For it's sixtieth series, Procam Take 2's projects team helped transition Later … with Jools Holland from a traditional broadcast camera system to the ARRI Cine Multicam workflow. In a reimagined format, performances were filmed at the restored Alexandra Palace Theatre using a combination of seven ARRI cameras for a stunning cinematic look. From creating the fibre infrastructure for the camera systems, to building on-site technical and production galleries, the PT2 team were proud to help realise the visual ambition of such an iconic show.
Procam Take 2's Projects team facilitated the filming of Glastonbury 2021 ‘Live at Worthy Farm’ for Driift and BBC Studios, filming ten artists performing on ten bespoke stages in the week leading up to the six-hour livestream on Saturday 22nd May 2021. They prepped, delivered, and rigged a total of seven ARRI Amiras and ARRI Alexa Minis, which increased to ten later in the week for Coldplay’s set. All cameras were used in Multicam mode to provide an efficient and flexible multi-camera workflow whilst delivering a high-quality look, elevating the footage beyond what would normally be expected in an OB environment.
Procam Take 2’s Projects division proudly supported the filming of O Come All Ye Ravers, an Ibiza Classics Global Live Stream from Pete Tong and the Heritage Orchestra, conducted by Jules Buckley. The concert was filmed using a total of ten ARRI cameras - six ARRI Amiras and four ARRI Alexa Minis. Using the ARRI’s in Multicam mode with a bespoke lens control system, the team were able to deliver a cinematic look while retaining all of the familiarity of a traditional live production workflow, with all cameras racked and controlled from the gallery.
On Saturday 7th November, Niall Horan performed a special one-off live-streamed concert from an empty Royal Albert Hall. The show was produced in partnership with Driift and Pulse Films, selling over 125,000 tickets across 151 countries, with all profits going to Niall's touring crew, and the #WeNeedCrew relief fund. Procam Projects provided camera equipment and technical support to capture the spectacular performance, which was filmed using five Sony VENICEs with a combination of modern and vintage cinema lenses for a beautiful cinematic look.
On 30th July 2020, Dermot Kennedy performed a one-off live show ‘Some Summer Night’ at the National History Museum. The ticketed event was broadcast live from the venue via YouTube, and time-zoned to specific regions around the world. Procam Projects was approached by Ceremony London to facilitate the filming of the performance, which was captured using 4 ARRI Amiras and 1 ARRI Alexa Minis for a cinematic look.
“Procam Projects were slick and efficient, working across multiple wired and wireless cameras and recordings, with mid-event re-positioning and lens changes. The team fulfilled my technical requests and changes instantly, to the highly desirable point that I did not have to worry about anything in that department and could concentrate on the fun creative side; directing the cameras and getting the show in the can - with results that speak for themselves and a promo that lands every punch.” – Dick Carruthers, Director - Cheese Film & Video
In August 2019, Procam Projects proudly facilitated the filming of an exclusive, intimate acoustic set from Liam Gallagher for MTV Unplugged at Hull City Hall. The Procam Projects team were approached by MTV to chronicle the occasion. From the initial enquiry, the team implemented their full project management service to facilitate the successful filming of the live cinematic experience, directed by award-winning Director and Multi Camera Director, James Russell.
“Usually when you shoot with digital film cameras in a multi-camera environment, it’s a hybrid affair with cameras and lenses coming from one vendor, and a separate OB coming from another company. This can seem disjointed. I was very happy to work with a company that can supply everything – the cameras, lenses and OB, all from under one roof. Procam Projects was very good at understanding and delivering on both sets of pressures – a live multi-camera broadcast set up, married with digital cinema cameras and a whole host of more film-related considerations for our creative. Everybody from the director onwards was really happy.” – Emer Patten, EP-PIC Films & Creative