{"id":836,"date":"2013-01-01T16:39:00","date_gmt":"2013-01-01T16:39:00","guid":{"rendered":"https:\/\/jwolfepr.com\/dev\/?p=836"},"modified":"2024-08-20T22:16:57","modified_gmt":"2024-08-20T22:16:57","slug":"mumford-sons","status":"publish","type":"post","link":"https:\/\/jwolfepr.com\/dev\/mumford-sons\/","title":{"rendered":"RED Epic at Red Rocks: Capturing the Mumford & Sons Concert Film | DV Magazine"},"content":{"rendered":"
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Digital Video magazine \u2014 January 2013<\/em>
RED Epic at Red Rocks: Capturing the Mumford & Sons Concert Film<\/strong><\/a><\/p>\n\n\n\n

Last October, the British folk rock band Mumford & Sons announced The Road to Red Rocks<\/em> concert film, to be distributed by Pulse Films. Featuring footage from the last two concerts of the group\u2019s Gentlemen of the Road tour, which ended at the celebrated Red Rocks Amphitheatre in Golden, Colo., the documentary was released internationally last November and arrives in the U.S. on January 22.<\/p>\n\n\n\n

Cinematographer Giles Dunning, who also shot the Mumford & Sons 2012 tour documentary Big Easy Express<\/em>, as well as LCD Soundsystem: Shut Up and Play the Hits<\/em> and The White Stripes documentary Under Great White Northern Lights<\/em>, chose RED EPIC cameras outfitted with Canon L series and Angenieux Optimo zoom lenses to capture live concert footage for the film.<\/p>\n\n\n\n

\u201cWe shot the LCD Soundsystem Madison Square Garden show on the Arri Alexa, which gives a great image but you\u2019re stuck with these giant lenses, which for concert situations can be quite confining,\u201d Dunning comments. \u201cIt worked for the LCD show because we had rolling tripods for many of the cameras. That show was four hours long, and those cameras are heavy and clumsy, so everyone traded off \u2013 you \u2018d do a section on handheld and a section on sticks because there was no way you could do four hours of handheld.\u201d<\/p>\n\n\n\n

For the 90-minute Mumford & Sons shows, Dunning deployed nine cameras shooting a combination of 2K and 5K widescreen footage. \u201cThe beauty of the Epic in this situation is that it can shoot 2K, which means you can shoot 16mm lenses,\u201d he enthuses. \u201cThree of the cameras were shooting 2K widescreen, and three of them were shooting 5K widescreen with Angenieux Optimo zoom lenses. And then there were three handheld cameras set up with Canon mounts using the Canon L series lenses.\u201d\u00a0(Read more…<\/em><\/a>)<\/p>\n\n\n\n

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