The Electric Bear Live Sessions at The Hopbarn was one of those shoots where everything just worked.

The space itself is pretty stripped back, which meant the focus stayed exactly where it should be. No overproduction, no distractions, just solid performances in a space that actually adds something rather than taking away from it.

Working with Electric Bear, the approach was simple. Keep it clean, keep it cinematic, and don’t overcomplicate it. A couple of soft sources, controlled lighting, and letting the space do most of the work. It wasn’t about forcing a look, just capturing what was already there.

The lineup brought a good mix of styles across the session, which kept things moving without needing to constantly change the setup or overthink anything.

From a filming side, everything was built around two floating cameras, with the set almost split down the middle. Cam A stayed mainly on the lead or front person on the right side, while Cam B covered drums and the left side of the set.

When Cam A needed to move off the lead to pick up other shots, Cam B would step in and hold that coverage. It kept everything seamless and meant there was always a solid angle to cut back to, without interrupting the flow of the performance.

It kept things flexible without overcomplicating it. You’ve always got a strong base to work from, but enough variation there to give each track a bit more life in the edit.

Sessions like this always come down to the people involved. When the artists are on it, the space works, and the team knows when to step in and when to leave it alone, everything just falls into place.

Big credit to Electric Bear for pulling it together and trusting the visual side of it. Always a good one to be part of.