Korn 30th Anniversary Concert: Letting The Fans Capture The Show!

Korn 30th Anniversary Concert: Letting The Fans Capture The Show!

Brie Clayton May 16, 2025

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Cinematography: S bastien Paquet

Production Company: S bastien Paquet

Assistant Camera: 200 Korn fans

We had literally hundreds and hundreds of fans all wanting to be part of this documentary and Blackmagic Camera made it all happen!

The American metal band Korn wanted fan content as part of the documentation of their 30th anniversary concert. Korn's official videographer, S bastien Paquet set up a new workflow using the Blackmagic Camera app and Blackmagic Cloud.

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Korn have been pioneers throughout their career, from creating their own sound to creating a new musical genre to revolutionizing fan/band interactions. They blew up during the infancy of the Internet, so they've always embraced technology since day one. In 1998, they were the first ever band to do an online weekly video talk show from their recording sessions. So their fans were virtually in the recording studio every Wednesday afternoon with them. So whenever I hear of something that's groundbreaking, and never been done before, I will pitch it to them!

The Korn guys have always been technology savvy, so they immediately liked the Blackmagic Camera app to the Cloud idea for their fans. We had literally hundreds and hundreds of fans all wanting to be part of this project, and the Blackmagic Camera app being synced to Blackmagic Cloud was the way to make it all happen.

I just love numerical data and the fans' content totalled 11 hours of footage. So I had lots of content to work with to bring this piece to life. It was challenging no question, but the fact that Blackmagic Cloud could support that much data seamlessly was very impressive. I could just scrub through it all instantly in the DaVinci Resolve project and there were hours of stuff for me to play with.

View From The Moshpit

There were a lot of golden nuggets from the fan content. Some really cool stuff. Like people travelling to the concert from across the world, sharing their excitement before the show. And then there was that crazy perspective of fans being buried in an ocean of sweaty bodies in the mosh pit during the concert! You can never get those sorts of shots as a cinematographer shooting with expensive gear. And no fan wants a lens pushed in their face while moshing either. So this project gave me access to new sorts of angles and immersive footage that I have never had before.

To get the Korn fans working with Blackmagic Camera and uploading their footage to my DaVinci Resolve project, all we sent them was a preset file for their phone. Using a camera preset, guaranteed the same recording format and upload settings for everyone. And for timecode sync, all we needed was the time of day for each phone! Now if we had a bit more time, I could have used a QR code for the presets, which would have saved a lot of time.

200 Filmmakers

The night of the concert was pretty much the first time this had ever been done! I don't know of any band or artist that has empowered 200 fans to film them from their own perspective on their own devices. And then to be able to share the footage and include it as an official recap was priceless!

To make all this work, it was DaVinci Resolve's cloud syncing that brought all the content together. With so much content coming in we needed a bunch of Blackmagic Cloud Stores as local drives to sync all of the footage from Blackmagic Cloud. We could use these network drives as local backups. The fans were uploading for days after the concert, so all of this had to happen remotely. DaVinci Resolve automatically creates proxies for all of the footage which we could start cutting before the camera originals were pulled across much, much later!

With so much fan-based content on the same timeline, I used Blackmagic Organisations in DaVinci Resolve to set up different groups within the same project. That helped manage how all of the footage came in. We had collaboration groups for the fans, and then more secured groups for the camera and editorial teams. So the workflow setup was actually pretty straightforward.

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