Film & Television
The Nokia Isle of Wight Festival 2005
CC-Lab returned to the Isle of Wight to cover the Festival for Channel 4, once again sponsored by Nokia. This year our coverage expanded to three hours, including a half hour special for T4.
CC-Lab were commissioned to extend their coverage of the Isle of Wight Festival this year, with a half hour show on Friday, an hour each on Saturday and Sunday nights and a half hour special for T4 on Sunday morning.
Following the success of 2004’s programming, we once again decided to produce the programmes without a presenter, focusing instead on capturing the festival experience.
Once again, Nokia part funded the production, and CC-Lab was commissioned to make sponsor credits.
This year’s festival featured Travis, Faithless, REM, The Magic Numbers, Goldie Lookin Chain, Razorlight, Starsailor, Roxy Music and Ray Davies.
Live performances were directed by Matt Askem, shooting in HD with ten cameras. The range of artists featured at festivals present a director with considerable challenges, and once again Matt managed to capture the energy and individual character of each artist.
The live performances were sequenced together with documentary footage of the Festival and interviews with artists. Three cameramen filmed around the Festival site and backstage throughout the weekend, and all material was edited on site for transmission over the weekend. Documentary elements were directed by Kieran Evans.
For the first time T4 covered the event, and we produced a half hour show presented by Anthony Crank for broadcast on Sunday morning. Anthony was joined in his tent by Goldie Lookin Chain for an impromptu lesson into how to fry eggs on a camping stove.
Sponsorship bumpers for Nokia were directed by Nick Parish, with show titles produced in house by Rob Jones. The programmes were produced by Frank Lampen and Executive Produced by Justin Rees and Jason Hocking.
The Nokia Isle of Wight Festival is one of CC-Lab’s biggest productions- with a crew of over 80 on site producing three hours of TV on very tight turnarounds, working out of four on site edit suites, and an OB truck.
The quality of the live performances alone would make these shows stand out, but together with the documentary footage the programmes are genuinely different from most TV coverage of festivals.