world. And so did they. We only had 4 days to get to know each other, to learn how to work together and to set up the systems.
Above all, I met David Montagne, a live show director for over 20 years, the Gabriel studio is like home to him, he was the great maestro of the final show including the live performance of Jean Michel and the façade show.
With two days to go live, it was media madness: I even met Anne Hidalgo and the Archbishop (manager of Notre Dame Cathedral).

I discovered the world of live multicam, with all these screens around me, I felt like in Minority Report while we’re behind the scenes of an old industry, but for me, it’s all new!
As for Julian Guttierez, he is the great manitou of the live Edit software, which allows us to edit our multiple live streams. I had to understand this live language in a very quick way in order not to screw up on the D-day.
It is thus surrounded by this friendly and benevolent team that I grilled my last energy cartridges before the big day.
On D-Day, I had lots of fun: everything went well, the VR experience didn’t bug, our goals were met. I was still struggling to realize everything that I’d experienced and achieved!

Jean Michel Jarre - Tv team - Studio Gabriel - Welcome to the other side

A great part of the TV team at studio Gabriel – After the show

And what about Jean Michel Jarre, in all this?

The closer the date gets, the more my phone rings, at shorter and shorter intervals. The same name is always displayed: Jean Michel Jarre.
I divide my time between discussions about project management and interviews with him about TV production. On the whole, we don’t talk much and we understand each other very quickly, so it’s very fluid and pleasant to work with him. I feel encouraged in my artistic choices and as a result I am ready to invest myself to the maximum.

He also seems to be very inspired by Pop Culture, and more particularly science fiction. I grew up abroad and my favourite films are Sin City, Who Framed Roger Rabbit and the 5th element, choices considered naïve and ridiculous by many, but not for Jean Michel, he is a mainstream artist, I am influenced by mainstream culture, so let’s go!

What impressed me most about Jean Michel Jarre is that he is an entrepreneur in his artistic career and he manages every aspect of it. The music, of course, but his image, his vision, what it’s all about. Some political and diplomatic aspects. He seeks to understand all the components of the project and quickly adapts to technical constraints. Unlike the younger artists I’ve worked with, surrounded by managers for every aspect of their career, Jean Michel is on all fronts and leads his artistic vision like an architect.
In addition to having a broad vision, he has a lot of energy and is able to keep a team of 100 people awake and at the top of themselves. He burns us all, but he forces us to surpass ourselves and to feel proud of the work accomplished. I have a lot of admiration for him, for his perfectionism and his attention to detail that have pushed me to be the best version of myself.

I can never thank Louis enough for trusting me, and Jean Michel Jarre for making me grow wings. His manager Fiona told me: “Jean Michel takes the best of you, circles it very quickly and pushes you up. When she was only 22 years old, Jean Michel was already asking her to make important decisions in front of a group of men much older than her.

Moreover, Jean Michel is surrounded by women, not because he’s a cad, but because he doesn’t judge talents on their gender, but on their skills. Another good point ^^ In short, he is a picky, demanding but very empathetic artist!

Virtual Reality Festivals Project Manager

SXSW 2021 – With VRrOOM

“Using the SXSW 2021 look and feel, SXSW Online XR will showcase live panels, meet ups, special events, a selection of 360° videos from the Virtual Cinema program, as well as 2D video feeds of SXSW programming. Austin venues recreated in the space include The Paramount Theatre, the Contemporary Austin, Mohawk, Empire Control Room & Garage, and Cedar Street Courtyard. SXSW worked with world-renowned artists and the social XR events studio VRrOOm to design and produce the festival’s virtual edition, which will be hosted on VRChat.”

I worked within VRrOOm two months to coordinate this event with SXSW team, leading our team to challenge themselves and work accordingly to fit the festival’s high expectations. I also filmed all the events inside VRchat.

VENICE VR EXPANDED – With VRrOOM

“Starting in 2016, the Venice International Film Festival was one of the first film festivals in the world to demonstrate interest in Virtual Reality.
For the 2020 edition, Venice VR, the official Virtual Reality competition section of the Venice International Film Festival, will no longer be shown physically in Venice Lido on the island of Lazzaretto Vecchio ( VR Island), but it will be available to enjoy entirely online, rebranded as Venice VR Expanded to reflect the shift to a 100% virtual exhibition, on a dedicated platform designed by VRrOOm, supported by HTC Viveport, Facebook’s Oculus and VRChat.”

I worked within VRrOOm two months to coordinate this event. We were in charge to create this virtual environnement in VR Chat in line with La Biennale’s team’s desires. I helped to manage the creative and production team, to link with La Biennale’s challenges and with all the creators to build virtual teasers of their work within our venue. During this 10 days event I also managed our virtual hosts, filming and creating videos for special events and help on a whatsaap channel our accredited guests if needed.

We had two public worlds in VR Chat and two private ones, including a garden for accredited guests. The festival was 10 days long and we had around 15000 visitors! To held social events such as “meet the creators” helped to have more guests and interest in the platform.

NEW IMAGES VIRTUAL – With VRrOOM

“For this edition without borders, NewImages Festival reinvents itself and creates with VRrOOM a virtual space in which to welcome festival-goers from all over the world. Celebrating a community resolutely turned towards new uses, it is also an opportunity to offer greater access to the works and program of the festival.”

I worked within VRrOOm few weeks to coordinate this event. We were in charge to create this virtual environnement in VR Chat in line with New Images graphic desires. I helped to manage the creative and production team. During this 5 days event we had around 1200 visitors. As there were no social events within the virtual world but only videos of the conferences and the possibility to see the 360° work that’s a great amount of visitors, also, it was only private.

XRBASE Investor >Event – With XR CROWD

Since covid 19 stroke the world, my activities regarding 360° video have stopped, of course.
I never had too much time to take an interest in social virtual reality platforms, and use them to meet and work with my peers.

It was always in my mind. But during the lock down Andrey Lunev created a whatsaap groupe called  XR-CROWD, regrouping 250 Virtual Reality professionals.

The main goal of this community was to help existing festivals to convert their real events into virtual ones.

That’s how the #zeroeventVR poped up. Every friday, members from the XR Crowd were experiencing together all the existing platforms, often with their creators offering a tour. To discover all of those and analyse the bugs that could exist du to the number of users.

We tried Vrchat, Vrroom, Rainfall, Recroom, Bigscreen, Vrbella, Learnbrite, Mootup, Engage, Mozzila Xr Hub, and few others.

Since then, those steps helped the Laval Virtual to organize their event in the platform Vrbella.

First, Andrey asked me with few other members to help him organise those friday meetings around #zeroeventVR.

As our partnership worked well, he asked me to help him coordinate the XRBASExperiment. The first business event around investors and startups totaly made in VR, in the platform ENGAGE.

So I trained to use Engage with the team of Diversion Cinema, we helped to organize and coordinate the event and on the event’s day, I was the “out of VR support chanel”. Helping people to install Engage, to navigate into it and give informations about the event.

➡One computer to be in Engage and help people go through it’s navigation
➡One computer with all event infos, names and so on
➡One computer for team viewer, whatsaap.
➡Phone for zoom calls.
➡One Oculus Quest to help people to navigate inside their VR Headsets.
If you are interested to know more about VR platforms or those events, drop me a message on whatsaap!

360 Documentary Film Director

SYNOPSIS

Two black Americans are asked to share their views on Africa by seeing 360 ° images filmed in Tanzania, as they are juries for a festival. It is the cultural irony that black Americans are primarily descendants of Africa that leads them to be chosen for this role. All this confusion will lead to a long debate full of authenticity and humor through a visually African but vocally American journey.

FESTIVALS

🏆AWARD🏆 ARTHOUSE ASIA – ST.FRANCIS COLLEGE WOMEN’S FILM FESTIVAL
FINALIST – FINE ARTS FILM FESTIVAL – ORION INTERNATIONAL FILM FESTIVAL – LIFT OFF DOCUMENTARY FILMAKER
OFFICIAL SELECTION – FIVARS – VR DAYS – AESTHETICA SHORT FILM FESTIVAL – EUROPEAN FILM FESTIVAL of MAURICE
SCREENINGS – IVRPA BELFAST  – SATIS Screen 4 All Paris

TECHNICAL DETAILS

Title : « FILAMU » / Format: 360 film / Lenght : 13’ / Type: Docu-Fiction / Year: 2018
Script Writer, Director and Producer : Maud Clavier
Voice actors: Pearl Ramsey and Mel Roberson / Dialogues: Maud Clavier and Pearl Ramsey
Cameraman: Julie Clavier  / Editing: Charles-Henri Marraud des Grottes
VFX and stitching: Michael Kolchesky / Colour Grading: Alek Tokarev  Sound designer and music composer: Jeremy Piccirilli

 

BELEIVE

SYNOPSIS

While watching 360 shots in Lebanon, you hear maronite seminarist telling you their vision of Lebanon just before their ordination, after six years of stydies. This short 360° film took the best part of those seminarists interview to make a philosophical short film about Lebanon, and show to western people how positive they can be even though their situation is difficult

GENESIS

When Julie Clavier directed her documentary “6 years of reflection” for a french TV chanel (KTO), I followed her to be her assistant, and to make a 360 short documentary.

Her documentary is about maronite seminarist who finished their 6 years study and are going to be ordained. Her documentary is a 52 minutes and lands only in the seminary showing all the main figures involved.

My 360° film is about 5 minutes long and shows on screen parts of the seminary, but also wider pictures of Lebanon and derelicted places.

FESTIVALS

OFFICIAL SELECTION – FIVARS – 360 FILM FESTIVAL

 

TECHNICAL DETAILS

Title : « BELIEVE » / Format: 360 film / Lenght : 5’ / Type: Documentary / Year: 2020
Director: Maud Clavier

Journalist: Julie Clavier

Voice actors: Antonia Farhat, Charbel Kamel, Karim Douaidy
Sound designer and music composer: Jeremy Piccirilli

360 Feature Film Line Producer

DANS LA LUNE – 2019

I worked as an executive producer for the production company Les Docs du Nord, to manage the first 360° film directed by the famous french director MARC CARO.

Marc Caro  is a director and writer, known for Delicatessen (1991), La cité des enfants perdus (1995) and Alien, la résurrection (1997).

Under the guidance of Marc Caro, and their teachers, 15 students in the “Architecture en Représentation” Master’s option designed and created the 360 ​​° set for the first episode of Marc Caro’s web series Fly Me To The Moon. During the Festival Premiers Plans in Angers, the public was invited to visit the set and discover the manufacture. More informations here.

As a director of production, I worked for the production company Les Docs Du Nord who gave me the responsability to manage the budget and deal with all the service providers a month before shooting.

I was also the director’s assistant, working hand in hand with the VR advisor Pierre Friquet. I built the VR team for the shooting: Michael Kolchesky as the 360 camera operator, Charles-Henri Marraud des Grottes as the DIT, Geoffrey Durcak as the sound engenieer and Marina Gandey as the make up artist. Marc Caro hired Jean Poisson as a DOP. It was a very small team as Marc Wanted to.

Fly Me To The Moon Stars Jackie Berroyer, Philippe Vieux and Aurélia Poirrier.

This was the first 360° set made for a virtual reality piece that I saw, and an impressive work done by the DOP to work only with light scattering in the set.

It was a very intensive but an amazing experience!

Video link: CLICK HERE

password: steampunk

LE DERNIER HEROS – 2017

Le Dernier Héros was produced within my ex company Clap & Zap Production and Cle production.

My associate Charles-Henri Marraud des Grottes was the director.

As a winner of a 360° script contest made by the festival Paris Court Devant in 2016, we won a partnership with the Youtube Space is Paris to shoot our film and have ressources, so that it could be shown in the festival the year after.

I managed the whole production logistic and team together with Cedrick Léger, the CEO of Clep Production.

We had only half a day to rehearse and one day to shoot. We were very happy that Thomas Villepoux helped us by bringing his expertise and DV Group‘s 360 rig camera made with Black Magics.

We also partnered with the belgium company Demute for all the spatialized sound work. It was very inovative at the time as we created a concept where when the user turns his head, the sound of the character he is looking at becomes louder. In addition to a basic spatialized sound.

The original music was made by the great french company Scoring Production.

Video link: CLICK HERE

THE OTHER SIDE – 2015

In May 2015, Clap & Zap Production created and produced the first French short film in virtual reality: The Other Side. This is a short comedy mixing computer-generated images and 360 ° stereoscopic images shot in Cannes.

I managed the production, my associate Charles-Henri Marraud des Grottes directed the film, Olivier Zitvogel (comagny Holodia) designed the idea and made the first part of the film (computer-generated images). Panocam 3D bring their 360 camera rig (one of the first on th world) and finaly the collective Les acteurs de Cannes acted in the film. The hôtel Radisson Blu in Cannes was a partner too, allowing us to shoot the film on their rooftop.

The film will be shown at the Cannes Film Festival, Cannes Lions Innovation and many other events. With this experience, the two co-founders evangelize the technology to many groups before obtaining their first contract with INRA, which will be shown at the agricultural show. It is one of the first 360 ° institutional films using a drone

Video link: CLICK HERE

 

Performing arts Virtual Reality Artist

CHIMERES

⭐️ROLE: Artist – VR specialist

CHIMÈRES is a programme of artistic residencies for research and production, which offers artists from different artistic fields the opportunity to meet and create together projects that go beyond the classical frameworks of live performance and exhibition, integrate digital technology, and present a strong inventiveness in the viewer’s place within the narrative and scenic device.

Initiated by the Ministry of Culture-Directorate General of Artistic Creation (DGCA), CHIMÈRES is supported by the Lieu Unique (LU), the National Stage of Nantes and the Théâtre Nouvelle Génération (TNG), the National Dramatic Centre of Lyon in 2019 and 2020.

CHIMÈRES encourages artists and creators from different practices to work together, allowing them to dialogue, throughout the creative process, with art and culture professionals in order to ensure the best possible dissemination of the created works.

12 candidates has been selected over 300 applications:

Following a first day session with all these artists, we created dozens of artistic concepts.

Out of the ten, three were selected, including the 5th Wall project, of which I am a member with Isabelle Jonniaux, David Girondin-Moab and Emmanuelle Raynaut.

We since had 5 artistics residency to write our concept, we will search financial support to produce the show in 2021, hoping to play it end 2022.

This residency allowed me to reconnect with my old skills in the performing arts, and put my new talents at the service of this medium.

VIRTUAL VIKINGS

⭐️ROLE: Artist – VR specialist

The Viking World is an exhibition that includes several modules. The purpose of this walk is to help visitors get to know the more diverse aspects of Viking culture, which goes beyond the clichés of barbarism, raids and navigation.

I designed a whole exhibition project for the company My Urban Experience in partnership with their historian Paul Bilhoreau and the 3D graphic designer Vincent Campagna.

The objective is to combine a classic museum experience with an immersive educational stroll. Because we will have virtual reality, but also holograms and spatialized sound immersion. But the inclusion of technologies will be done gradually so the visitor will be slowly immersed into a whole new way to live an exhibition.

We are currently looking for partners and funding for the launch of this show.

360 Wildlife Film Director

 

I  worked for Wild Immersion in New Zealand to shoot in 360° Endemic birds. This was a very tough exercice but extremely interesting, as birds are not in front of your camera on demand it needs a lot of patience and few contacts to know the best spots.

I shot some Takahes, Oyster Catcher and many more.

To see some of my shots, please click here: https://blend.media/maudclavier

360 corporate video Producer & Director

I manged several 360° videos for brand, depending on the project I either wrote the script / concept, managed and hired a team, made a budget and a production planing or event directed some of them.

ELLE DECORS for Lagardère was a collaboration with Plissken Production and Armstrong agency. I wrote the concept and managed a part of the production logistic. The 360° shooting was made by my team members.

SHOPPER LAB was a collaboration with Gunsmoke Production. I coordinated the 360 shooting.

INRA – totally made within my ex-company Clap & Zap Production. I managed the production with my associe Charles-Henri Marraud des Grottes, and he went in Corsica with a dronist to make the film (he also wrote the script and directed the film).

 

Social media & sharing icons powered by UltimatelySocial
WordPress Image Lightbox