Live footage already has the thing everyone else has to fake. Energy. We cut it into short-form built around the moments that make someone stop, turn the sound on, and go looking for the record afterwards.
One show is not one clip. The chorus the crowd sings back and the moment that looks nothing like the studio version are two different posts, cut from the same twenty seconds of footage.
Those moments become a library. No new shoot, and no new campaign built from scratch.
The moments worth replaying are already in the footage.
Crowd moments
The audience singing, moving and reacting to the record.
Chorus drops
The part of the performance people already know.
Live energy
The moments that only happen on the stage.
Lyric moments
Lines that work naturally as captions, reactions or short-form hooks.
Artist moments
Close-ups, stage movement and memorable performance shots.
Unexpected moments
The mistakes and the reactions. The unplanned things that make live footage read as real rather than as promo.
The Transformation
Cutting the show is not the work. Finding the moment is.
A full concert is built to be lived through. A clip has a different job. It has to earn the next second, over and over.
We watch the whole set first. Every moment with a real hook gets timestamped, then shaped into vertical clips that post natively on your official sound rather than on somebody re-upload.
The same performance can tell more than one story.
CAM_01_FRONT
Performance
The moment on stage
CAM_02_REAR
Crowd
The reaction
CAM_01_FRONT
Performance
The moment on stage
BPM124.0KEYF#mDUR03:42
BTS_RAW
Culture
The moment around it
How live clipping works
From footage to clips without another production day.
STEP 01
Send the footage
Upload your concert, festival or tour footage.
INGESTING...
STEP 02
Find the hooks
We identify the moments with the strongest short potential.
STEP 03
Cut for vertical
Footage is shaped into short built around the performance.
STEP 04
Distribute
The finished clips can move your wider clipping campaign.
STATUS: READY
Your time: send the footage. We handle the cut.
Tour → Content
Every stop can become another wave of content.
A tour hands you what most campaigns have to manufacture. Fresh footage. New rooms, different crowds and a genuinely different show every night, which means twenty dates produce twenty separate campaigns rather than one repeated twenty times.
UK
LONDON
LIVE FOOTAGE
STATUSCAPTURED
FR
PARIS
LIVE FOOTAGE
STATUSCAPTURED
MASTER FEED
CLIP 01ARTIST
CLIP 02CROWD
CLIP 03HOOK
CLIP 04LIVE MOMENT
GER
BERLIN
LIVE FOOTAGE
STATUSCAPTURED
USA
NEW YORK
LIVE FOOTAGE
STATUSCAPTURED
01LIVE FOOTAGE
02HOOKS FOUND
03VERTICAL CLIPS
04READY TO DISTRIBUTE
Tour → Content
The studio has the track. Live footage has the reaction.
A pristine studio recording captures intent. Live footage captures impact. The energy of a crowd, the unscripted variations, and the raw emotion of the moment transform a static file into a living experience.
Studio Content
CHARACTERISTIC 01Controlled
CHARACTERISTIC 02Finished
FOCUSArtist-focused
STATEOne recording, Planned
Live Content
CHARACTERISTIC 01Unpredictable
CHARACTERISTIC 02Immediate
FOCUSArtist + crowd
STATEMultiple moments, Happening now
The record gives people the song.The live footage gives them the moment.
Tour → Content
Your footage keeps working after the tour bus moves on.
A show should not expire at load-out. The strongest moments become a library you can run for months, rights-cleared and billed on verified views like any other campaign. A finished video holds the same kind of library: music video clipping.
A live show creates a brand new recording, so clearance here covers three things rather than two: the performance capture itself, the composition being performed, and whatever the venue or promoter agreement says about filming. We get all three signed off before a creator sees a frame. On a co-headline date that sometimes means two label desks, which is why we ask for the routing sheet early.
On a studio release the master is the file your distributor holds. On a tour clip it is the board mix from one specific night, which is a separate recording with its own owner even though the song is identical. The sync right still sits with the publisher. Two nights of the same setlist produce two different masters, and clearing one does not clear the other.
No, and on tour work you usually should not. A board mix carries the crowd, and the crowd is the reason live clips travel at all. We take the feed from your front-of-house engineer, level it so it survives a phone speaker, and serve that one authorised version to every creator on the run.
Yes, and a tour is where that pays off most. Clearance is set up once against the run rather than per date, so night fourteen goes out on the same paperwork as night one. A new support act or a one-off festival slot needs its own line added, which takes about a day.
It removes the rights-holder claim, which is what causes most takedowns. Live footage carries one exposure that studio content does not: venue and promoter filming restrictions, which vary by building and occasionally by tour rider. We check those against the routing sheet before the run starts, and we take the dispute on your behalf if one lands anyway.
Send the tour dates and whatever footage exists. Phone video counts. We will come back with the moments worth cutting first and the order to run them in, which follows the same five stages as any other clipping campaign.
