Rai is not dead the documentary : Interview with director of photography Lucas Plançon

Rai is not dead is six episodes documentary series directed by Simon Maisonobe and narrated by Dj Hadj Sameer. From missing icons, including Cheikha Remitti and Prince Hasni, to young heirs, passing by the star Khaled, the collector Hadj Sameer retraces the tumultuous course of this musical genre, between clandestinity, planetary glory and resistance. We've had a chat with the documentary's cinematographer Lucas Plançon on the creative direction, camera and lens used and some other artistic choices they made for the documentary.

Rai is not dead’s six episode series is a documentary about Raï music, its history and its evolution. The documentary has educational and cultural aspects to it. What was the creative direction that you, director Simon Maisonobe and his team decided to take for this documentary?

We wanted the cinematography to feel as vibrant and alive as the music itself. I’ve worked with Simon several times, both on live sessions and on documentaries focused on music and history, particularly in North and West Africa. Our goal was to combine and apply the skills we had developed in both areas.

For the interviews, we made a point of creating unique setups for each protagonist, deliberately avoiding the typical "chair in front of the camera with extra lighting." Instead, we used dynamic, moving backgrounds and sought out frames that were fluid and unconventional, keeping the shots lively and original.

When filming Samir in his everyday life and investigation scenes, I made sure to stay as close as possible to him. As the central narrator and the emotional connection to the music, his presence was key. His friendly and sensitive nature made it easy to build mutual trust, allowing us to capture genuine and intimate moments.

Live music also played a crucial role in the series. From the very beginning, Simon emphasized the importance of giving it a distinct aesthetic to differentiate it from the more educational or documentary-style parts of the series. It was a challenge to incorporate intimate live sessions seamlessly into the narrative while focusing on lighting and framing, but it was also an exciting opportunity. These moments allowed us to create visually rich scenes and add a dynamic, cinematic layer to the project.

Each episode contains an interview part in which we see Hadj Sameer interviewing important Rai figures, musicians or historians, and contains a performance part as well. You also filmed in daytime and nighttime. Are there any lights/luts that you used for certain shots? If so, can you give us an example of a certain scene?

I didn’t use any LUTs because we filmed in different sets and locations, I wouldn't have had the time to choose one for each setup. However, I knew the camera well and was familiar with how Inês Loura, the colorist, worked, so I had a clear idea of what could be achieved in post-production through color grading.

One moment that stands out to me is a live session we filmed with Mohamed Lamouri, a remarkable singer well-known to Parisians, partly because he continues to perform in the city’s metro. Since many music videos and live sessions had already been made with him in the metro, we wanted to show him on stage in a unique setting. We found an old cabaret hidden beside a bar in Ménilmontant, which turned out to be the perfect spot. I worked with the existing stage lights and used an Aladdin 30x30 light panel that I always carry with me to enhance the atmosphere.

Other times, the process was much more improvised. Some live sessions were shot in a car or on the street, relying entirely on instinct and adapting to the moment.

What color scheme have you chosen to support the documentary's main theme?

The goal was to maintain a natural aesthetic with a soft, warm feeling. Colors were an integral part of every frame, but we avoided introducing hues that weren’t already present in the locations where we filmed. The exception was during the live sessions, where we occasionally enhanced or brightened the colors to better suit the atmosphere when it felt appropriate.

There's a cinematic cartography in the documentary as we follow Hadj Sameer throughout these different cities that were important places in the history of Rai. What types of camera and lenses did you use when filming in these places?

We used a Sony FX9 paired with a 28-135 f4 lens that comes with the camera. For more discreet filming in the streets or in cabarets, we also had an A7SIII, which Simon could operate when we needed a second camera. We tested several options before settling on lightweight materials with the fastest response times. The lens gave us the flexibility to use zoom movements, provided excellent stabilization for the live sessions, and the camera had the sensitivity required to shoot in the dimly lit music studios. I also used Tiffen Soft FX filters to add texture and create a soft glow around the lights.

The documentary contains audiovisual supports/archives such as VHS videos, old pictures and videos. Have these forms influenced your camera choices somehow?

We knew from the start that we wanted to mix different styles and create a look that combined vintage textures. While we experimented with various types of modern and vintage equipment, we ultimately decided to maintain a modern style, drawing more inspiration from DV footage than from traditional film looks. The music and the people we filmed felt very current, not outdated ! So, we also had to capture the feeling of a modern story.

Throughout the episodes Hadj Sameer was holding an old camera taking pictures with almost each person he crossed. Was that more of a personal choice of his or was it a part of the overall creative direction?

We looked for a way to connect Samir with the people he met, while also incorporating accessories that could be linked to an investigation but still had cinematic qualities. We took inspiration from Peter Jackson’s Get Back documentary. Linda McCartney, Paul’s wife, was a photographer, and as we see her capturing moments of the Beatles, the images she takes appear right away, creating a strong sense of distance. This also gives the impression that an important moment is unfolding right in front of the camera. I came up with the idea of using disposable cameras, as they offer a connection with the 80s and 90s and provide the accessibility of a small, practical device that still produces great images thanks to film. Samir took pictures, but so did the entire production team. We ended up laughing because Samir became like a collector of Raï legend photos, much like he collects vinyl records.