TrackPod at Opera Garnier in Paris

Just prior to Millennium Eve, Opera Garnier in Paris (of Phantom of the Opera fame) purchased a set of moving heads and a TrackPod automated followspot system from Martin France. In December 1999 the opera used the TrackPod for the first time for a Rolland Petit ballet and can boast being the first theater worldwide to use the revolutionary followspot system.

A giant step
Chief of Lighting Services Gérard Prévot and Lighting Production Manager Pascal Damien were the motivating forces behind the purchases. Lighting supplier Pariscene won the contract with a rental agreement that stretches over 3 years. It includes 30 Martin MAC 600 wash moving heads, 8 Martin MAC 500 profile moving heads and 2 Case control desks. The lighting upgrade is a giant step for Garnier lighting designer Marion Hewlette and allows him to integrate new looks into the layout of the ballet Clavigo.

When the TrackPod arrived at the Opera Garnier, it was late in the planning - two days before the première of Clavigo.

Gérard, why did you choose the Martin MAC?
“We needed products that matched our needs for alternation and our dimension constraints. In the Opera, we have only one main stage and no alternate area. Then sometimes we have up to 3 different sets in the rig. We needed moving lights with a good efficiency but not cumbersome machines. We also chose the MAC for their silent operation. Here, noise is forbidden. The slightest note created by a fan upsets the orchestra conductors. We are also very interested in the new MiniMAC as a small light source to integrate in the sets.”

What seduced you the most with the TrackPod?
“A simple fact: the rig and the set do not allow an operator and a followspot to be placed in each seat. So we have to work with powerful followspots installed at about 50 meters, and their cast shadows are sometimes disturbing. The TrackPod system allows us to use moving lights as proximity followspots above the stage, matching perfectly our volume constraints. We entrusted Georges Carralero with it because Georges has a great experience with followspots. Yet, he found some improvements for the system such as the integration of commands in the grips as for video camera stands. Then, for Clavigo, we had 3 Robert Juliat 2500 W Aramis followspots in the front of house and 4 MAC 500 (2 in front and 2 in back) for the first show. In fact, it’s turned out that it was better to work with 2 in back. We were the very first worldwide to use the system, and without any prior test because the system was delivered 48 hours before the dress rehearsal.”

It is hard to imagine that such a place as Opera Garnier allows that kind of challenge.... How did the followspots operators take to the system?
“With hesitation at first, but Georges informed his collaborators who became very interested. There are a number of arguments concerning moving lights that would discourage some staff but it is completely wrong. We used to work with conventional desks with manual presets, now we use computers instead. We have to live in our times. With this system, the operator can be more creative, he can change colors and gobos. It is also an evolution. Lighting just a performer’s head or following a singer in the darkness without any deflection demands an experienced operator. With the TrackPod, in the darkness, you can use an infra-red camera so it is a bit easier. ”

So Georges, are you seduced?
Georges Carralero, the very first TrackPod operator world-wide: “ Yes, seduced and convinced.”

Jerôme, how does the system work?
The computer manages everything, calculates the positions for every fixture. Moreover, you can manage some functions with the built-in faders such as dimmer, iris, focus, colors, gobos and more. With the computer, it is possible to assign a color to a certain area or to control a profile spot or to recall a cue. It is possible to trigger precisely an event, to control any type of DMX lamp or send a MIDI command or trigger a video. The TrackPod allows the ambience to change around an actor according to his movements and without following him. The moving lights were controlled by 2 Case controllers (one as a spare) with DMX outputs

Why did you choose Martin?
Bob from supplier Pariscène: “I visit every exhibition and have noticed that Martin has an efficient team. I also chose a supplier that provides me with a direct contact to the manufacturer. That is important. I think that within 10 years, all lighting design will use these kinds of tools. ”

From Sono Magazine article Written by: Monique Cussigh Translation by Altiscène