I've been shooting edm shows since before covid and can definitely say this vid hits all the necessary points. I will add tho too for everyone else that some organizations will require you to have a COI to shoot at all, so you'll eventually be getting one down the road.
Thank you Nikolai! 💪🏽 Yeah a COI is pretty much as mandatory as your gear at this point. Even if you somehow get in without one, the risk is just far too high.
So in my experience it’s always been one of three scenarios: - All of the stage production (pyro/lasers/etc) is pre set and can’t be changed - and in the best cases you know exactly which drops will have them - The artist is allotted a certain amount of seconds (yes seconds) of pyro & CO2, and the stage manager or tour manager is in control of when to use it. Usually you can coordinate with them and they’ll tell you when to prepare for the shot or footage - It’s completely random and nobody knows anything lol
For lasers you want your shutter speed to be really slow, the longer your shutter speed is open to capture the light from the super fast lasers the better! For pyro & fireworks, the closer the ISO is to 100 the better! In fact, to really capture the best looking pyro, make sure your ISO is set to 100, and then adjust your aperture & shutter speed as you normally would. Hope this helps!
Thank you so much for all your videos, they're inspiring as I get into this space, particularly photographing in night clubs. Im in the market for a mid range upgrade and Im stuck between the Lumix or the Cannon, particularly the Lumix S5 and the EOS R, with one I sacrifice auto focus and the other i sacrifice 4K (EOS R). Im also worried about the low light capabilities, I was wondering if you would have any idea which would be a better option for low light and a better brand to settle with for the long run. For reference I shoot hybrid, photo and video but slightly more towards video.
Thank YOU for watching Tihami! It’s funny, I actually only have experience with Sony & Nikon cameras but I would say the most important variables to focus on when choosing a camera for concert photography & videography purposes is the following - - How’s it’s low light capabilities - Can it shoot in 4K 30FPS or better - Auto Focus capabilities, you can’t have it miss focus every other shot - image stabilization for any handheld video that you may do But to answer your question on my limited knowledge of those 2 cameras, I would go Canon all the way. Hope this helps!
I shoot 80% video and 20% photos for a friend who DJ’s locally at bars and sometimes larger venues. He’s opened for Dzeko, Felix Cartal, and a couple other smaller artists but I wasn’t assigned to shoot for them. Would it be ethical to stay when the headliners come on (with permission) and get a few videos/crowd shots while i’m already there? I would edit the photos and videos into a recap video mainly for my personal portfolio and also include a non-affiliation disclaimer.
Hey! I appreciate your question! The lines are a little blurred but basically it’s extremely important to follow the rules of the artists, venue and event organizers and if you get caught doing something you don’t have access for, it could lead to you getting banned from the venue, or shooting for an artist, etc… On top of that, if you end up tripping over something during a headlining set and you weren’t insured, it could lead to all sorts of headaches on everyone’s end. That all said… there is a graceful & respectful way to go about shooting for the headliner after your friend’s set. For example, if you chat it up with them in the green room, or if you only shoot from the crowd, etc… It really is all about permission & respect, maybe even send the edited photos & videos to the headliner within the next couple of days to show good faith? And obviously, like you said, I wouldn’t publish the work as if you were actually hired by them, because it can look bad if you were to get caught in that regard. I hope that all made sense. I hate the rules so I don’t mean to sound all corporate, but point is, to get ahead you gotta do what you gotta do, just be smart, respectful & graceful about it 😊 Nobody likes a photog/videog who’s demeanor screams “I’m better than everyone else” and they weren’t even hired by whoever they’re shooting.
@@TARIQABDELPHOTO That last part really got me thinking too. As much as I want to try and chase growth, I'll def need to start putting in more of an effort and stop waiting for things to come to me. That's the reality of my situation. As always, much respect. Thank you for the response!
Your the best. Glad to have met you at Beyond
Likewise! That was quite the experience!
I appreciate your support!
I've been shooting edm shows since before covid and can definitely say this vid hits all the necessary points. I will add tho too for everyone else that some organizations will require you to have a COI to shoot at all, so you'll eventually be getting one down the road.
Thank you Nikolai! 💪🏽
Yeah a COI is pretty much as mandatory as your gear at this point.
Even if you somehow get in without one, the risk is just far too high.
Que video tan bueno, muchas gracias!!!
Eres muy bienvenida!
I only shoot edm and everything was on point!!
Glad to hear it!
With shows with pyro/confetti/CO2 don’t they usually have times they go off kinda like a set list?
So in my experience it’s always been one of three scenarios:
- All of the stage production (pyro/lasers/etc) is pre set and can’t be changed - and in the best cases you know exactly which drops will have them
- The artist is allotted a certain amount of seconds (yes seconds) of pyro & CO2, and the stage manager or tour manager is in control of when to use it. Usually you can coordinate with them and they’ll tell you when to prepare for the shot or footage
- It’s completely random and nobody knows anything lol
What shutter speed do you usually have when shooting lasers/smoke/fire/fireworks?
For lasers you want your shutter speed to be really slow, the longer your shutter speed is open to capture the light from the super fast lasers the better!
For pyro & fireworks, the closer the ISO is to 100 the better!
In fact, to really capture the best looking pyro, make sure your ISO is set to 100, and then adjust your aperture & shutter speed as you normally would.
Hope this helps!
@@TARIQABDELPHOTO thank you, you da man!
@@1RetroMetro1 Happy to help! See you in the pit!
Thank you so much for all your videos, they're inspiring as I get into this space, particularly photographing in night clubs.
Im in the market for a mid range upgrade and Im stuck between the Lumix or the Cannon, particularly the Lumix S5 and the EOS R, with one I sacrifice auto focus and the other i sacrifice 4K (EOS R). Im also worried about the low light capabilities, I was wondering if you would have any idea which would be a better option for low light and a better brand to settle with for the long run. For reference I shoot hybrid, photo and video but slightly more towards video.
Thank YOU for watching Tihami!
It’s funny, I actually only have experience with Sony & Nikon cameras but I would say the most important variables to focus on when choosing a camera for concert photography & videography purposes is the following -
- How’s it’s low light capabilities
- Can it shoot in 4K 30FPS or better
- Auto Focus capabilities, you can’t have it miss focus every other shot
- image stabilization for any handheld video that you may do
But to answer your question on my limited knowledge of those 2 cameras, I would go Canon all the way.
Hope this helps!
I shoot 80% video and 20% photos for a friend who DJ’s locally at bars and sometimes larger venues. He’s opened for Dzeko, Felix Cartal, and a couple other smaller artists but I wasn’t assigned to shoot for them.
Would it be ethical to stay when the headliners come on (with permission) and get a few videos/crowd shots while i’m already there?
I would edit the photos and videos into a recap video mainly for my personal portfolio and also include a non-affiliation disclaimer.
Hey! I appreciate your question!
The lines are a little blurred but basically it’s extremely important to follow the rules of the artists, venue and event organizers and if you get caught doing something you don’t have access for, it could lead to you getting banned from the venue, or shooting for an artist, etc…
On top of that, if you end up tripping over something during a headlining set and you weren’t insured, it could lead to all sorts of headaches on everyone’s end.
That all said… there is a graceful & respectful way to go about shooting for the headliner after your friend’s set. For example, if you chat it up with them in the green room, or if you only shoot from the crowd, etc…
It really is all about permission & respect, maybe even send the edited photos & videos to the headliner within the next couple of days to show good faith?
And obviously, like you said, I wouldn’t publish the work as if you were actually hired by them, because it can look bad if you were to get caught in that regard. I hope that all made sense.
I hate the rules so I don’t mean to sound all corporate, but point is, to get ahead you gotta do what you gotta do, just be smart, respectful & graceful about it 😊
Nobody likes a photog/videog who’s demeanor screams “I’m better than everyone else” and they weren’t even hired by whoever they’re shooting.
@@TARIQABDELPHOTO That last part really got me thinking too. As much as I want to try and chase growth, I'll def need to start putting in more of an effort and stop waiting for things to come to me. That's the reality of my situation.
As always, much respect. Thank you for the response!