Filming a NOSI Live Series show
NOSI is a Luxembourgish producer based in Vienna whose track 'So Good' passed 50 million streams in 2025. His Live Series drops an afro and melodic house set into venues that are not clubs. Every edition changes setting, so every shoot starts from scratch.
The series is built on a simple premise: play somewhere else. After a first season through unconventional venues across the Grand Duchy, the 2026 edition landed at Giolabs in Reckange-sur-Mess as a fully audiovisual proposition. NOSI also closed his season at Rockhal alongside Ferreck Dawn and the Ultraschall collective.
For a video crew, that means no setting carries over from one date to the next. A warehouse, a concert hall and an industrial space share neither ceiling height, nor darkness, nor access. Scouting is not a pre-production courtesy, it is where the shoot is actually decided: where the axes go, how high you can rig, what the lighting designer has planned and at which point in the set.
Filming at NOSI Live Series: what changes
A live set is not a club night, and the difference is total for whoever is filming.
The set is played once. There is no second take on a drop, no redoing a crowd moment. That calls for several viewpoints rolling continuously rather than one camera moving around: whatever is not covered as it happens is gone for good.
Sound is the raw material, not the atmosphere. A live aftermovie is cut on the set itself, so on a clean booth feed, synced by timecode or failing that realigned on a reference track. Filming first and looking for sound afterwards condemns the edit to approximate joins.
Finally, the lighting belongs to the show. On a proposition billed as immersive, the light design is not a problem to correct but the very thing to render. You expose for it, deep blacks included, rather than lifting an image its author wanted dark.
Access and logistics
Dates take place across the Grand Duchy, from Reckange-sur-Mess to Esch-Belval. We are fifteen minutes from the border and travel throughout the country: scouting ideally happens one to two weeks ahead, while the venue is still accessible in daylight.
What we shoot — NOSI Live Series
NightLife
High-energy club & festival content built for social.
Events
Aftermovies, multi-camera capture and teasers that relive the moment.
Frequently asked questions
Do you film electronic live sets in Luxembourg?
Yes, in clubs and unconventional venues alike. The setup is sized at scouting: ceiling height, access, available darkness and the planned light design drive how many cameras there are and where they sit.
How many cameras does a live set need?
At least two rolling continuously, because a set is not replayed. A single roaming camera loses everything that happens while it moves.
How do you capture the set audio?
A direct feed from the booth, timecode-synced when the desk allows. Failing that we realign on a reference track recorded in the room.
Why scout the venue beforehand?
Because the series changes venue every edition and no setting carries over. Scouting happens in daylight, one to two weeks ahead, while the space is still accessible.
What do you deliver after a live show?
An aftermovie cut on the set itself, plus vertical formats for the artist's and the venue's channels. Quantities and turnaround are set in the quote.
Images that leave a mark.
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