Take Me Out To The Wall Game
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Data: 8 June 2012 |
DVD 1 1. Spartacus 2. Outside The Wall Intro 3. In The Flesh? 4. The Thin Ice 5. Another Brick In The Wall (Part 1) 6. The Happiest Days Of Our Lives 7. Another Brick In The Wall (Part 2) 8. Tribute to Jean Charles de Menezes 9. *Talk* 10. Mother 11. Goodbye Blue Sky 12. Empty Spaces/What Shall We Do Now 13. Young Lust 14. One Of My Turns 15. Don't Leave Me Now 16. Another Brick In The Wall (Part 3)/The Last Few Bricks 17. Goodbye Cruel World DVD 2 1. Hey You 2. Is There Anybody Out There? 3. Nobody Home 4. Vera 5. Bring The Boys Back Home 6. Comfortably Numb 7. The Show Must Go On 8. In The Flesh 9. Run Like Hell 10. Waiting For The Worms 11. Stop 12. The Trial 13. Outside The Wall |
Band:
Roger Waters – Bass Guitar, Lead Vocals, Acoustic Guitar, & Trumpet
Graham Broad – Drums, Percussion, Ukelele
Dave Kilminster – Guitar, Banjo
G. E. Smith – Guitar, Bass Guitar, Mandolin
Snowy White – Guitar
Jon Carin – Keyboards, Guitar, Lap Steel Guitar
Harry Waters – Hammond Organ, Keyboards, Accordion
Robbie Wyckoff – Lead Vocals (songs or parts of
songs originally sung by David Gilmour)
Jon Joyce – backing vocals
Kipp Lennon – backing vocals
Mark Lennon – backing vocals
Pat Lennon – backing vocals
Notes by tapehead2:
Well despite a harrowing journey to Wrigley (almost
two hours to go nine miles... in desperation paid FIFTY DOLLARS to park...
trying to set up at the last minute with my hands shaking), I ended up having a
successful evening AND even enjoying the show. From where I was, front row of
400 level about a quarter of the way up the first base line I had a nice view of
the wall (other than the scaffolding--that would have been a lot worse had I
been directly centered). During the wide wall projections I could simply keep my
cam still, take my eyes off the LED and take in the enormity of the Wall. Even
though I was pretty far away it was still impressive.
Notes by rontoon:
I didn't even know that TH2 was going to be in town to shoot these shows and was
surprised and very excited to be able to offer my services again. While this
production doesn't quite reach the bar set by "iShoot, iEdit" I still find this
up there with the best of HRV's work. Of the 2 cameras used only one was in true
HD which means that I was going to work exclusively in SD (720 x 480 widescreen).
This gave me the advantage of correcting a lot of the footage since some needed
to be tilt-corrected and/or cropped. Even with an experienced hand it is
extremely difficult to capture a steady image when fully zoomed in and over 40
individual shots were imported into After Effects and stablized. If you notice a
shot suddenly get a bit blurry for a split second this was created by the
originally shaky camera movement which I eliminated as much as possible. I also
didn't have the advantage of 4 cameras to choose from this time so if you're
wondering why I may not be cutting in closer at any given time it's because the
footage just wasn't there.
Whereas our previous release was captured at the UC,
a much more intimate setting compared to Wrigley Field and features much closer
shots, this show offers more of the point of view of the full spectacle. Both
releases serve as a nice bookend to the tour.
Notes by MOB:
The recording by Rick B (analog4011) had great
details in the low frequencies, with bass drums and "musical" bass notes being
heard distinctively (on most recordings, the bass notes are hidden by the bass
drums and the general boominess, but this was not the case for RB's recording).
However, the rough version of RB sounded a bit muddy, due to the frequencies
above 1kHz being lower than the rest. After EQ adjustment and careful
restoration of the level for frequencies above 1kHz, the recording sounds much
better.
It was decided to use RB's recording for the rear
channels of the surround mix.
On the other hand, the recording by ravingandrooling was almost perfect, with
pristine clarity and deep sound at the same time. Surgical EQ was applied in
order to reduce some strident frequencies making the "sss" sounds too aggressive
(in the 8kHz-10kHz range), and frequencies around 80Hz needed some level
increase in order to balance the bass drums that were too prominent compared to
the musical bass notes. The levels at the beginning of In The Flesh needed
adjustment, because on the rough source the levels were too low during the first
notes, so you missed the "kick-in-your-face" of the first chords.
With the clearer and better sound quality of
ravingandrooling's recording, it was obvious to use it for the front channels of
the surround mix. It was also used for the stereo PCM audio track.
A BIG THANK YOU to my favorite videographer tapehead2 (great job shooting 2
cameras simultanteously) and my colleague MOB (the audio surpasses our previous
release!). And a special thanks to the Pig wranglers for dropping piggy 2 rows
behind us. Thanks for the great souvenir guys!
RonToon
June 2012
Dodano: 27.06.2014
