Concert videography
Concert videography capturing live performances, audience energy, and behind-the-scenes moments with professional sound and multi-camera setups
Concert videography isn’t about getting a few flashy angles and calling it a day. It’s about capturing a live show in a way that still punches you in the gut long after the gig is over. If your edit doesn’t give someone who wasn’t there goosebumps - you’ve missed the mark.
And no, that doesn’t happen by chance. It takes technical planning, sharp instincts, the right crew, and a decent amount of nerve.
At We Stream, we’ve been behind the camera at enough gigs to know what’s at stake - especially when there are no rehearsals, no retakes, and no margin for error. From tiny backroom stages to high-pressure festival sets, concert filming is make-or-break. You either capture the moment, or you don’t. There’s not much middle ground.
And no, that doesn’t happen by chance. It takes technical planning, sharp instincts, the right crew, and a decent amount of nerve.
At We Stream, we’ve been behind the camera at enough gigs to know what’s at stake - especially when there are no rehearsals, no retakes, and no margin for error. From tiny backroom stages to high-pressure festival sets, concert filming is make-or-break. You either capture the moment, or you don’t. There’s not much middle ground.
It’s live. Which means there are no do-overs
Once the lights go down and the first chord hits, there’s no pause button. You’re either in position or you’ve missed it. The singer won’t repeat that falsetto just because your exposure was off. The lighting sequence won’t loop back so you can get a better crowd shot. And those moments - the chaos, the tears, the unexpected stage dives - they’re everything.
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We work fast - but we plan first
Even when we’re filming something that looks spontaneous, it rarely is. We spend time ahead of each show mapping out how we’re going to cover it. Not just where the camera will be - but when it will move, what lens to use, how we’ll sync audio, and how to capture both scale and emotion in the edit.
We look at stage diagrams. We check where the lighting rigs are. We talk to tour managers about access zones and house rules. We prep for audio feeds and bring backup sound recorders just in case the desk output fails. We set shot priorities in case something goes wrong and one camera goes down. Because if there’s one thing that’s guaranteed at concerts - it’s unpredictability.
We look at stage diagrams. We check where the lighting rigs are. We talk to tour managers about access zones and house rules. We prep for audio feeds and bring backup sound recorders just in case the desk output fails. We set shot priorities in case something goes wrong and one camera goes down. Because if there’s one thing that’s guaranteed at concerts - it’s unpredictability.
Our gear isn’t flashy. It’s reliable
We shoot concerts using Sony A7S III and FX3 cameras - solid choices for low light, fast autofocus, and flexibility under pressure. Most venues aren’t built for camera-friendly conditions. You’re often dealing with backlit silhouettes, heavy smoke machines, strobing reds and blues, and very little front light. You either adapt or lose the moment.
That’s why we pair our cameras with fast lenses, compact stabilisers, and audio tools that can shift from a backstage whisper to a speaker stack roar. Good gear doesn’t fix bad instincts - but it gives you the space to be reactive without dropping quality. We don’t carry unnecessary weight. We carry tools that let us move fast and think faster.
That’s why we pair our cameras with fast lenses, compact stabilisers, and audio tools that can shift from a backstage whisper to a speaker stack roar. Good gear doesn’t fix bad instincts - but it gives you the space to be reactive without dropping quality. We don’t carry unnecessary weight. We carry tools that let us move fast and think faster.
Behind the chaos: real production work
People sometimes ask us, “Can’t you just film it?” They picture a single camera on a tripod and a few hours in an edit suite. But a good concert film - one that holds attention and feels alive - usually takes a lot more.
We often blend multicam coverage of the performance with cutaways of the crowd, backstage prep, and even pre-show rituals. We might run a roaming handheld camera through the front row to grab reactions, or set up an off-stage cam for side-angle perspectives. There’s usually an interview in there too - short comments from the artist or band after the show, still flushed with adrenaline.
The final delivery? That depends on your goals. Some artists want a quick vertical reel for Instagram before they’ve even left the venue. Others want a full YouTube upload with colour grading, audio mastering, and subtle transitions that make it feel like a real film - not a phone clip with a logo slapped on.
We often blend multicam coverage of the performance with cutaways of the crowd, backstage prep, and even pre-show rituals. We might run a roaming handheld camera through the front row to grab reactions, or set up an off-stage cam for side-angle perspectives. There’s usually an interview in there too - short comments from the artist or band after the show, still flushed with adrenaline.
The final delivery? That depends on your goals. Some artists want a quick vertical reel for Instagram before they’ve even left the venue. Others want a full YouTube upload with colour grading, audio mastering, and subtle transitions that make it feel like a real film - not a phone clip with a logo slapped on.
Case study: our work with Bambie Thug
One of our longest creative partnerships has been with Bambie Thug. From concept-heavy music videos to raw, chaotic live gigs, we’ve developed a visual language that fits their sound: messy in the right way, intense without becoming noisy.
During live shows, we often capture moments that aren't even part of the performance - pre-show silences, last-second pep talks, the way the crowd shifts just before the first bass drop. We’ve mixed narrative inserts into live edits, used crowd mic recordings layered with soundboard output, and built hybrid films that live somewhere between a music video and a documentary.
One of our longest creative partnerships has been with Bambie Thug. From concept-heavy music videos to raw, chaotic live gigs, we’ve developed a visual language that fits their sound: messy in the right way, intense without becoming noisy.
During live shows, we often capture moments that aren't even part of the performance - pre-show silences, last-second pep talks, the way the crowd shifts just before the first bass drop. We’ve mixed narrative inserts into live edits, used crowd mic recordings layered with soundboard output, and built hybrid films that live somewhere between a music video and a documentary.
- Those edits go out to fans, agents, and sometimes even festival promoters. Because live videos don’t just show what happened - they sell what could happen again.
Real numbers: what does concert videography actually cost?
We don’t hide prices behind “get in touch” forms. Here’s how it usually breaks down for London-based gigs:
- One-camera show coverage: starts from £800
- Two-camera setup (main + roaming): from £1,200
- Three-camera package with crew, sound, BTS: from £2,400
- Editing per deliverable: from £350–£500
- Rush delivery or same-night cutdowns: additional, depending on brief
Who hires us?
It’s not just record labels and tour managers. We’ve worked with:
A good concert film shouldn’t feel like a recap. It should feel like memory.
The lights, the crowd, the way the bass hit your chest - we aim to capture all of it, even the parts that aren’t “visible.” Done right, concert videography doesn’t just document what happened. It becomes a part of the performance itself.
You put your energy into the stage. We’ll put ours behind the lens. And together, we’ll build something that lasts longer than the final chord.
- Independent artists building their brand
- Event organisers who want to sell out next year’s show
- Venues looking to update their promo materials
- PR teams needing press-ready clips
- Managers who are just tired of chasing friends-of-friends with DSLRs
Final thought
A good concert film shouldn’t feel like a recap. It should feel like memory.
The lights, the crowd, the way the bass hit your chest - we aim to capture all of it, even the parts that aren’t “visible.” Done right, concert videography doesn’t just document what happened. It becomes a part of the performance itself.
You put your energy into the stage. We’ll put ours behind the lens. And together, we’ll build something that lasts longer than the final chord.
FAQ
Can We Stream shoot small DIY gigs as well as festivals?
Yes. We film everything from intimate gigs in underground venues to large-scale festivals with full-stage setups. We adjust the crew and gear to match the space, vibe, and budget.
Can We Stream help plan social media outputs from the footage?
Absolutely. We often deliver short vertical cuts for Reels, TikTok, and Stories, as well as full-length edits or behind-the-scenes highlights. Let us know your platform priorities, and we’ll shape the content accordingly.
How big is the team for a typical live gig shoot?
For most live gigs, our team includes 1–3 camera operators, a gaffer or assistant if needed, and a dedicated audio technician for larger shows. We scale depending on venue size, lighting conditions, and how much coverage you want.
How do you book a concert shoot with We Stream?
Just get in touch with your date, venue, and what kind of footage you’re after (full set, highlights, BTS, audience shots, etc.). We’ll confirm availability and send a tailored quote within 24 hours.
Who should hire a concert videographer?
Artists, managers, labels, venues, and PR teams all benefit from concert footage. Whether you’re building a press kit, teasing an upcoming tour, or creating visuals for your next release—professional video helps amplify your sound.
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team@westream.uk
team@westream.uk