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Tonkin captured 5SOS’s energy by placing a focus on close-up, impactful shots of the band
“There’s such a stress if you’re producing something totally live. It definitely adds a real air of tension”
Blackmagic, Arri and the like, ensuring each act has access to high-quality kit. We’re live in five Although his work tends to include editing and grading, Tonkin will produce the odd live stream, which is “all about what happens in the moment,” he says. These often take the form of a live album launch or listening party – as was the case with The Cure and 5SOS. “I only had a tiny part in operating on The Cure,” admits Tonkin, touting the experience as a career highlight. “They played Songs of a Lost World front to back and then two hours of greatest hits. That was a real reminder for me of why I love music.” For 5SOS, Tonkin worked with Moment Factory, who handled production design, to visualise the album The Feeling of Falling Upwards . “It was a collaborative project,” he shares. “There’s such a stress if you’re producing something totally live. It adds a real air of tension; normally, it’s fine if you miss a cue. It doesn’t matter. You have the edit to get the best out of it.” He concludes: “I was fortunate to have all the right people, the right team; it was an incredible show.” To arrange an online demo or book a one-to-one consultation, visit cvp.com or call 0208 380 7400
Tonkin crafted a visually striking production without sacrificing audience space for cameras
“Their lens technician would come down and help, which was invaluable. It’s not a lens that you just throw on a camera.” Between the three optics and the drone, Tonkin and his crew could capture Grennan from multiple angles, as well as get establishing shots of the audience to show off the festival’s true scale. Most other times, Tonkin hits CVP with a kit request. “I’ve worked with CVP for years. They’re my ‘dealers’, as it were.” Always on the hunt for the latest, CVP supplies him with cameras from Red,
of using a single drone. “We were about to step away at that point, but I’m a sucker for a challenge,” Tonkin admits. He called in a favour at Fujifilm, whom he’d worked with earlier that year. “I needed a decent long lens shot but didn’t have the budget to hire the lenses I wanted,” so Fujifilm offered the Duvo 14-100mm, 24-300mm and 25-1000mm. With the latter – an expensive and still relatively novel telephoto lens – Tonkin required more support with rigging, tripods and so on.
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