With the rest of the stage dressed in soft white - along with the crew in their white boiler suits - the screen provided the focal point for the dynamic and energetic creative content that reflected the artistic concept of their 48:13 album.
As all the previous artists had performed on a plain black stage throughout the afternoon, the unfurling of the white drapery and the start of the numerical countdown in vibrant pink was a perfect example of how to deliver colour juxtaposition to maximum effect.
Project director, Alex Leinster headed up a team of ten crew to build the white screen and the two IMAG screens of 10mm 28sq.m on stage left and right. "As with any event, the hardware you supply is only part of the story. The bigger the rig the more important it is that you have the right crew with you to make it all happen. Our director here was Paul (Eggy) Eggerton and the crew chief was the redoubtable Andy Tonks, who always keeps a calm head in stormy seas. Working on a show of this size and remembering what a significant event this is for the band themselves, it is the combination of teamwork and endurance that wins the day."
Kasabian are a band who are very self aware of how their visual presence interacts with the music and the audience; this is constantly evident in creative director, Aitor Throup's design and d3 operator, Gilbert Roper's delivery on screen. Those images are supported by the six cameras used for the IMAG (HD PPU System) and directed by Paul Eggerton: "Gilbert has a very clear vision of what he wants to achieve through the show. Like the band's music, it manages to be simultaneously fluid and freeform and yet remain sharp and precise at the same time."
Roper himself endorses the human factor involved in transforming concept into a visual reality, "It was great working with Alex and all his crew; Chaos supply extremely well prepped racks along with excellent back up and support, leaving me free to concentrate on the show."
(Jim Evans)
