XL Video 'Portray' Kaiser Chiefs On Tour

The Kaiser Chiefs wanted something completely different video-wise for the latest arena leg of their tour, so set and lighting designer Richard Larkum came up with the idea of having five portrait screens crowning the top edge of the stage.
XL Video was asked to supply kit and crew. The project was handled for them by Jo Beirne and Phil Mercer, who also initially suggested they use Jon Shrimpton to direct the show’s camera mix.
Other key decisions made on the video front included not to have any onstage content and not to have any side stage IMAG screens.
Larkum and Shrimpton worked closely to develop the show from there, Shrimpton and his very individual cutting and mixing style adding movement and drama to the visual mix.
To encourage the flow of communication between lighting and video, Larkum insisted that Shrimpton operated his (specially liquid-proofed) GV Kayak mixer/switcher from the front of house position for the show.
This was a first – along with working with the band - for Shrimpton, but now he's done it, he thinks it's the absolute logical place to be to produce a good video mix. Being side by side allowed him and Larkum to interact far easier and more fluidly than if he’d been ensconced in the traditional dark cornered backstage video ‘bunker’. Both think this set up is very much the way forward when video and camera direction are so intricately entwined in the show.
Phil Mercer recommended Barco O-lite for the screens - each was two panels wide by five deep (1.8 x 2.6 metres), suspended on their own dedicated truss.
Determined to make it unlike any conventional IMAG, Jon and Richard decided on three Sony D35 broadcast cameras at FOH, three unmanned Sony mini cams onstage and two Sony robot cams, one in the roof and one behind the guitarist. There was also a Sony HD cam used as a reverse on lead singer Ricky Wilson for the rare occasions when he stood still long enough.
Shrimpton programmed a selection of different looks for the screen using the five Aux outputs on the Kayak as presets. The cameras were cut to screen via a Catalyst digital media server which was utilised for a few carefully selected effects including coloration.
Each of the FOH cameras concentrated on one band member. The robot cams were operated by Al Wright, and Shrimpton had a remote zoom for the centre stage mini cam.
The main creative challenge says Shrimpton was keeping everything going and matching the massive energy levels of the band with the camera mix, whilst simultaneously ensuring video and lighting looks were working together as a full stage visual medium.
Shrimpton’s other XL crew members were Alastair MacDiarmid (engineer) and Robyn Tearle (Head of Cameras).
(DS)