NEWSFOCUS:SnowPatrol
Right: LD Davy Sherwin, Chris Richmond (creative director, Atticus Finch) and Blue Leach (tour video director and animation director for Splinter Films). Bottom: Video stills from the animated film.
mesmerised by a glimpse o f Gary’s imagination Splinter Films throughout the years on various Robert Juliat Ivanhoe 2.5kW follow spots along
brought to life on the big screens.” projects with equally outstanding results. with three Wholehog III consoles.
AF’s creative director Chris Richmond Splinter are our first and last choice when it The HSL crew, chiefed by Johnny Harper,
summed up the mood felt at his company comes to doing anything with film.” featured Ian Lomas, Tim Oliver, Rob Starksfield,
when Patten and Leach approached them In conjunction with Blink TV, XL Video Tom Wright and Andy Hilton.
with the project. “It was an incredibly exciting supplied the eight columns of O-Lite LED Skan provided an L-Acoustics V-DOSC main
opportunity to create this film for a big band screen, automated via a Kinesys system, as PA system, featuring dV-DOSCs on side, centre
deserving some big graphics. well as Catalyst digital media servers, Barco and rear hangs, and SB28 subs on the ground as
“The prospect of creating 16 minutes of projection, Sony cameras, control and crew for well as flown. Marc Carolan mixed on a Midas
animation in 3D was challenging for our small the pictorially vivid show, which is also the first XL4 at FOH, while Tristan Farrow ran monitors
but highly creative team. It’s like 32 30-second in the world to feature Barco’s DLM 1200 digital from a Yamaha PM5D-RH, sending mixes to
spots, or put another way, just under a fifth of a moving lights, of which XL has supplied four. Sennheiser G2 and d&b M2 wedges.
feature film. Ouch!” Blue Leachcut
AF brought in fellow micro studio Undabo to the live I-Mag mix, “Atticus Finch conceived, rendered and
help develop an orgami style of modelling and workingwithvisuals executed the 16-minute animated film
texturing that drew on A Hundred Million Suns’ directorRobinHaddow
album artwork, and animate rockets, satellites, andLDDavySherwin, brilliantly...”Peter Mensch, Q Prime
fish, rainbows, cars, the Titanic, a Snow Patrol whose lighting was
gig (the list goes on in a similarly random supplied by HSL.
fashion) in CGI origami. Six days of production rehearsals at A Massenburg GML 8200 parametric EQ was
Between them, in a little over three months, Wembley Arena produced some long days for inserted over L/R, and other key elements of
they created over 24,000 frames of bespoke Leach, Sherwin and Haddow as they worked the the system included an Apogee Rosetta 200 for
animation to be played out on to a 60’ x 40’ show into shape, an operation also involving A/D conversion, a Dolby Lake for main system
projection screen (two Trevira cloth surfaces) Kinesys operator Rupert Reynolds from lighting EQ, XTA DP448 processors for D/A conversion
that, for the first six minutes is hung in front of contractor HSL. and delay management, and finally L-Acoustics
the band, before moving to massive Barco O- XL’s crew included engineer Gerry Corry, LA8s. Patrick Hocken, Ron Kessel and Nigel
Lite LED screens behind them. LED tech and camera operator Al Bolland, Pepper were also among the sound crew.
The whole of the animation was created projectionist and camera operator Dave Rogers, Take Back The Cities was production
using Autodesk Softimage with compositing i n ped camera operator Darren Montague, hand- managed by Wob Roberts, whose team also
After Effects. Simon Brown and Doug Kennedy held operator Jamie Cowlin and screen tech included stage manager Garry Currier, rigger
were among the other key creatives. Graham Vinall. Donny MacDonald, trucking supplier Fly By Nite,
Delighted with the results, Snow HSL’s lighting kit featured Vari*Lite 3500 Langson VIP (buses) and Popcorn (catering).
Patrol’s manager, Peter Mensch of Q Prime Wash fixtures and Martin Pro Atomic Colours, TPi
management commented: “Atticus Finch arranged on pods that glided in and out during Photography by
conceived, rendered and executed the 16- the show on Kinesys motors. Other fixtures Bradley Quinn & Louise Stickland
minute animated film brilliantly. included Robe ColorWash 2500E ATs, VL 3000 Video stills courtesy of
“Q Prime and Snow Patrol have worked with Spots, i-Pix BB4s, 4-cell Moles with scrollers and Splinter Films & Atticus Finch
TPiMAY 09 • 17
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68