As Vampire Weekend’s shows have got bigger and the number of headline or near headline festival slots have grown, so too has the band’s requirement for video.
12th December, 2019
For their latest shows, multi-award-winning video director Mark Haney was drafted in to add his visual flare. Haney joined Upstage Video in 2017, and while the company looks after Vampire Weekend in the States, the industry veteran teams up with Universal Pixels in Europe.
“When I take a show to Europe as a director, one of my first calls is to Phil Mercer and his team at Universal Pixels,” reveals Haney. “The UP team is always across it when it comes to tour prep, equipment needs, crew needs and, most importantly, support.”
Universal Pixels supplied an IMAG package consisting of Kula 2M/E PPU, four Hitachi 3G Camera Channels, three Agile Robos, a UP 3G Block Camera and three Marshall Lipstick Cameras, together with four Epson 20k Projectors, two 6.43m x 3.78m side-screens and four crew.
“A good deal of my work, the last decade plus at least, has been in progressive video formats,” says Haney. "But I am also common sensical about each individual circumstance, and how it applies. Here, on these dates, I knew I could have a 25p [frame rate] look that serves the band, our vendor, production, and our creative lead Rob Sinclair. I was very happy with the results.
“A sum is only as good as its parts and the crew that I had on this most recent set of shows at Ally Pally - led by Robin Toy, with engineer Harry Watkinson, camera ops Chris Woods and Freddie Hamlin, as well as the support from Phil, Roly Oliver and Mark Strange at Universal Pixels - was key to having the great shows we had.”
Read the Production Profile in the December 2019 issue of TPi Magazine