This fall, FomaSystems had the honor of being part of an extraordinary production: the intimate live performance of Christina Aguilera, filmed in Paris for the upcoming holiday concert film Christina Aguilera: Christmas in Paris. The film, directed by Emmy®‑winning Sam Wrench (Taylor Swift: The Eras Tour, Billie Eilish: Live at the O2), celebrates the 25th anniversary of Aguilera’s holiday album My Kind of Christmas. Shot in the stunning setting above the Musée du Quai Branly with the Eiffel Tower glimmering in the background, this project blended musical magic with cinematic grandeur before an exclusive audience of just 250 guests.
Our involvement began at the start of October, with two full days dedicated to planning and prep before the live concert on the evening of October 10. The brief was clear: the production team needed a remote head capable of supporting a large, professional camera setup: including a cinema camera, wireless video transmission, a distance measurement system, a matte box for filters, external lens motors, and battery with fast setup and a compact head design as key requirements.
That’s where the FoMa Antares remote head came into its own.
I used the Antares head for the first time on the ‘Christina Aguilera Christmas in Paris’ shoot mounted on a MAT Towercam – and it performed flawlessly.
I was really impressed with the complete absence of pan and tilt drift which is a very common problem with other stab heads. The halo design and powerful motors make the head easy to balance – lens changes are therefore much faster. The controller is ergonomic and moves the head with no back lash or delay. Focus and zoom controls are well placed for single hand use and the joystick is excellent with ramp control adjustable on the fly. All these improvements gave me more time to focus on framing, and being ready and able to respond to the director (Sam Wrench) in real time with no distractions.
— Adam Levi-Rodgers, DoP Camera Supervisor Agito Wirecam Technocrane remotes operator
Why the Foma Antares Was Perfect for the Job
We deployed four 12‑inch Antares units, each chosen for its strength and adaptability:
- One FoMa Antares was mounted atop a 6‑meter high tower, giving an elevated, commanding perspective over the audience and performance.
Three other FoMa Antares were paired with an Agito system from Motion Impossible, enabling smooth, fluid motion shots even in tight and unconventional spaces.
These configurations gave the camera team remarkable freedom:
- One unit ran down the central aisle between the audience.
- Another tracked on rails in front of the stage for dynamic performance coverage.
- A particularly creative rig involved placing the FoMa Antares inside the stage itself: through a narrow opening before the orchestra riser, the camera head was mounted using a Mitchell mount and operated discreetly under the stage with the Agito platform.
This setup added visually compelling angles while staying out of sight. A true testament to the versatility and sturdiness of the FoMa Antares system in live event conditions.
Filming “Christmas in Paris”
The concert was captured on the museum rooftop terrace, transforming an already magical location into a cinematic snow‑kissed holiday spectacle.
Reflecting on the project, Christina Aguilera shared her excitement with fans on Instagram:
Christmas in Paris, the film and live album, are yours tomorrow. 🎄♥️ It was magical to revisit songs from **My Kind of Christmas**, and to perform other holiday favorites live for the first time. I loved channeling beloved films like **Meet Me in St. Louis** and **The Sound of Music** against the dreamy backdrop of such a beautiful city. I can’t wait for you to see this in theaters, and to listen as you celebrate this holiday season. Let the Christmas magic begin ✨
— Christina Aguilera, via Instagram
Christina Aguilera performed a mix of holiday classics and career‑defining hits, all against the breathtaking backdrop of Paris and its iconic skyline.
In addition to the rooftop concert, scenes for the film were also shot inside the legendary Crazy Horse cabaret, adding an artistic and glamorous layer to the final film.
Looking Forward
For FomaSystems, being part of this production was not just a technical challenge, it was an opportunity to support storytelling at its most cinematic. The FoMa Antares once again proved its worth as a compact yet powerful camera head, ready to meet the demands of high‑stakes, creative live production.
Stay tuned for more projects that push the boundaries of what’s possible in live event and cinematic capture.
