Working across events like splash! Festival, Deichbrand, Heroes Festivals, Wacken open air, Full Force or Sputnik Spring Break. Real insights into festival video production, working with artists, and capturing live events under pressure.Most of the time, I’ve been part of aftermovie teams or creating fast-moving content for brands right in the middle of everything. Long days, short nights, constant movement. You’re always switching between stages, backstage, crowd, artist areas, just trying to stay one step ahead of the moment.
Inside Festival Videography
Festival videography isn’t something you can fully plan. You show up prepared, but once you’re in it, it’s all about instinct. Reading the energy, moving fast, and knowing when something real is about to happen.
At the same time, there’s a real responsibility that comes with it. You’re not just filming — you’re representing the entire festival. Showing it in the best possible light, capturing the atmosphere, the scale, the emotion. And in the best case, creating something that makes people want to be there next year.
You’re often working close to the artists too, which means being sharp, respectful, and ready at all times.
Conditions aren’t always perfect either. Dust in the air, heavy rain, unpredictable light, you deal with whatever the situation throws at you. No excuses, no slowing down. You adapt, protect your gear, and keep shooting.At the same time, the way festival content works has changed a lot.
Back then, the aftermovie was the highlight, something that dropped maybe a week after the festival and brought everything together in one strong piece.
Today, it’s different. Content has shifted towards daily reels, short-form clips, and fast social edits, ideally turned around the same day while the festival is still happening. It’s not just about one big film anymore, it’s about being present in real time.Part of that shift comes down to how people consume content now, faster, more direct, more frequent. And of course, budgets play a role too. Productions have to be leaner, quicker, more efficient, without losing impact.
But what really stands out is the people. The teams you work with, the energy on set, and the shared mindset. Everyone’s locked in, doing their part, and somehow it all comes together.
Sometimes it honestly feels like every videographer out there is doing their own thing throughout the year, and then at festivals, everyone links up. Like a bunch of superheroes showing up in the same place, each with their own style, their own way of moving, but all chasing the same goal. At the end of the day, it’s not just about capturing what’s happening. It’s about turning those moments into visuals that actually feel like being there. Fast, real, and built for the way people experience content today.
Moments That Stay
Over time, you end up in situations you can’t really plan, the kind of moments that just happen when you’re in the middle of it.Flying in a helicopter with Paula Hartmann over Deichbrand, being in the studio with Machine Gun Kelly, sessions with artists like Sido, Haftbefehl or Trettmann, or catching raw freestyle moments with Topaz Jones.
These are the moments that stick. Not because they’re big names, but because of the energy, the access, and the trust you’re given to be there and capture it.
One of Those Moments
Every now and then, something happens that you can’t plan and don’t forget.Right after Machine Gun Kelly had just left the studio, we got into a short freestyle session with Topaz Jones, who, at that time, was actually one of my favorite artists. The vibe was super easy, just one of those natural moments.
Then suddenly, everything shifted. People started getting quiet, a bit nervous, and within seconds, Mac Miller walked into the studio. No big announcement, no setup, just one of those unreal moments you only realize fully after it happens. Rest in peace, Mac.
Gear & Setup
When it comes to gear, I like to keep it simple and reliable. Most of the time I’m working off a MacBook Pro for quick turnarounds and edits on the go, especially during festivals where speed matters. On the camera side, I’ve been shooting a lot with the RED Dragon X 6K. Yeah, it might be a bit overkill in some situations, but I like having that level of quality and flexibility when it counts.
Lens-wise, I keep it pretty minimal. The Sigma 18–35mm is my go-to for most situations, super versatile, fast, and perfect for run-and-gun setups. I also like to have an ultra wide with me, something around 11mm, just to capture scale and atmosphere when needed.I’m not really a 70–200 kind of shooter, it’s just not my style. I prefer being closer to the action, moving with the moment instead of watching it from a distance.
Audio stays simple too, usually a shotgun mic for clean ambient sound and quick setups.And on the side, I always carry my Leica for snapshots. Different pace, different feel, but still part of the story.
WORK
A selection of projects I’ve worked on.
If you're looking for festival video production or event content, check out my work.
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