“ I had this square drawing but it was like , ‘ Nah , I need to bring it in .’ Obviously , with focal points on camera , it would naturally bring you in , but I wanted to accentuate that ,” he explains . “ So , it started as a square and then the lines , basically [ Elation ] Sixpars on the ground and the [ Chauvet COLORdash Batten-Hex 8s ] that we had , everything started going in . Then I felt I had to get rid of some . So , with the Sixpars , the first three rows have seven , I think , and then the next three have six in them . Basically , I was just trying to keep similar distances between all the Sixpars , even if nothing else is being used . Trying to make it look even , but I really wanted to create those lines that give it the shape where it was drawn into the middle at the back . Same with the bars , it gives you a tunnel look .”
When it comes to fixtures , Stanners is quite honest about his limitations and the considerations his company must take about where and how they spend their money .
“ It ’ s Winnipeg-budget gear ,” he states bluntly but with a chuckle . “ I use that joke all the time . I ’ m in a group chat with a bunch of other LDs and in there I ’ m like , ‘ Guys , I just bought Auras used from Christie Vancouver ’ and they ’ ll be like , ‘ Why ?’ But I ’ m not taking them on tour . I bought them for here . Those things will last 10 years here , you know ? … But if your programming is good and your design is good , if I don ’ t need the movement , I can get it done . I feel the programming was spot-on , it worked with the music , and that ’ s what we have to work with . I could have spent another $ 20,000 and got stuff shipped in from Vancouver , but that wasn ’ t in the budget . It ’ s either I could have 12 lights that are more expensive , or I can have a gym floor full of stuff that I own and that works .”
In terms of the colour palette for his design , Stanners says he often gravitates to gradients . “ The colour palettes , I guess you hear the song and what would seem to fit it , right ? So , there ’ s that , but also , it ’ s part of the set . A lot of artists will say , ‘ I ’ ll send you a list of songs I ’ m using , but I don ’ t know the setlist yet .’ But it ’ s like , I don ’ t want to read a bunch of chapters in a book that aren ’ t in order , so I also wouldn ’ t want to program a bunch [ of individual songs ] and then all of a sudden , you end up with four songs in a row that are all blues and greens , and now that part of your set doesn ’ t line up . There ’ s a
FIXTURES :
• 39 x Elation Sixpar 200
• 24 x Chauvet COLORdash Batten-Hex 8
• 6 x ADJ Vizi BSW 300
• 8 x Prolight Pixie Spot
• 3 x Prolight Pixie Wash
• 8 x Prolight ECLIPSEFS
Lighting Console - grandMA2 Console Previsualization software - Capture
CAMERAS :
• 6 x Blackmagic Pocket Cinema Camera 6K
ARTISTS & CREW : Artist – Rayannah Instrumentalist – Caro Laflamme Drummer – Fabio Ragnelli Director – Jon Stanners ( Red Rover Entertainment )
Lighting Design , Programing & Operating – Jon Stanners DOP – Martin LaFrenière Crew Chief & Floor Director – James Moore Camera Operators :
• Landon Lake
• Chris Gaudry
• Miguel Fortier
• Mike Pascucci
• Martin LaFrenière Makeup – Shelby Davidson Graphics – Stephanie Kuse Audio – Collectors Studio
• Will Grierson
• Arthur Antony Mixing – Rayannah Video Editing – Martin LaFrenière ( Looksmart Video ) Video supplier : Looksmart Video Lighting Provider : Red Rover Entertainment Venue : Franco-Manitoban Cultural Centre middle ground of what is most fitting for the song , obviously , but also , what ’ s beside it in the setlist ? What ’ s the mood through that song and the next one ?”
As well , even within a fairly simply stage design such as this , Stanners notes that it ’ s important to leave room for the show to build . And so , the video opens in shades of blue with just a spotlight on Rayannah and her multi-instrumentalist sister , Caro Laflamme . Then , an aisle of Batten-Hex 8s is used through the first song . On the second song , some of the Sixpar 200s appear . Slowly , from song to song , the floor full of fixtures come to life . Adding to that sense of momentum was the appearance of drummer Fabio Ragnelli halfway through the set . His addition to the performance was actually the result of a suggestion from Stanners . Years ago , he ’ d seen Rayannah do a show for the CBC and remembered a drummer was rolled in for part of the show .
“ I remember just thinking that was cool . And so , I was like , ‘ Can we do that ?’ That turned into , ‘ Maybe he can do two songs ,’ then ‘ maybe he could do three songs ?’” he recalls . “ So , me asking for a drummer for one part just added this character halfway through and it worked for the setlist because we didn ’ t want him to show up too early . Not that you get bored , but you get partway through the set and you can use something else . For me , I use some lights , I add some different lights , I add some other lights , and then I ’ ve sort of done what I can to build . So , what can we do ? Add that guy in . At another point it ’ s just Rayannah and her sister leaves , and that does a similar thing . With Rayannah , things start as just a quick idea or partial joke , and then all sudden , it ’ s like , ‘ Yeah , we ’ re doing it .’”
As far as cameras , there were six in total with five operators : two sliders , gimbal , jib , locked-off , and tripod . The DOP , Martin LaFrenière , is a trusted friend of Stanners ’ and the two share a preference for the look and types of shots they were going for . In general , they wanted mostly wide shots that showed the scene and created atmosphere . “ I ’ m much more a fan of longer focal length stuff ,” says Stanners . “ I gave it so much depth that it wouldn ’ t take that much of a move from a camera point of view to see the back spin pretty quick . So , that was the parameters I gave him ; just a lot of those dolly shots but from far away . You know , I wasn ’ t trying to shoot MuchMusic 2002 and I didn ’ t need the guy right in front of her at the keyboard . And I know that ’ s not the way he shoots either . Like , if I told him to do that , he would question me .”
In the end , it was done quickly and simply , but the result is a beautiful and affecting performance video that keeps the viewers ’ attention and elevates Rayannah ’ s entrancing music .
Michael Raine is the Editor-in-Chief of Professional Lighting & Production .
PHOTO : JONATHAN STANNERS
Spring 2022 | 33