The Sun King – The return

The Sun King returns to Paris and embarks on a nationwide French tour in 2025–2026.

Directed and choreographed by Kamel Ouali, this iconic musical reinvents itself with a fully redesigned scenography where video plays a central, structural role.

A key feature of this new edition is the integration of six mobile LED towers, a massive tracked back wall, architectural projection, and a multi-server real-time workflow powered by SMODE.

To support the artistic team throughout creation, rehearsals, and live operation, the production brought in SMODE Operator Tom Valadoux Midol, who oversaw all video operations for the show.

Video setup & unique aspects of the project

This project stands out for one main reason: Six wireless, battery-powered LED towers, each 2 m wide by 6.5 m high, freely move across the stage to transform the set in real time.

This mobility offers an enormous potential for scenic variation, allowing the stage to be reconfigured instantly from one scene to another.

• Tracked upstage screen
  • Absen LS3.9 Pro – 18 m x 8 m
  • Splits in two to let physical sets pass through 
• Two side screens  Absen LST3.9 – 8 m x 7 m
• Six mobile LED towers Absen LST3.9 – 2 m x 6.5 m
• Six EPSON 20K projectors:  Projecting onto a 28 m x 9.75 m scenic frame
• Control system: 4 SMODE servers (2 mains + 2 spares) controlled from GrandMA via sACN

A hybrid LED + projection setup at this scale required a real-time engine that could handle rapid iteration, live responsiveness, and complex compositing with ease.

How SMODE was used on the production

SMODE was deployed at several key stages of the project:

1. Live media playback

• 80% of the show’s scenography is video-based.
• Playback combines timecode-driven cues and manual triggers, fully handled inside SMODE.

2. Real-time compositing & content adaptation

The SMODE compositing engine was extensively used to:

• create the majority of media directly inside SMODE,
• assemble assets delivered by Studio A+E,
• preview and adjust scenes instantly based on artistic feedback,
• test variations and propose options during rehearsals.

3. Previsualization & projection mapping

• Real-time remapping of the EPSON projectors during setup
• Adaptation of content to match the movement of the LED towers
• Live visualisation of scenic layouts with tracking

Video interacts directly with:

• the moving scenic elements,
• the lighting cues,
• the timecode,
• performers on stage.

Credits

Direction & Production

• Antony FRA – Technical Director
• Laurie HOLZER – Production

Video & LED

• Romain FIOR – Video Technical Design

• Romain LABAT – Video Encoding

• Romain TERTRAIS – Video/LED Chief Technician

• Lucas LOPEZ – Video/LED Technician

• Mathéo BAUMGARD – Video/LED Technician

• Alexis JACQUAND – Video/LED Technician

Video Operation

• Tom Valadoux Midol – SMODE Operator

Video Content

• Studio A+E

Video Technical Provider

• ALABAMA Media (Novelty)

Photos Credits ©️

• Flora Metayer
• Tom Valadoux Midol