WESTLIFEfunction to composite the images, which we then took as an auxiliar y
output to get a quad view of the cameras,” said Video Director Billy
Robinson. “That AUX, alongside the programme feed of M/E 1 and M/E 2,
was then fed into disguise gx 2 media ser vers to combine all of the live
camera visuals that I cut, with the other show content Tom described.”
The Twenty Tour wasn’t the first time Robinson had worked with
Westlife. In fact, he worked with the band for more than 10 years before
it split.
“I know the lads really well,” he said. “Each of them has their own quirks,
and I can easily predict how they’ll react or behave. This undoubtedly
results in a slicker cut as most of the time, I can anticipate which camera weneed to go to next.” Robinson continued: “Looking back on the tour, I would
say Liverpool was my favourite show as it’s my hometown, but the scale of
Croke Park was just incredible. And with it being the final one, after more
than two months on the road, it meant we could finally go home!”
Levitt added: “It has been great working with Westlife. Though the tour
hasn’t been without its challenges, particularly with the venue and staging
characteristics mentioned earlier, being able to trust that your equipment
isn’t one of those headaches is invaluable.”
TPi
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