Nights get booked long before anyone has written a brief. Send the date; everything else can be decided in the run-up.
Services
Every choice on the night is a bet about what will matter tomorrow, made before you know the answer.
That is why coverage is planned as redundancy rather than as a shot list: one camera locked wide on the stage the whole night, whatever else is happening, so there is always something to cut back to.
Positions get walked before doors open, against the run of show rather than a shot list — where the light is, where the crowd will actually stand rather than where the plan says, which side the artist will face, where you can move without ending up in someone else's frame. Everything records to two cards at once, because a card failure on a night that happens once is not a technical problem, it is a lost job. On the night the operators are on the floor and in it, not behind a barrier, which is what makes the footage look like the room felt.
Services
One night produces more than one film. Each of these is planned before the night rather than found in the edit afterwards.
One camera locked wide on the stage the whole night, whatever else is happening, and the rest of the positions moving with the room.
Right when the night runs once and there's no version of it you can go back for.
A recap that goes out while the night is still being talked about, rather than a month later when it has to work as an archive piece.
Right when the audience is still posting.
Cutdowns per artist and per moment, sized for the feeds the audience already lives in rather than cropped into them afterwards.
Right when every act on the bill needs something of its own to post.
Loops and stings cut for LED walls and venue screens, which is a different job from a film because nobody watches them from the start.
Right when the room has screens and something has to be on them.
Stills off the same night, shot alongside the coverage rather than pulled out of it afterwards.
Right when the poster for the next night needs a picture from this one.
The piece that sells next year's edition: the whole night cut into one film, built to be watched by people who weren't there.
Right when the next edition goes on sale before the room is built.
WHERE IT PLAYS
Loops and stings cut for the room's screens, because nobody watches them from the start.
Cutdowns per artist and per moment, made upright for the feeds the audience already lives in.
The aftermovie is the piece that sells next year's edition, built for people who weren't there.
In Delhi we were creative director and shoot lead on an event brand's nights from 2023 to 2025, aftermovies included.
Process
Tell us the night: the date, the venue and what you need out of it.
We come back with the coverage plan: how many cameras, where they stand and what gets delivered.
Anything that needs permission, from the venue, the promoter or an artist's team, is agreed at the walk before doors open, not on the night.
We run the coverage ourselves.
Every version is cut from the same night's footage, on one timeline.
The short social cut goes out first and the full recap follows, both on turnarounds in business days that are agreed before the night rather than after it.
Services
Get in touch
It is the shortest question you can ask a company you have never met. Ours has one answer and it does not change between the call and the shoot.
Questions
Still stuck on something? Send the idea and we'll answer it straight.
Scope sets it — shoot days, crew size, and how much finishing the work needs. You get a treatment, a schedule and a number together, and nothing is shot until you sign off all three. No number is published here because a number without a scope in front of it is a guess.
Whichever you book. When we're there all night, one camera stays locked wide on the stage from the first act to the last.
It's set from your run of show, not from a package: the positions are placed against what the room is doing at each point.
Yes. Running the account is a service of its own: what goes up, when, and who answers it.
Two rounds are included — one at rough cut, one at fine cut. Revision rounds are named in the schedule before the edit starts. Changes after picture lock are new scope, and we say so before you ask. Send notes as one consolidated list per round.
You own the final delivered film outright, in perpetuity. Ownership is agreed in writing before the shoot, never after delivery. Raw rushes and project files stay with us unless bought out separately. Ask on the first call — in the contract, not in an email.