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CPL supplies video to Camper Calling festival
Celebrating its fourth year, the UK’s Camper Calling music festival organizers Jazz Events upped the ante and invested in more production. CPL was back as video supplier to the main Lakeside Stage. The company has been involved since the first one in 2016 and this time added LED IMAG side screens to their package for the first time.
The stage - one of Star Live’s mobile structures - was bigger this year, around 15 metres wide, and the two IMAG screens were rigged either side, each measuring 6 meters wide by 3.6 metres high and made up from CPL’s Roe CB5 LED product in Air Frames.
Onstage more CB5 was set up as a 2.4-metre-wide by 4.8-metre-deep centre screen flanked by four different length columns - two per side - with drops of 4.2 and 3.6 metres. The gently asymmetric look was designed by CPL’s events director Lee Gruszeckyj to break up the stage.
All the screens were processed by Brompton Tessera SX40s - main and hot backup - for full redundancy. A D3 4x4 media server was supplied to feed the onstage screen elements, and CPL produced and composited all the content. The IMAG screens were used for public announcements and for roving audience camera pick-ups during the changeovers.
CPL’s control/command position was established in a portacabin backstage, from where Lee Gruszeckyj directed the camera mix. He worked with four crew on the show days and an extra five for the in/out.
Also feeding into the Barco E2 system used for screen management were four cameras. Two Sony HXC-100s, one with a Canon CJ12 lens, was stationed in the pit for close-ups, and the other was located back at the FOH position, fitted with an HJ40 lens for overall shots and some zoom-ins.
Two of CPL’s Agile remote cameras were positioned onstage - one fixed on the stage left structural leg truss, and the other on a movable stand. This often sat behind the drum kit to capture a full reverse shot of the crowd from stage, but this was variable depending on the act and their backline setup.
On site Lee Gruszeckyj and his team worked with the crew from Urban Audio who supplied sound and lighting and production manager Warren ‘Waz’ Fisher.
(Photos: Charlie O’Beirne/Lukonic)
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