Multicam operator and photographer for Davagariko’s concert at the Jüdische Musik- und Theaterwoche in Dresden — a three-camera live production with a complementary photo series capturing the intimacy of the performance.
Davagariko performed at the Jüdische Musik- und Theaterwoche in Dresden — a four-piece ensemble of voice, accordion, double bass and percussion. The production involved a three-camera multicam setup directed by Şafak Velioğlu, with Mindura operating the right-side camera as part of the live video capture.
Between camera cues, a spontaneous photo series was captured — one warm-toned cover image and eight monochrome frames exploring gesture, texture and the quiet intimacy of the musical dialogue on stage. The black-and-white edit preserves the mood of the performance while amplifying the visual detail that low-light natural stage lighting creates.
Operating the right-side camera in a three-camera production means holding a consistent framing on one side of the stage while staying alert to moments that need coverage — close-ups, reaction shots, instrument details. The work is technical and instinctive at the same time: following a musical performance where no two moments repeat and every cut will be permanent.
The photo series was captured between multicam cues — handheld, with natural stage light only. The warm-toned cover preserves the colour atmosphere of the performance space. The eight monochrome frames strip the scene back to its essence: the texture of an accordion bellows, a musician mid-phrase, hands on strings. Still images that complement the live footage without duplicating it.
Camera positions established during soundcheck. Time to learn the musicians’ physical language — where Ares Gratal moves when she sings, when Ira Shiran opens the accordion’s bellows widest, how Matt Adomeit positions his bow. This knowledge shapes every shot in the performance.
Right-side camera operated throughout the full concert. Manual exposure maintained across the set despite fluctuating stage lighting. Coordination with the centre camera on multicam cues — the edit is built from all three feeds simultaneously.
Photos captured between multicam cues — handheld movements through the space, close approaches to the musicians where possible. The goal was not to document the concert from a distance, but to find the moments of physical intimacy that video captures differently: a held breath, a glance between players.
Photo editing in Lightroom — the cover developed in warm tones to match the amber of the stage lights; the series converted to monochrome to strip colour and heighten texture and contrast. The final set of nine images published on Behance as a standalone visual document of the evening.
The night produced two complementary outputs: footage from the right-side camera delivered to the multicam edit, and a nine-image photo series published as an independent visual record of the performance. Together they capture Davagariko’s musical dialogue from different temporal registers — the flow of the video, the stillness of the photograph.
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