ZR A hands-on masterclass shot on a real, sold-out show — capturing live music start to finish. The first class has wrapped. The next one's coming — get on the list.
Trained byPeter John & Dan Kelaart Ninety seconds inside the masterclass
Every seat is kitted with a Nikon ZR cinema camera and a Nikkor Z lens for the night — supplied by Nikon. Nothing to buy, nothing to bring. The compact cinema body the pros are moving to, in your hands on a real shoot.
You've watched the tutorials. You've shot a few gigs from the crowd. But filming live music for real means one take, no rehearsal, a room full of people — and access to a stage most filmmakers never get near. No YouTube video gives you that. You either get on the floor of a real show, or you keep guessing.
The skills, the confidence, and the exact process — earned on a real, sold-out show, not a tutorial. This is the room you'll do it in.
I came from a DSLR thinking I was killing it. Pete put a RED in my hands, walked me through all of it — then taught me the real lesson: it's not what or how, it's the why.
I quit film school after two weeks. On location with Pete — a RED in my hands, real shows, real access — I learned more than I ever would have in years of classes.
I came in as a musician — media was just a side hobby. I walked out with skills that crossfade straight into my music, and connections you can't get anywhere else.
Before the workshop our church media was fumbling for direction. Pete answered the questions that were holding us back — and pitched it so the whole team could move forward together.
I quit my job as a primary teacher to pursue filming and needed guidance. Pete's consulting at Cine Artistlabs was exactly what I needed. He stripped away the noise and helped me finally own my worth, packaging my unique style into something the world actually wants to buy. 10/10 would take the leap again.
We're not staging a fake gig for the class. You're shooting the real thing: Antiskeptic's sold-out 25th-anniversary show — a full set, captured properly, off the desk. The kind of night you'd normally have to talk your way onto. You're on the floor for it.
Floor seats were strictly limited — six cameras, six filmmakers. That's how we run every class.
Hands-on time on a professional live concert shoot — the experience no tutorial can give you.
Your name in the credits of a finished concert film. Beats a certificate every time.
One take, no second song, a room full of people. The bit you can't practise at home — you'll have done it.
Prep, the live shoot, the audio mix, the DaVinci edit — how a concert film actually gets made, end to end.
Nikon ZR cinema cameras, a live sound desk, a sold-out show. Hands-on with a setup most people never get near — and the camera's provided.
A repeatable system for capturing any live show — so the next one's yours to run solo.
Every student walks away with a real credit on a real release, and a genuine path into paid work with us.
Not a one-day workshop — a full course built around a real concert. Learn the prep online, shoot the live show with us, then cut the sound and picture in post. Everything you'd actually do on a paid concert film.
Online, before the event. Turn up to the shoot already knowing the plan — settings, coverage, and how a multicam concert is built so it actually cuts.
On the floor at Stay Gold for Antiskeptic's sold-out 25th. You run a Nikon ZR cinema camera as part of the real multicam cut. Dinner provided. Your camera and lens are supplied for the night — nothing to buy, nothing to bring.
A live online session on the post audio edit: pulling the multitrack off the desk and mixing the show so it sounds like a record, not a phone in the crowd.
A working edit in DaVinci Resolve — cutting the night to the mix, grading it, and walking out with a finished concert piece and a workflow you can repeat.
We've been the person at the back of the room with the wrong settings and one chance to get it — that's exactly why we built this the way we did. You learn from working professionals who shoot and mix concerts for a living: the real process used on paid jobs, not theory off a slide.
Director and producer with over 20 years filming bands, artists and live shows. He directs the shoot and teaches how a concert is captured so it cuts like a film — not a phone in the crowd.
Live-sound engineer and mixer. He records the show off the desk and mixes it into a master, and leads the post-production sound module — the difference between audio that sounds like a gig and audio that sounds like a record.
Three parts of one course, three simple moves to be in it. Seats are limited by how many cameras fit on the floor.
Pay in full or split it at checkout. Once you're in, the pre-production course is yours straight away.
Work through the online pre-production course so you turn up on shoot day ready to shoot, not learning on the fly.
Film the live show, then cut the sound and picture with us in the post courses. Walk out with a finished piece and a credit.
A full class, real cameras, one live show. Everyone walked away with a credit.
No. Every student shoots on a Nikon ZR cinema camera with a Nikkor Z lens, supplied for the night by Nikon. Just turn up — the kit's on the floor waiting for you.
The skills and the experience of shooting a real, sold-out concert — a credit on the finished film, and the full workflow (pre-production, shoot, audio mix and DaVinci edit) to run it again on any show.
Yes. When the next class opens you'll be able to pay in full or split it into instalments at checkout. One price covers the entire course — pre-production, the live shoot, dinner, and both post-production modules.
Six. One camera each on the floor of the show — that's the cap on every run, so each filmmaker gets real hands-on time.
The first Live Concert Masterclass is done — six filmmakers, six cameras, one sold-out show, captured and cut start to finish. We keep every run small, so it only opens a few times a year.
Want in on the next one? Add your name below and you'll be first to hear when dates, pricing and seats go live — before it's public.
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