Clockwise we’re back at this year’s Boomtown festival, Revolution of the Imagination as the official production partners. We asked our Senior Producer Sophie Jones for her tips and tricks for festival video coverage. How does live camera production differ from event coverage? At Boomtown, we handle both live camera production and event coverage. From the moment we arrive on-site, there’s a constant buzz of activity. For me, live camera production is the most intense aspect of my role as a producer. Event coverage, on the other hand, tends to be less time-sensitive. This year, we managed eight camera angles on each of the two main stages (16 angles in total), recording two distinct versions of both the opening and closing ceremonies. This process required our team to watch and participate in rehearsals to ensure we didn’t miss any key moments. We worked closely with stage management to ensure everyone had full access and was aware of designated safe filming zones. Each camera operator had a specific filming position. It was essential to ensure everyone was in place, equipped with the correct gear, and ready to roll from the moment the show started. The brief time frame to organize all of this adds to the challenge. While the principles of both event video coverage and live camera production are similar, live production comes with more pressure, as we only get one chance to get everything right. For those familiar with Boomtown, the opening and closing ceremonies have become iconic highlights, celebrating the festival’s unique spirit. It’s an honour to be entrusted with their live camera production, and I hope you enjoy the films we’ve created. What were the main challenges this year and how did you overcome them? The main challenges at Boomtown this year revolved around managing communication and stage access. As a massive operation that has grown significantly over the years, Boomtown’s complexity has increased. Clockwise has been Boomtown’s official filming partner since its inception. Granting us full access to all stages and areas of the festival to capture everything as needed. However, as the festival expands, more teams join the mix, and it can become unclear who has access to specific areas. Our biggest challenge was dealing with miscommunication, which often resulted in us being denied access to film sets that we were scheduled to cover. After much back-and-forth and a seemingly endless number of wristbands on each arm, we managed to resolve these issues. What is your best piece of advice for working in live events? For those aspiring to produce or manage production for festival video coverage, my best piece of advice is to stay as calm as possible. Take a moment to think and problem-solve before jumping to the first solution that comes to mind. Working at live events can feel like having 6,000 things happening simultaneously. So allowing yourself that moment of calm—even when it doesn’t come naturally—is crucial. This will help you create the best possible experience for both your team and your client. For those looking to be part of a live event crew or shoot content, my advice is to listen to your manager and keep track of what’s happening throughout the day. Regularly check in, communicate effectively, and show respect for the artists. You’re there to support the show, not to be in the spotlight. And don’t forget to take care of yourself: make sure you’re eating and drinking water to stay energized! What is the most rewarding part of working at festivals? The finished product is the most important part of working at festivals and enjoying watching all the fruits of our hard work. A close second is getting to go to a festival for work, with a great crew of people that I’m grateful to call my friends – that’s a pretty sweet deal.