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  1. #1921  
    the sun must set to rise chommy_16's Avatar
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    -19 hrs for me
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  2. #1922  
    Coldplayer jeremyy's Avatar
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    26 hours for me
    Here I am and I'll take my time,
    Here I am and I’ll wait in line always, always..


    It's like when bacon and eggs and mushrooms and chips, put on the same plate. Become something greater than it was individual parts. It's tasty. Our sound is tasty. That is what our sound is.
    Chris Martin,2000, Channel 4 Documentary, x
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  3. #1923  
    Coldplayer Clairounette's Avatar
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    Coldplay 14/12/11 + 2/09/12 =
    Meeting Coldplay 28/02/14
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  4. #1924 for the geeks amongst you 
    mr coldplaying himself busybeeburns's Avatar
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    Coldplay Live 2012 employs ARRI ALEXA Fiber Remote Option

    ARRI’s new Fiber Remote Option for the ALEXA camera has been integrated into OB coverage of a Coldplay concert at the Stade de France in Paris. The footage forms part of a film entitled Coldplay Live 2012, which will be screened in cinemas worldwide tomorrow night before its DVD release on 19 November.

    The ALEXA Fiber Remote Option is a version of the ALEXA camera that has been adapted specifically for broadcast-style, multi-camera productions. Using a certified system that includes CopperHead from Telecast Fiber Systems, ALEXA and ALEXA Plus models can be connected through a SMPTE 311M fibre connection and remote controlled for live painting of the image.

    In May 2012 freelance cameraman Nathaniel Hill was hired as a supervisor by JADigital and began discussing ways to incorporate high-quality images into Coldplay Live 2012 with director Paul Dugdale.

    “Paul and I discussed the advantages and disadvantages of having mixed formats on the shoot,” said Hill. “For a long time I have wanted to find a better way of integrating everything the beautiful 35 mm chip cameras have to offer into the broadcast of music events and TV recordings, but found my options limited to having to involve these cameras as a completely separate entity to the main OB shoot.”

    Four ALEXA cameras were put to use on the shoot, working alongside 17 other HD cameras as part of an OB setup. Three of the ALEXAs were equipped with the Fiber Remote Option and were positioned to the front of the stage for a master wide shot, behind the band for tracking reverse shots, and in the pit to stage-left for close-ups of the band; a fourth ALEXA was operated wirelessly on a Steadicam for roaming shots on stage.

    Hill continued: “Slow motion was important on this project and we were able to record 50 fps Log C in the camera, while Paul could watch a 25 fps Rec 709 image in the OB truck, giving him yet more options in the edit. The ARRI system allowed the vision engineer in the truck to have control of iris, colour balance, blacks, gamma, shutter, knee, gain and detail. This all helped to achieve the desired look of the concert on site and to match the ALEXA image and setup with the Sony broadcast cameras.”

    www.arri.com

    http://www.tvbeurope.com/theworkflow...-remote-option
    The early bird catches the worm. The second mouse gets the cheese!
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  5. #1925  
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    -24 h for me.
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  6. #1926  
    clueing for looks Tash's Avatar
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    Review: 'Coldplay Live 2012' Endearingly Captures The Energy Of The World's Biggest Band



    If there's a way you can be the world's biggest pop band and still be underrated, well, Coldplay have figured out how. Their five albums, which always manage to be solidly artistic and hugely accessible, have sold tens of millions of copies, no small feat in the crumbling age of music, and yet their detractors say that they're boring and dull, two charges that cannot be leveled against "Coldplay Live 2012." A new concert documentary that charts their tour in support of last year's Mylo Xyloto album, 'Live 2012,' like this year's other two great concert docs ("Shut Up and Play the Hits" and "Katy Perry: Part of Me") is a boundlessly energetic, utterly endearing chronicle. Hands in the air, people.

    Running a brisk hour-long, this documentary combines footage from the band's performances at Paris' Stade de France, Montreal's Bell Centre, and their headlining gig on the Pyramid Stage at England's Glastonbury Music Festival. Combining these various gigs is a great idea for a number of reasons, and not only because we get these nifty, Google Maps-on-acid flashes where the camera zooms into some new location through a fog of zippy haze, but because we get to see things like Rihanna show up in Paris to perform a rousing rendition of the beautiful, brilliant "Princess of China," and watch how the band's vibe and energy subtly change as their location shifts.



    You can also see the evolution of the stage show particulars, especially from the prototypical version at Glastonbury (this performance was actually captured last year, before the tour had really begun). The band's stage set-up is simply mind blowing, with a runway that extends into the middle of the crowd with a big "X," pyrotechnics, lasers, giant pulsating screens, and every inch of equipment painted in bright neon splashes (the entire concept behind the album has to do with a dystopian future disrupted by outbursts of vivid color). It's outré writ large.

    In between songs, there are interviews with various band members, which aren't exactly insightful but do allow you into the creative process a little bit, and add to the aw-shucks, these-guys-are-great vibe. When lead singer and band leader Chris Martin, who's married to a woman who, in the movies, is married to Tony Stark, bashfully says, "It's exciting when you're 15 and you throw a party and people show up," well, it's hard not to crack a smile. They all seem to be genuinely thrilled to be doing what they're doing, and that positivity is palpable in the live show.



    At one point, one of the band members (you always hear them, never see them), talks about the wristbands that were passed out when people arrived at the venue. It was, according to them, one of the things that closed the gap between the performers and the audience. Then we see Chris Martin, imploring the crowd to stick their arms in the air. A switch is thrown and all of the wristbands, previously blank, light up in blinking neon colors that strobe to the music. It's one of those holy shit moments that only a huge-ass band like Coldplay could elicit, an Imagineered marvel, and even the band's most hardened, cynical critics would be hard pressed to think that it was anything but totally fucking cool.

    The songs themselves sound even bigger and more universally rousing than they sound on record. There's something about hearing an audience sing along to a song like "Hurts Like Heaven" that gives the it an added scope and makes you appreciate the Coldplay machine in action – when they were writing these songs in some cramped English recording studio, you can't help but think they knew, 30,000 screaming, crying, dancing fans would be singing along to it one day. These songs are massive; built for stadium-sized sing-alongs. And while, honestly, nobody needs to ever hear "Yellow" again, watching them perform it in the context of this documentary, which is nothing if not boundlessly enthusiastic, it comes to life once more. The band remains tirelessly professional, and each one of them are both skilled musicians and electric performers, embracing the shtick with real energy and commitment (nothing's worse than seeing a pop star phone it in). And yes, "Fix You" still tugs on the old heartstrings.

    Director Paul Dugdale gets into the spirit of the Mylo Xyloto Tour by occasionally "drawing" squiggles of bright paint on the screen, which adds to the outrageous, overstuffed nature of the experience. But he also knows when to tone it down and let the on-stage visuals speak for themselves. When "Paradise" starts subtly, with a darkened stage that's eventually brightened by glow-in-the-dark graffiti, it's striking enough without any additional flourishes. If anything, the documentary should be longer, should capture more of the live experience, to better replicate the experience of watching the band onstage. But that's a minor quibble. At the end of "Coldplay Live 2012," even a cursory understanding of the experience of watching Coldplay live is better than nothing at all. Wristbands not included

    link
    Luctor et Emergo/not swallowed in the sea


    Rotterdam 03-10-08 Nijmegen 09-09-09 Landgraaf 11-06-11 Arras 03-07-11 London 09-12-11 London 10-12-11 Rotterdam 17-12-11 London 01-06-12
    London 02-06-12 London 04-06-12 Detroit 01-08-12 The Hague 06-09-12 London 19-12-13 Cologne 25-04-14 London 01-07-14 London 02-07-14
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  7. #1927  
    Coldplayer YellowTeardrops13's Avatar
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  8. #1928  
    Coldplayer SharonlovesColdplay's Avatar
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    I am so desperate to see it, I am doing something I have never done before.....going to the cinema on my own!

    But hopefully it will be so fantastic, I won't mind being Billy-No-Mates
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  9. #1929  
    In my Place Juanma's Avatar
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    Quote:
    Originally Posted by Tash;5457726
    Review: 'Coldplay Live 2012' Endearingly Captures The Energy Of The World's Biggest Band



    If there's a way you can be the world's biggest pop band and still be underrated, well, Coldplay have figured out how. Their five albums, which always manage to be solidly artistic and hugely accessible, have sold tens of millions of copies, no small feat in the crumbling age of music, and yet their detractors say that they're boring and dull, two charges that cannot be leveled against "Coldplay Live 2012." A new concert documentary that charts their tour in support of last year's Mylo Xyloto album, 'Live 2012,' like this year's other two great concert docs ("Shut Up and Play the Hits" and "Katy Perry: Part of Me") is a boundlessly energetic, utterly endearing chronicle. Hands in the air, people.

    Running a brisk hour-long, this documentary combines footage from the band's performances at Paris' Stade de France, Montreal's Bell Centre, and their headlining gig on the Pyramid Stage at England's Glastonbury Music Festival. Combining these various gigs is a great idea for a number of reasons, and not only because we get these nifty, Google Maps-on-acid flashes where the camera zooms into some new location through a fog of zippy haze, but because we get to see things like Rihanna show up in Paris to perform a rousing rendition of the beautiful, brilliant "Princess of China," and watch how the band's vibe and energy subtly change as their location shifts.



    You can also see the evolution of the stage show particulars, especially from the prototypical version at Glastonbury (this performance was actually captured last year, before the tour had really begun). The band's stage set-up is simply mind blowing, with a runway that extends into the middle of the crowd with a big "X," pyrotechnics, lasers, giant pulsating screens, and every inch of equipment painted in bright neon splashes (the entire concept behind the album has to do with a dystopian future disrupted by outbursts of vivid color). It's outré writ large.

    In between songs, there are interviews with various band members, which aren't exactly insightful but do allow you into the creative process a little bit, and add to the aw-shucks, these-guys-are-great vibe. When lead singer and band leader Chris Martin, who's married to a woman who, in the movies, is married to Tony Stark, bashfully says, "It's exciting when you're 15 and you throw a party and people show up," well, it's hard not to crack a smile. They all seem to be genuinely thrilled to be doing what they're doing, and that positivity is palpable in the live show.



    At one point, one of the band members (you always hear them, never see them), talks about the wristbands that were passed out when people arrived at the venue. It was, according to them, one of the things that closed the gap between the performers and the audience. Then we see Chris Martin, imploring the crowd to stick their arms in the air. A switch is thrown and all of the wristbands, previously blank, light up in blinking neon colors that strobe to the music. It's one of those holy shit moments that only a huge-ass band like Coldplay could elicit, an Imagineered marvel, and even the band's most hardened, cynical critics would be hard pressed to think that it was anything but totally fucking cool.

    The songs themselves sound even bigger and more universally rousing than they sound on record. There's something about hearing an audience sing along to a song like "Hurts Like Heaven" that gives the it an added scope and makes you appreciate the Coldplay machine in action – when they were writing these songs in some cramped English recording studio, you can't help but think they knew, 30,000 screaming, crying, dancing fans would be singing along to it one day. These songs are massive; built for stadium-sized sing-alongs. And while, honestly, nobody needs to ever hear "Yellow" again, watching them perform it in the context of this documentary, which is nothing if not boundlessly enthusiastic, it comes to life once more. The band remains tirelessly professional, and each one of them are both skilled musicians and electric performers, embracing the shtick with real energy and commitment (nothing's worse than seeing a pop star phone it in). And yes, "Fix You" still tugs on the old heartstrings.

    Director Paul Dugdale gets into the spirit of the Mylo Xyloto Tour by occasionally "drawing" squiggles of bright paint on the screen, which adds to the outrageous, overstuffed nature of the experience. But he also knows when to tone it down and let the on-stage visuals speak for themselves. When "Paradise" starts subtly, with a darkened stage that's eventually brightened by glow-in-the-dark graffiti, it's striking enough without any additional flourishes. If anything, the documentary should be longer, should capture more of the live experience, to better replicate the experience of watching the band onstage. But that's a minor quibble. At the end of "Coldplay Live 2012," even a cursory understanding of the experience of watching Coldplay live is better than nothing at all. Wristbands not included

    link



    coooool
    • COLDPLAY LIVE BUENOS AIRES 26 FEB 2010

    • COLDPLAY LIVE RIO DE JANEIRO 28 FEB 2010

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  10. #1930  
    MyVioletTechnicolor MyVioletTechnicolor's Avatar
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    Liverpool One - Odeon! It's the big day!
    But, life is for living, we all know, and I don't want to live it alone.
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  11. #1931  
    See You Soon R_Burns's Avatar
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    Vue, Leeds
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  12. #1932  
    Strangeland Dreamer Troxley's Avatar
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    Quote:
    Originally Posted by chommy_16;5457525
    -19 hrs for me


    Have fun watching it in Bangkok!

    Quote:
    Originally Posted by TraceOddity;5633629
    Doesn't every girl wish she could find her very own Aragorn?
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  13. #1933  
    Coldplayer shred's Avatar
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    I'm on my way to watch it now. Couldn't get any tickets to the evening showings so have to go for the afternoon one instead.

    Looking forward to it!!
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  14. #1934  
    Little white shadows. Blockflote's Avatar
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    Mine is on 19 hrs! Cinepolis, Panama


    When Chris and Jonny were asked about their transition to pop they responded: "We're just making what we want to make. We were making what we wanted to make back in 1999, and we're doing the same thing now. Yellow is probably our most pop song, and that's on our first record. Maybe. We don't want to keep making the same record, so some people like one record, some people like another record. Our first priority is to make something that sounds cool. We don't worry about what genre it fits into."
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  15. #1935  
    Coldplayer
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    I will be out at 6:30pm SOUTHLAKE CENTER 14, 1450 PLAZA PLACE (TEXAS) tommorow nigth, I want a xyloband so bad . Everyone LETS ROCK THE CINEMA concert style !
    you better say your prayers, eat your vitamins, and believe in all the teeny tiny little hulkamaniacs brother
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