Smode Helps Adapt Cult French Movie Into Triumphant Musical

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Peter J. Knight
Moving Image
Specialist
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+447974 930772
www.madcornishprojectionist.co.uk
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From:
Smode Press
Date:
19 March 2025 at 10:58:57 GMT
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Peter
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SMODE helps adapt cult French movie into triumphant musical
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Smode Press

SMODE helps adapt cult French movie into triumphant musical
The stage adaptation of La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape
SMODE transforms cult movieView onlineCASE STUDYSMODE helps adapt cult French movie into triumphant musicalDOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREUsing SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREMélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.comWebsiteInstagramYouTubeLinkedInFacebookCopyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences SMODE transforms cult movieView online SMODE transforms cult movieView online SMODE transforms cult movieView online SMODE transforms cult movieView online SMODE transforms cult movie View online CASE STUDYSMODE helps adapt cult French movie into triumphant musicalDOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREUsing SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREMélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.comWebsiteInstagramYouTubeLinkedInFacebook CASE STUDYSMODE helps adapt cult French movie into triumphant musicalDOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREUsing SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREMélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.comWebsiteInstagramYouTubeLinkedInFacebook CASE STUDYSMODE helps adapt cult French movie into triumphant musicalDOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREUsing SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREMélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.comWebsiteInstagramYouTubeLinkedInFacebook CASE STUDY CASE STUDY SMODE helps adapt cult French movie into triumphant musical SMODE helps adapt cult French movie into triumphant musical DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s) Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s) DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.io Alexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook Website Instagram YouTube LinkedIn Facebook Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences
SMODE transforms cult movieView online SMODE transforms cult movieView online SMODE transforms cult movieView online SMODE transforms cult movieView online SMODE transforms cult movie View online
SMODE transforms cult movieView online SMODE transforms cult movieView online SMODE transforms cult movieView online SMODE transforms cult movie View online
SMODE transforms cult movieView online SMODE transforms cult movieView online SMODE transforms cult movie View online
SMODE transforms cult movieView online SMODE transforms cult movie View online
SMODE transforms cult movie
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CASE STUDYSMODE helps adapt cult French movie into triumphant musicalDOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREUsing SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREMélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.comWebsiteInstagramYouTubeLinkedInFacebook CASE STUDYSMODE helps adapt cult French movie into triumphant musicalDOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREUsing SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREMélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.comWebsiteInstagramYouTubeLinkedInFacebook CASE STUDYSMODE helps adapt cult French movie into triumphant musicalDOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREUsing SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREMélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.comWebsiteInstagramYouTubeLinkedInFacebook CASE STUDY CASE STUDY SMODE helps adapt cult French movie into triumphant musical SMODE helps adapt cult French movie into triumphant musical DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s) Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s) DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.io Alexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook Website Instagram YouTube LinkedIn Facebook
CASE STUDYSMODE helps adapt cult French movie into triumphant musicalDOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREUsing SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREMélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.comWebsiteInstagramYouTubeLinkedInFacebook CASE STUDYSMODE helps adapt cult French movie into triumphant musicalDOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREUsing SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREMélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.comWebsiteInstagramYouTubeLinkedInFacebook CASE STUDY CASE STUDY SMODE helps adapt cult French movie into triumphant musical SMODE helps adapt cult French movie into triumphant musical DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s) Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s) DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.io Alexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook Website Instagram YouTube LinkedIn Facebook
CASE STUDYSMODE helps adapt cult French movie into triumphant musicalDOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREUsing SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HEREMélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.comWebsiteInstagramYouTubeLinkedInFacebook CASE STUDY CASE STUDY SMODE helps adapt cult French movie into triumphant musical SMODE helps adapt cult French movie into triumphant musical DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s) Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s) DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.io Alexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook WebsiteInstagramYouTubeLinkedInFacebook Website Instagram YouTube LinkedIn Facebook
CASE STUDY CASE STUDY
CASE STUDY

SMODE helps adapt cult French movie into triumphant musical SMODE helps adapt cult French movie into triumphant musical
SMODE helps adapt cult French movie into triumphant musical
DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE
DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE

Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s) Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)
Using SMODE technology, the stage adaptation of cult movie La Haine offers a striking touring show that has won over critics for its relevance in today’s musical entertainment landscape.Paris (France), 19th March 2025– Nearly 30 years ago, Mathieu Kassovitz’s film La Haine influenced an entire generation of French youth, winning the 1995 Cannes Film Festival award for Best Director and the European Film Award for the Discovery of the Year, before rapidly becoming a classic of French cinema.At the end of 2024, this cult film took to the stage in the form of an immersive and explosive musical, combining dance, rap, film and theatre, La Haine, Jusqu’ici rien n’a changé (La Haine, Nothing Has Changed So Far), produced by La Haine Production, with Live Nation as the executive producer. In this theatrical adaptation, 15 scenes follow a group of three friends from a rough suburb in Paris, against the background of an impactful original soundtrack. At the heart of this artistic feat lies a technological pillar: SMODE, the media server and real-time compositing platform developed by Smode Tech.Created by video producer and stage designer Silent Partners Studio, the ambitious project meets a demanding set of specifications. The aim was to recreate a cinematic work on stage in total immersion, using a complex interactive video environment created using Unreal Engine and synchronised in real time with the stage performance. In particular, SMODE enabled harmonious integration of the video content, managed the NDI streams during the residency, and facilitated precise synchronisation with the music, lighting and a spinning floor where actors perform.This meticulous orchestration is made possible by SMODE, which exploits the capabilities of the media server’s 10-bit pipeline to faithfully render the richly coloured 3D environments – essential elements of the cinematic aesthetic – in real time, without any visual artefacts or loss of quality.“It would have been tedious to carry out this project without SMODE,” comments Romain Delaplace, the SMODE operator responsible for integrating and programming the content for this musical. He was able to call on Romain Labat (in charge of the touring part), with the two technicians working in tandem to divide up the tasks involved in programming and broadcasting the videos. The technical video file was put together by Romain Fior, while head video/LED technician Hugo Bouhalassa ensured that the equipment worked properly. The technical team worked under the direction of Nathalie Couturier (production) and Claude Muller (technical).One of the main challenges was to recreate certain iconic camera angles and movements from the film, including the famous monologue by Vinz (played by Vincent Cassel in the movie) in front of his bathroom mirror, reproduced on stage with a camera filming the actor and broadcasting the images live. Five cameras in total are used in the show, including two simultaneously during the car theft scene, with live content switching managed by SMODE.Two Barco 30K projectors display part of the content onto a front stage tulle, while the back of the stage is made of an 18 x 8 metres LS 3.9 Pro LED video screen. The entire video equipment was provided by Alabama Média, a Groupe Novelty company. The projection and LED, coupled with the stage acting, essentially offers three depths of field, bringing a natural continuity between the projected images and the stage action.“SMODE was not only pivotal to the video content management, but also in helping to create the visual illusion that is a fundamental element of the scenic narrative, allowing us to be very close to the original aesthetic of the movie,” adds Delaplace. “SMODE made it possible to manage and fluidify a high video stream for perfect synchronisation.”A single SMODE server is used for each performance, with a spare server synchronised in real-time thanks to the Smode-Net sharing environment, which also facilitated multi-user workflow during the show preparation. A NotchLC codec made it made it possible to obtain high-quality video in 10 bits of depth, thanks to its decoding speed and low compression rate. Perfect synchronisation between light, video and sound is ensured using a grandMA2 console and timecode signals. For this musical, the video set up is an integral part of the scenic narrative, reinforcing each movement of the actors with a precise visual echo.The interaction between lighting, video and the actors’ performance required meticulous calibration. The colourimetry  of the projections is adjusted so that the tones and contrasts adapt to the variations in the stage lighting, creating a smooth atmosphere overall. The Smode Tech team are also on hand to provide technical support, including for real-time adjustments due to staging constraints or last-minute changes.Romain Delaplace concludes by highlighting the key role played by SMODE in meeting all technical and artistic requirements, and helping to make the technology totally invisible for an unforgettable immersive experience: “In addition to the fundamental role played by SMODE technology, the Smode Tech team helped us throughout the project: their feedback and support were decisive in meeting the many challenges of this project.”After the acclaimed residency at the end of 2024 at La Seine Musicale (Paris), La Haine, Jusqu’ici rien n’a changé is currently on tour until the end of December 2025, with over fifty performances in France and abroad (Geneva 9–10 May, Brussels 23–24 May).Photo credits:See file name(s)
DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE
DOWNLOAD PRESS PACK WITH HIGH-RES IMAGES HERE

Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.ioAlexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.io Alexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com
Mélanie Perez |Smode Tech+33 (0)1 43 38 99 87melanie@smode.io
Alexis Lipoff |3WM Communications+44 (0)79 49 599 002alexis@3wmcomms.com
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Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences
Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences
Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences
Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences Copyright © 2025 3WM Communications Ltd, All rights reserved.You received this email because you have been identified as a media contact with interest for the AV industry.Our mailing address is:3WM Communications Ltd23 Dorset roadc/o Severin FinanceLondon,SW8 1EFUnited KingdomAdd us to your address bookunsubscribe from this listupdate subscription preferences
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Source: Press Release