XL Video UK continued its long and productive working relationship with popular Welsh rockers The Stereophonics, supplying video – cameras, PPU and screens - equipment and crew for the latest UK leg of their “Keep Calm & Carry On” world tour.
XL account handler Chris Saunders has worked with the band since they first started using video, circa 1998. At that time they were still playing relatively small venues and their use of video was considered groundbreaking. He also produced their longform “Day At The Races” video, and has been involved with all their tours and live work ever since. Through this remarkable track record, he has seen the application of video in the band's show visuals grow in ambition and innovation parallel with the development and availability of the relevant technology .
The â€˜Phonics live video visuals have invariably been a lighting design driven element – and Saunders has seen several LDs take the â€˜hot seat' over the last 12 years, including their current LD Canadian Brent Clark, whom he describes as “Highly creative”.
“Brent has been with the band for a number of years, so he has a great rapport with them which is reflected very dynamically in the show's visual design and operation.” He adds that Clark is fully focused on making the video and lighting a seamlessly entity, and thinks this last flurry of gigs were “Among the best to date” in terms of integration of the 2 mediums.
Clark's design featured a large Pixled F30 screen at the back of the stage, 13.5 metres long by 4.5 high, which was fed with content stored on his own customized media server – a hybrid combining the best elements from the Arkaos and Vixen media servers. It was triggered via his grandMA console. Clark also produced all the playback content and fed 2 mini cams into his system, plus feeds from the XL Video IMAG PPU, all of which he effected and output to the LED screen via the media server.
The 4 camera (Sony HXC100s) IMAG mix was cut by Paul “Eggy” Eggerton using one of XL's Kayak switchers. The cameras were positioned at FOH (with an 86 lens), two in the pit on sticks and one hand-held onstage. The camera package was supplied to the tour via Blink TV.
Eggerton also ran a â€˜Magic DaVE' digital video effects machine, which is much loved for its vintage grading qualities and ability to produce fabulous old skool effects which were woven into his raw and edgy styled mix.
The IMAG was projected onto two 16 x 9 ft side screens via 2 sets of double stacked Barco SLM12 projectors.
Saunders says, â€˜It has been a great experience working with a band over this length of time and really seeing their show evolve along with their musical output”.
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