Lighting Designer Michael Brown reflected the reliance on white light, shade and contrast. So when the band asked Production Manager James Dean to prospect for an IMAG system, he sought more than just good technology for Bon Iver’s latest live performance.
“Although it’s not the first time we’ve used video for the live show, it is the first time we’ve thought about using a full camera package for IMAG. We knew we would be playing bigger rooms and we wanted the audience to have the best experience possible. One of the great things Video Design offered that many others didn’t, was a range of robotic cameras. Not having camera operators intruding on stage is important to the band and their stage performance” Dean explained.
Dean took a 4 camera PPU from Video Design, 3 Bradley robotics and a long lens operated the camera for out front, plus 2 screens and laser projectors. “Video Design has done a nice job for the band; we have 4 cameras and, as far as the band and the show is concerned, it’s as if they don’t exist.”
“This was new to us,” Dean continued, “And once we got the equipment and saw how it looked it became apparent that we had positioned the screens too far above the performance area. They were almost a distraction. Video Director Paul Eggerton, suggested bringing them closer in and lower, practically alongside the performance area, something they were able to do for us quickly and easily. It means the audience has their eyes always focused at the same level; they can comfortably glance between band and screen. That was a great change.”
For Eggerton, the artistic sensibilities of the band have proved very exciting. “There are no mid-tones, it’s all very black and white, stark and contrasting.” “The focus is on the whole band,” said Eggerton. “The stage is incredibly busy with instrumentation and floor lights, so positioning the three onstage robotic heads was tricky. With three fixed points you’ve got to work to get the shots: you are finding the dynamic of the show from within a defined set of limitations; that makes it challenging to find the cut I want.”
Dean agreed: “Our LD Michael Brown lights the band mainly in open white and the band elected to follow that by having the IMAG in black and white. With Paul focused the images less on close-ups and more on abstract shots of the band, and by electing to use high contrast effects, he has added a new creative element to the show that flatters and enhances the creative art of the band. We are all really pleased.”
