- Make sure you are ready to record for any drops, any singing, any mic involvement and the opening and closing songs.
Make sure you have good focus, good iso and know how far to stand to keep your main action points, the crowd and the DJ as the focus points.
- If recording audio (which you most likely are in Raw), make sure to record and listen to the files so you can see if audio is recording correctly.
- Have secondary audio devices (gopro strapped to chest or camera or audio recorder/phone) that can record audio in case you need a different perspective or something happens to your camera audio.
- Be incredibly quick with getting the raw clips to the artist.
- Don’t overshoot. There will only be 10-15 clip worthy events in the entire set for Raw footage/audio.
- Export the footage to an external card during the show or in the car on the way home so you can have it uploading to dropbox and sent over when you sleep.
How to Sell It
Selling raw footage will be harder than selling a recap but easier when you have done it before. No one really has a portfolio of just raw footage and any camera can almost do the trick. Being requested to do raw footage usually comes from networking and someone knowing that you are available and able to provide the product. You can always advertise that you can provide the raw footage in a dropbox within 24 hours (as long as you follow through with that )for x amount . **When we have filmed Raw footage we have been paid on average $150 for a set. We usually give the footage to their assistant on an external provided a few days later**
How to Film It
The clip below is an example of raw footage we have sold to a client. Some brands do much better with purely raw footage rather than edited recapped. They like to have the sound, the feel and the atmosphere present for their audience. The main issue with filming raw footage is that you are going to have to capture it in real time. No slow motion, no smooth shots. With raw footage clips (when they aren’t planning a recap video) you are looking to get nitty and gritty with the camera. In peoples faces and quick, sweeping shots of the DJ and the crowd. Have your focus ready for the epic shots (most always 7-10 feet from the front of the decks and 7-10 from the crowd) and get moving 10 seconds before the drop. Most raw clips you shoot you will want to aim for 20 second durations so you can trim it to 15 seconds for instagram easily. You want to capture mic sounds the crowd, artist facial expressions and any kind of reaction to the drop (which is almost always just chaos). Aim to get 10-15 of these if you plan to shoot only raw clips for posting.
Keep the camera in 23.976 fps with the best light you can and the focus on where the action happens.
Make sure that audio is recording. If you don’t have an audio recorder (or a smart phone) always have your partner or the device itself recording during these drops.** For an example, when we shot slander at Exchange, they had hired us to film just raw footage for action packed clips. We had switched out the XLR to 3.5mm cable the night before for a longer cable which would help orient it more conveniently for the ronin. We filmed all night with tons of audio, never knowing that it was going to all be static. When we got back to our house and checked the footage we found that nothing was usable by itself. This was terrifying to us. Slander was one of the biggest names we had filmed for and they were going out on a limb asking us to come out. Luckily, Colin and I had each used our phones during big drops and we were able to splice the audio from the phones to the audio from the clips. While it wasn’t the best fix it was the only fix. Slander posted multiple clips and paid us for the raw footage. That’s about as raw as it gets!