Concerts and shows
Celesta enters in your technical data sheet.
A concert belongs neither to the venue nor to the city: it belongs to an artist and a touring production. Celesta therefore does not sell a show to a venue; it negotiates a slot in a programme that has already been written, approved and performed in city after city.
The crux of the matter
It is not the place that dictates, That’s production.
At a city-wide event, the organiser makes the decisions. At a concert, they provide the venue. Celesta then works with the tour manager, and the difference is evident in every decision.
Town event
The organiser makes the decision
- The programme is drawn up in consultation with the sponsor
- The timetable is based on the expected audience
- The duration is open to discussion
- The venue is known months in advance
- One performance, one setting
Concert and tour
Production takes the lead
- The sequence is already in place and Celesta fits into it
- The time code comes from the artist’s production control room
- The duration is set to the nearest second by the reminder
- The technical data sheet arrives late and is binding
- The same effect must be replicated in ten theatres
What makes all the difference
Six constraints set out in the technical data sheet is only hinted at.
None of them appear on a quote. They all decide what is possible, and Celesta goes through them with the production team before writing the first scene.
01
The time code is not yours
The artist’s sound comes from the production control room. The celesta is connected to it, which requires a reliable connection, a backup cable and a joint test before the soundcheck – never afterwards.
02
The stage lights overwhelm everything
A lighting plan designed for the artist can cancel out an aerial effect. Discussions with the lighting designer take place in advance: either the lights are switched off for a few seconds, or the effect is not visible.
03
The technical data sheet is binding
She often turns up late and sometimes cancels what had been planned. Celesta reads through it before working out the figures, and suggests alternatives that are still compatible with the tour.
04
The call-back changes everything
No one knows whether the artist will play two tracks or four. The performance begins on the production control’s command, and the system remains on standby until the command is given.
05
The pit is upright and compact
A safe distance is not achieved by moving the audience further back. It is achieved through height, positioning and off-stage effects, whilst ensuring the safety of the auditorium.
06
If it works here, it should work elsewhere
On tour, once a sound has been approved, it will be requested everywhere. Celesta therefore creates set-ups that can be adapted to different venues, rather than technical feats specific to a single venue.
The sequence of events
From the technical data sheet at the top of the production control team.
Six steps, only one of which is visible. The other five explain why the effect lands exactly where it should.
01
The technical data sheet
Celesta reads it before any figures are involved: budget, key points, restrictions, and the time available for editing. This document already sets out what will and won’t be possible.
02
Location
A tour of the venue or site with the venue manager and the tour manager. Two people, two approaches: Celesta gets them talking to each other right from this tour.
03
Writing
The effect is superimposed onto the existing track, not played alongside it. It lasts a few seconds and is used at a specific point in the set, chosen in consultation with the artist or their artistic director.
04
The file
Prefecture declaration for an outdoor shooting session, approval from the indoor safety committee, and submission to the DGAC for a drone flight. Celesta is putting the application together.
05
The scales
The rehearsal is conducted under the artist’s production control: synchronisation with the timing code, wired backup, shutdown procedure. Celesta does not rehearse the performance itself, but the set-up.
06
Live coverage
The set-up is armed and monitored throughout the entire set. The cue comes from production control. Less than three seconds elapse between the cue and the first flash of light.
The bias
To serve the artist, Never go ahead of him.
The audience didn’t come for the pyrotechnics. They come on top of an emotion already evoked by the music, and their role is to heighten it for a few seconds.
This is why Celesta writes brief interludes rather than self-contained pieces, and why timing takes precedence over scale: a burst of cold sparks triggered at exactly the right beat makes far more of an impact than a lavish flourish delivered two seconds too late. A successful effect is one where the audience feels as though they are part of the piece.
Key figures
What Celesta might announce before reading the technical data sheet.
Four price bands and a threshold. These do not depend on the auction house or the artist’s reputation, and no competitor is offering them at this stage.
Orders of magnitude
on a per-performance basis
Costed proposal
within 48 hours
A bespoke show
3 to 6 months
Permission to set off a fireworks display
At least 1 month
Authorisation for a drone flight
A minimum of 45 days
Rehearsal with the artist’s production control team
systematic
Drone light show, from
10 000 €
Let’s talk about it
Please send us the technical data sheet, We'll let you know what's going on.
An opening number, a finale, a specific moment in the set: please specify the venue or site, the dates and the name of the production. Celesta will reply within 48 hours with an initial quote and the points to be agreed with production control.
Frequently Asked Questions
What the productions ask first.
Can effects be triggered inside a room?
Yes, using a range of effects designed specifically for this purpose: cold sparks, controlled flames, thick fog and confetti. Each effect is declared to the safety committee and tested under real-world conditions before the doors open.
Who provides the timestamp?
The artist’s production control unit. Celesta is linked to it via a cable and an immediate stop function. When no time code is available, playback is started manually on command, which remains perfectly precise.
The technical data sheet prohibits the intended effect – what should we do?
We offer a compatible alternative. That is why Celesta reviews the specifications before finalising the design: a design that is rejected during production costs far more than an alternative prepared from the outset.
Is it possible to fly drones during a concert?
Yes, outdoors, and indoors provided the space and ceiling height allow it. The display is timed to coincide with a moment when the stage lighting dims; otherwise, the LEDs won’t be visible.
Can the effect be repeated throughout the tour?
In fact, that is the correct way to approach it. Celesta designs transferable systems, the equipment and procedures for which are identical across all sites, with a regulatory dossier drawn up anew for each location.
How long should I allow for this?
Allow 3 to 6 months for a bespoke show. On top of this, there are administrative lead times, which run in parallel but are separate from the creative process: a minimum of 1 month for a fireworks display, and a minimum of 45 days for a drone light flight.