"We are all extremely proud of that achievement," commented Colour Sound's MD Haydn Cruickshank (H), "and in that time have seen the event develop and diversify, all the time retaining its unique approach to music programming and its emphasis on delivering the highest production values to its audiences."
Working for LarMac LIVE, contracted by producers Loud Sound Events to co-ordinate all the technical elements of the event, Colour Sound supplied lighting to the nine largest performance areas (out of 12), and LED screens to five of these performance spaces.
Around 140 moving lights plus generics, control and all the LED screens filled three artics at their north west London warehouse.
Fletch, Colour Sound's project manager, worked alongside 17 crew, including crew chief Sam Campbell for two intense days of build-up and two glorious days of performance - alongside some slightly inglorious weather but nothing that seriously dampened any enthusiasm or the spirit for the occasion!
The Main Stage - a large orbit-style roof system supplied by Acorn Event Structures - featured a production lighting design from Colour Sound that accommodated the specs of the two headlining acts, P J Harvey (LD Johnny Barker) and James Blake (LD Chris Bushell). This entailed a full overnight de-rig / re-rig on the Saturday night.
Colour Sound is also supplying the James Blake touring floor / visuals package - for all their festival dates through the summer.
Lighting trusses were sub-hung on the main stage below the roof superstructure, and the flown front truss sections were curved to the contours of the roof to maximise the height.
Upstage, a 10m wide by 6m tall LED screen was installed made up from Colour Sound's proprietary BT-7 LED screen product.
The moving lights on this stage were a mix of 18 x Clay Paky Alpha Spot 1500s, chosen for their power and punch, eight CP Sharpies and 16 x a.leda K20s fitted with B-EYE lenses, dotted all over the trusses for the best and most dynamic coverage, and this combination of lights offered up plenty of options. They were joined by eight Martin Atomic strobes and eight 8-lite Moles.
The house control desk was a ChamSys MQ300 and the FOH was looked after for Colour Sound by Chris Steel and Toby Lovegrove who made sure that all the bands had a great looking lightshow and that any guest LDs were made welcome and had all the kit they wanted and needed at their fingertips.
James Blake used his own touring video screen, flown just in front of the house one, and this was tech'd by Zac Blayton for Colour Sound.
"Field Day is one of my favourite festivals of the season," says Fletch, "It is fun to work on, a great team of people all work very hard to deliver the very best production elements to a great audience, and there is a nice synergy and spirit. We all appreciate the great loyalty of being a supplier for 10 years - which is quite an achievement."
Field Day was one of the highlights so far in Colour Sound's frenetic festival calendar, which includes over 60 events all over the country throughout the summer for which they are providing design, lighting and video equipment and crew.
(Jim Evans)
