How to Film a DJ Set with 3 Cameras: A Practical Setup

Filming a DJ set is not just about placing one camera in front of the DJ and pressing record. If you want the video to capture the energy of a club or festival, you need to show the artist, the crowd, the lights and the atmosphere of the room.

A three-camera setup gives you more options during the edit and prevents the whole video from depending on a single angle. In this article, I explain how I would approach a DJ set using a Sony A7 IV as the main camera, a DJI Osmo Pocket or similar camera, and a third locked-off camera.

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The Ideal Three-Camera Setup

My goal is to give each camera a specific job:

Handheld camera: DJ, crowd and details.
Locked-off wide-angle camera: booth, mixer and lights.
Wide room camera: the full venue and the scale of the event.

This gives you enough coverage to build a dynamic edit without losing the feeling of the real space.

1. The Handheld Camera

The Sony A7 IV would be my main camera for moving around the venue and looking for the most important shots:

The DJ performing.
Hands working the controls.
The crowd reacting.
Shots from behind the booth.
Details of the lights and atmosphere.

For wide shots, I would use a Sigma 14-24mm f/2.8 or the Sony FE 14mm f/1.8 GM.

When I cannot get close to the DJ, a 70-200mm f/2.8 is useful for capturing details without interrupting the performance or getting in the way.

The handheld camera does not need to move constantly. A stable, intentional shot is usually more useful than walking around without a clear purpose.

2. The Wide-Angle Camera in Front of the DJ

This camera stays fixed in front of the mixer or close to the booth. Its purpose is to show the DJ, the controls, the lighting and part of the crowd in the same frame.

A lens between 10mm and 16mm works particularly well in this position. The Laowa 10mm f/2.8 Zero-D allows you to place the camera close to the action without losing the surrounding environment.

With an ultra-wide lens, I would always check that:

The camera is properly levelled.
The DJ is not too close to the edges of the frame.
The mixer is not excessively distorted.
There is enough space for the DJ to move.

3. The Camera at the Back of the Room

The third camera should show the full experience: the crowd, the booth, the lighting and the size of the venue.

This camera does not need to be the most expensive one. What matters is having a clean image, a bright enough lens and a stable frame for the entire set.

I would place it on a tripod with a fluid head, away from walkways and with all cables secured.

Stability: Tripods, Gimbals and Mounts

Stability is just as important as the camera itself. An expensive camera cannot fix a shot that constantly shakes or changes its framing without purpose.

Tripods

The camera at the back of the room should remain completely locked off. A tripod can also be used for the wide-angle booth camera if there is enough space.

Before the event, I would check that:

Nobody can hit the tripod.
The legs are not in a walkway.
The cables cannot cause someone to trip.
The frame includes some extra space around the action.

Gimbals

A gimbal can be useful for smooth movements through the crowd or for approaching the DJ with a more cinematic feel.

For a Sony A7 IV, a stabilizer such as the DJI RS 5 Combo can provide a solid platform, as long as the camera and lens are properly balanced.

I would not use a gimbal for every shot. In a crowded venue it can become difficult to handle and limit your ability to react quickly. When space is tight, a lightweight handheld setup is often more practical.

Compact Mounts

For small cameras and difficult positions, an articulating SmallRig arm and a SmallRig Crab Clamp can be useful.

Always check that the mount can support the equipment, that everything is properly locked and that it does not interfere with the DJ or the audience.

Using a DJI Osmo Pocket or GoPro as a Secondary Camera

The secondary camera does not need to replace the Sony A7 IV. Its main advantage is allowing you to create an extra angle without adding too much weight or taking up too much space.

The DJI Osmo Pocket 3 is practical for tight spaces. You could also use the Osmo Pocket 4 or the Osmo Pocket 4 Pro, especially if low-light performance is a priority.

Another option is a GoPro HERO13 Black or a similar action camera.

Manual Settings and LOG Recording

For this type of production, I keep all the settings under manual control. I would not leave exposure, ISO, white balance or focus to automatic settings.

My starting point would be:

4K recording.
24 or 25 fps for natural motion.
50 fps when I want to create slow motion.
Shutter speed approximately double the frame rate.
Manual white balance.
Manual exposure and ISO.
LOG profile on every camera.

On the Sony A7 IV I would use S-Log3. On a DJI Osmo Pocket I would use the available LOG profile, such as D-Log M, and on a GoPro I would use its corresponding LOG profile.

Recording every camera in LOG makes it easier to work on exposure, match different cameras and create a specific look for each video. The profiles are not identical, so each camera needs its own transformation in DaVinci Resolve.

I would also enable a Rec.709 preview whenever the camera supports it. This makes it easier to judge the image while recording without changing the LOG file itself.

The Sony A7 IV uses a Super 35 crop when recording 4K at 50 fps, so this needs to be considered when choosing lenses and framing the shots.

Audio: Room Sound and Direct Feed

The direct feed from the DJ mixer should be the main audio source whenever possible. The camera microphones can then be used to preserve the atmosphere of the venue.

A recorder such as the Tascam DR-40XP can receive a feed from the mixer while also recording room ambience with its built-in microphones.

The ideal combination would be:

Direct feed from the mixer.
An on-camera microphone such as the Tascam TM-2X or an equivalent model.
Internal audio from every camera for synchronisation.

I would check the levels before the set begins to avoid clipping. In DaVinci Resolve, I would synchronise all cameras, use the direct feed as the main source and keep some room sound to maintain the feeling of being there.

Power, Cards and Storage

A camera that stops recording during the best moment of the set is useless. Before starting, I would check the batteries, cables, available storage and camera temperature.

For 4K LOG recording, I would use fast cards such as the Lexar SILVER PRO UHS-II V60 256GB, or another card with the correct specifications for the camera.

I would also carry spare batteries. A NP-FZ100 battery and charger kit can be useful for the Sony A7 IV.

For longer productions, a SmallRig VB99 Mini V-Mount battery can help power compatible cameras and accessories.

After the event, I would copy the footage as soon as possible and keep at least two backups. A SanDisk Extreme PRO portable SSD can be useful for creating a fast first backup and working with the footage during the edit.

Be Careful with Lasers

Lasers can permanently damage a camera sensor if they hit it directly.

Before placing the cameras, I would:

Check the position of the lasers.
Speak with the lighting technician.
Avoid pointing cameras directly at the sources.
Keep the cameras outside the laser paths.

Protecting the equipment and the people at the event is more important than getting one spectacular shot.

Multicam Editing in DaVinci Resolve

The post-production workflow can be straightforward:

Download and organise all the footage.
Create a backup.
Synchronise the cameras and direct audio.
Create a multicam sequence.
Select the best angles.
Apply the correct LOG transformations.
Match colour and exposure.
Build the final look.
Mix the audio and create the social media versions.

Good preparation makes the edit much easier. When every camera has a clear purpose, you do not have to spend the whole post-production process trying to rescue the footage. You can focus on building a video with rhythm, atmosphere and personality.

Conclusion

A good DJ set video depends less on owning the most expensive equipment and more on planning the positions, stability and continuity properly.

The handheld camera brings energy. The wide-angle camera places the viewer close to the booth. The locked-off room shot shows the scale of the venue. The direct audio brings clarity, while the room sound preserves the atmosphere.

With a Sony A7 IV, a compact secondary camera, a third locked-off camera and a clear plan, you can capture the complete experience and have much more freedom during the edit.