Splendor and Grandeur of Courts in Europe

Client: Grimaldi Forum

Project description:

Panoramic (silent) film shown on 3 16/9 screens at the opening of the “Fastes et Grandeurs des Cours en Europe” (Splendor and Grandeur of the Courts in Europe) exhibit which took place from july 11th to september 11th 2011, at the Grimaldi Forum in Monaco.
Taking a trip through time, from the 17th to the 20th century, visitors will go to twenty European courts for the first time to meet the important emperors, kings and princes.

Systems used for this project :
– Animating photos and/or 2D PAINTINGS (compositing, motion design)
– Embedding the key figures of each court inside their world
– Screening the panoramic film onto three screens

Sciences & curiosities in the court of Versailles – filmed in 360°

Client: Le Château de Versailles
Director: François-Hugues de Vaumas

Filming the Château de Versailles in 360° using a camera with eight sensors, and thereby bringing to life some classical engravings from the Age of Enlightenment – that was the technical challenge which Aloest Culture set itself for the exhibition “Sciences and Curiosities in the Court of Versailles”.
In an immersive space, the visitor is projected into historical settings where 2D and 3D representations of ground-breaking scientific experiments of the time play out. Through this production, Versailles is once again the arena of world firsts in scientific experimentation.


A world first, the “Versailles 360” immersive experience rises to the challenge of combining two technologies that had never before been used together; filming in 360° and the cable-cam.

For the first time, a Totavision camera comprising eight HD sensors allowing seamless filming in 360° was mounted on a cable-cam rigged between to cranes at a height of 60 meters, delivering spectacular traveling shots running for more than 400 meters above the Château de Versailles.

Suspended like this and remote controlled, the 360° camera provided never-before-seen shots, crossing the Château de Versailles from one side to the other, from the Place d’Armes to the view over the Grand Parc.
This breakthrough in forward travelling shots through the palace was achieved using special effects by stitching together the 360° shots filmed outside and inside the monument.
The result is worthy of the imagination: The all-encompassing aerial view of the Cour d’Honneur segues into an immersive view of the King’s Chamber, with the 360° camera coming through the window, going through the wall, and ending up in the Hall of Mirrors, continuing all the way to the balcony.

The film sets out to be immersive not just in terms of its 360° vision, but also through the way in which it plunges us into the history of the sciences at Versailles, transporting the spectator on a journey through space and time to the middle of the Court’s scientific experiments.
This is down to another feat of post-production: The integration and animation in 2D and 3D compositing of ancient engravings, reworking scenes such as the Machine de Marly, the chateau’s stables, the Orangerie, etc. with contemporary 360° images. The images are in the format 12,000 x 1,080 pixels at 25 frames a second, and have been enhanced with animation and graphics, a challenge involving cutting-edge innovation in terms of audiovisual techniques.

The 360° film comes into its own with immersive projection in 360°.
On a screen in the form of an ellipse three meters high and 32 meters around, the film surrounds the spectator, whose attention is attracted to this side or that by spatialized quadriphonic sound. The spectator is immersed in two centuries of history and some 20 places of science to relive, among other things, the first hot-air balloon flight, the dissection of a horse in the stables, and an eclipse seen from the Grand Trianon.

The film was screened at the opening of the exhibition “Sciences and Curiosities in the Court of Versailles” at the Château de Versailles from 26 October 2010 to 27 February 2011.

Carrying water to Versailles

“Acheminement des Eaux à Versailles”

Client: Le Château de Versailles
Duration: 8’30
Directed by: François-Hugues de Vaumas

Project description:

For the exhibit “Sciences & Curiosités à la cour de Versailles” (Sciences and oddities at the Versailles court), Aloest Productions has made an entirely graphically animated film about how water was carried to Versailles between the 16th and the 17th century.
Supplying the ponds and the water fountains in the gardens, ever more numerous with time, bringing water in from places higher or lower than Versailles, keeping it somewhere, finding water that is “alright to drink” to tend to the court’s needs… There were as many challenges as there were inventions to solve them (mills, pumps, lakes, aqueducts…)

Universcience, sharing a taste for science

Shooting the “business card” film of the first European science center, Universcience.

Client: Universcience
Directed by: François-Hugues de Vaumas, Xavier de Lauzanne
Duration: 3’39
Technical equipment: shooting with a tracking shot

Project description:

Shooting the “business card” film of the first European science center, Universcience.

Goal : letting the viewer perceive the wealth and variety of Universcience’s offer by using the exhibits set up at the Cité des Sciences et de l’Industrie and the Palais de la Découverte, offering a cheerful and fun image of science, arousing curiosity, encouraging people to share their knowledge, revealing an interest in scientific jobs..

Back on the RC4 road

Genre: Social Documentary
Duration: 52mn
Director(s): Xavier de Lauzanne
Producer(s): François-Hugues de Vaumas, Xavier de Lauzanne
Production: Aloest Productions
DVD Editor: Aloest Productions

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Tonkin, october 1950, French army High Command decides to evacuate the Cao Bang base, too difficult to defend against Mao’s troops. The withdrawal, ordered bu the RC4, was a tragedy for the French army. Vietnam, october 2000, 50 years after this disaster, a group of veterans returns to the stages of the toughest battles. They are 70 years old and they have come back on to remember being 20 in those places, despite their age and sometimes difficult conditions… The Vietnamese, however, celebrated a victory. Colonel Dang Van Viet, a perfect French speaker, was the commander of the RC4 front. He was 30 at the time, he is now 80. After attending the official Cao Bang ceremonies, he joins the group of French veterans to follow the RC4 up to Langson… Xavier de Lauzanne directs a fair and poignant documentary about people that are seldom spoken about : Indochina fighters. This is not a reconstruction, nor a historical analysis, but simply the testimony of men deeply struck by the war that opposed them in 1950. The subject of reconciliation is addressed with restrain ; the film’s balances tones makes us care for these characters little by little and helps us better understand the reasons for this region being so important to them. This film-debate takes us on an unusual journey during which the memory of war seems tangible. Thus, it urges us to delve into the still recent history of France and Vietnam.

Chrétiens d’Orient en exil

Genre: Documentaire
Réalisation: Thierry Rodon
Durée: Teaser de 2 minutes, versions 13 et 26 minutes
Production exécutive: Aloest Productions / ©️Fondation Raoul Follereau
Diffusion: KTO

Chassés par les troupes de l’Etat islamique, des milliers de chrétiens irakiens ont dû fuir au Kurdistan pour survivre. A Erbil, des familles de réfugiés témoignent de ce qu’elles vivent au quotidien. Face à la détresse de ces populations en exil, la Fondation Raoul Follereau, présente en Irak depuis 2001, agit à leurs côtés pour répondre à leurs besoins.

Lazare, une coloc’ solidaire

Genre: Documentaire
Durée: Versions 26 et 52 minutes
Réalisateur(s): Véronique Bréchot
Auteur(s): Caroline Malliart, Philippe Lamblin et Véronique Bréchot
Producteur(s): François-Huguesde Vaumas
Production: Aloest Productions, KTO, CFRT et TéléNantes
Diffusion TV: KTO, France 2 et TéléNantes

Grands prix des Fondations 2016

The solemn presentation of the Grands Prix awarded by the Institut de France is held every year in early June.

Client: L’Institut de France

The solemn presentation of the Grands Prix awarded by the Institut de France is held every year in early June. Given their renown and the sums attributed, the Grands Prix are among the most prestigious international awards and have acquired a wide reputation among the scientific and cultural communities.

Instead of alternating reportages and speeches, the presentations by members of the French Academy are now illustrated live by filmed and edited images of the winners at work. The speeches become more accessible, the academicians are brought to life, and the ceremony is more dynamic.

Every year, the Institut de France presents the winners of the Grands Prix attributed by the Christophe and Rodolphe Mérieux Foundation, the Simone and Cino Del Duca Foundation, the Lefoulon-Delalande Foundation, the NRJ Foundation, and the Louis D Foundation.

In 2016, Aloest Image was on hand to film the event and rebroadcast it live in the Cupola, the institute’s Paris home. Since 2011, Aloest has handled the annual live production and multi-screen broadcast of the award ceremonies with a set-up adapted to the configuration of the historic monument.

To ensure the fluidity and responsiveness of the live recording, the set-up includes:
a set-up with four cameras, including one camera with an overhead view from the zenith of the cupola
HD equipment
Screening on five 55-inch plasma screens, including four screens on the side walls of the building

The recording of the event is preceded by a preparation phase, during which each year a new graphic identity is created in the colors of the edition. This is accompanied by the making of portrait films to present the work of the winners of the Foundations’ various Grand Prix. Directed and edited by Aloest Image, filming involves our teams throughout the world: Germany, Italy, Romania, Morocco, Netherlands, Spain, United States, Canada, Peru, Brazil, South Africa, Congo, Cambodia, etc.
These short reportages are destined to be screened during the live production under the cupola, with simultaneous multi-screen retransmission, introducing or accompanying the prize-giving.

After the event, it is possible to relive the full ceremony on the Institut de France’s YouTube channel: Viewers can watch the winners receiving their awards from a member of the Academy, among the six chapters of the online video.

See the winners’ portraits:

Prix de la fondation NRJ :

Prix archéologique de la fondation Del Duca :

Prix scientifique de la fondation Del Duca :

Universcience – The New Public Sphere (Mutations Urbaines)

Double projection installation using archives and images from social media, exploring the new ways of coming together in the era of digital technologies.

Client :
Director: Caroline Malliart
Editor: Jean-Maxime Besset
Graphic design: Sylvain Bernicot
Runtime: 9’ 30”
Screening: Until 5 March 2017, in the Mutations urbaines exhibition at the Cité des sciences et de l’Industrie, ParisDouble projection installation using archives and images from social media, exploring the new ways of coming together in the era of digital technologies.

“I was on Facebook; now I’m in the street.” Brazil, June 2013.

The networks created by the Internet link people from all horizons, who can communicate and forge bonds in the public sphere in unexpected ways. For example, the Anonymous movement organized a demonstration against Scientology which took place simultaneously in 30 cities around the world. This type of movement has become a symbol of the freedom and power of the net. The development and accessibility of new technologies – mobiles, social media, the ease of taking photos and video and posting it, and the misuse of surveillance cameras, hacking, coding, etc. – has had a decisive impact on the opportunities to protest and express oneself in the public arena.

The film The New Public Sphere presents some recent examples of this in cities around the world, whether protests or celebrations: The Indignados in Madrid, Occupy Wall Street in New York, the Arab spring in Tahrir Square, Cairo, the umbrella revolution in Hong Kong, and also the flash-mob phenomenon and other new ways of occupying the public arena.

Integrating an original installation, the film is made up of two video loops, screened simultaneously side by side on the floor, in a 3m2 space decorated to look like a stage. These two letterbox screens, both 70 inches, horizontal and vertical, display a mirror image of the demonstrations, marches and celebrations on one side, and content from tweets, apps, blogs, Facebook posts and other communications on the other, to the sound of clamor, slogans and singing. The juxtaposition illustrates the dual spatio-temporal dimension of events, which unfold in parallel in the public space and in front of a keyboard or screen.




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