Chaplin’s World
Corsier-sur-Vevey
Corsier-sur-Vevey
Implementation of a large number of the most immersive and spectacular attractions in terms of lighting, audiovisual and multimedia technologies
Project
Chaplin’s World
Location
Manoir de Ban, Corsier-sur-Vevey, Switzerland
Category
Museum
Opening
April 2016
Client
Genii Capital Luxembourg, Meyland Investissement, Compagnie des Alpes, Roy-Export
Surface m²
3.000 m2
Scenographic cost € HT
10.000.000 €
Scope of work
Technical managementLighting designAudiovisual and multimedia engineering Show control CFO/CFA
Partners
Scenography : Atelier Confino
Museography : Yves Durand
Architect : Itten+Brechbuehl AG
Graphism : Paula Mutel,
Audiovisual production : Lobster film Serge Bromberg et Eric Lange
Audiovisual integration : Inytium
Lighting integration : Inytium
Sound design : Patrick Abrial
Set Builder : La Bodino
Construction : HRS
BET : Amstein + Walthert SA
Photographs: © Roy Export
The lighting set includes more than 1200 fixtures. Each of them is dimmed locally or in DMX and/or ArtNet.
Dynamic and RGB lighting design the Audiotorium, the studio des Temps Modernes and the Limelight Theater.
All the sequences moving images, the machinery and sounds are synchronized with the lighting sequences.
Complex video mapping for the reconstruction of the Modern Times machine.
Multiple large video projections of more than 6,00 m of base.
More than 250 audiovisual partners controlled and monitored in networks with a complete automation.
Multiple large video projections of more than 6,00 m of base.
More than 250 audiovisual partners controlled and monitored in networks with a complete automation.
Part of the tour takes place in the mansion where Charlie Chaplin spent the last 25 years of his life: the story of this man is told with finesse and poetry, not only from the point of view of the history of cinema, but also on a family and personal level.
Particular attention has been paid to the most faithful reconstruction of the existing patrimony, again thanks to a close and constructive collaboration with the people in charge of historical monuments.
The scenography, sometimes very immersive, never takes precedence over the building, nor does it erase its character.
Particular attention has been paid to the most faithful reconstruction of the existing patrimony, again thanks to a close and constructive collaboration with the people in charge of historical monuments.
The scenography, sometimes very immersive, never takes precedence over the building, nor does it erase its character.
On the other hand, in the Museum, dedicated to the actor, the scriptwriter, the director or the musician-composer, the reconstitutions of sets, the scenographic creations structured with the most advanced technologies bring to life this most inspiring and innovative cinematographic universe.
