Event Cinema
EVENT CINEMA
Traditionally, Event Cinema (the umbrella term for filming, and often broadcasting, the arts - theatre, live music, ballet, opera) has always been filmed in the traditional front-on manner, emulating the traditional viewpoint of an audience in a proscenium-arch venue. The (filmed) coverage is often uninspired - with the work adapting to the cameras’ setups, and through that, losing the show’s sense of kinetic energy and rhythm.
Whilst this kind of technique may well work for certain artforms which often involve comparatively limited movement (i.e stand-up comedy, poetry and acoustic sessions), for the majority of movement-based arts (theatre, live music, ballet, opera) - it simply does not work. That’s where we hope to do something a bit different, something that emulates (and reflects) the kind of work explored in the physical space(s) being witnessed.
VISUAL INSPIRATION
Whilst we cater event cinema solutions to a wide variety of visual sensibilities, we have been home-growing a slate of visually compelling and arresting work. We have a number of visual inspirations which cross-over between concert films we admire, multi-media pieces and works which are interdisciplinary in nature. We particularly love those which cross artistic borders.
Laufey’s A Night at the Symphony: Hollywood Bowl - ‘Dreamer’ - Link
CMAT: ‘I Wanna Be A Cowboy Baby!’ (Live at Barrowland Ballroom) - Link
People, Places and Things (National Theatre Live) - Link
Stop Making Sense: ‘Burning Down The House’ - Link
The Last Waltz: ‘Neil Young - Helpless’ - Link
Phaedra (National Theatre Live) - Link
Amazing Grace - Link
David Byrne’s American Utopia - Link
HAIM - Valentine Studios - Link
IDIOT PRAYER: Nick Cave Alone at Alexandra Palace - Link
PREVIOUS WORK IN THE MULTI-CAMERA, LIVE & PERFORMANCE SPHERE
Our previous work includes full-service production and post production across Fringe Theatre, Concerts, Acoustic Sessions, Dance and more. We have filmed shows in many different environments (see below) - ranging from bespoke theatres to outdoor experimental venues.
Previous Work (Selected)
Do Astronauts Masturbate In Space? (The Hope Theatre, 2025) - Link
Twelfth Night (Performed by/at The Living Theatre, 2023) - Link
How The Grim Reaper Got His Groove… (University of Birmingham, 2020) - Link
The Soul of Wittgenstein (Omnibus Theatre, 2018) - Link
X&Y (Lyric Hammersmith, 2017) - Link
The Loft Sessions (2017) - Link
Mother Maker (Performed by SugarBowl, 2017) - Link
Royal Academy of Dance x Sadler’s Wells: Step Live (Sadler’s Wells, 2016) - Link
Whilst we enjoy and encourage early conversations with location owners/venue representatives or indeed our clients (who can act as a conduit between the venue and us - the production company), we are no stranger to having to adapt (sometimes at short-notice) to logistical challenges which venue(s) pose. We love a challenge and often challenges are exciting to overcome and can even be embraced on the day of filming - resulting in something special and unexpected.
BOLD. IMAGINATIVE. THREE-DIMENSIONAL CAPTURE.
As you can see by the nature of our Visual Inspiration and Previous Work in this sphere, we want to create work which uses perspectives in exciting, unconventional ways. Cameras which are up-close and personal with the drama, cameras which flank the action and capture facets of a show which audiences wouldn’t normally be able to see, are just a small part of what excites us about immortalising shows through film.
As is evident in shows we’ve captured such as DAMIS? and particularly in The Living Theatre’s outdoor rendition of Twelfth Night, the camera becomes a part of the action - almost as an additional actor/dancer itself. We love employing Steadicam, Jibs and Dolly rigging in work which features and/or relies heavily on movement and the physicality of the space. We’ve enjoyed capturing shows in the round, thrust-configuration or turning proscenium-based work (i.e concerts, traditional fringe theatre) into something exciting where the audience feels involved and connected to every beat and cue.