February 24, 2026

Filming Experiential for the Second Audience

Experiential is best lived in real time. We get stuck in, we have fun. And then it’s over.

But as the creative agency behind the event, the work doesn’t stop as the last guest leaves. We’re not talking reports, wraps, or the de-rig. We’re talking about content.

The only version of months of hard work most people will ever see is what we choose to publish. Post-event content lives on our website, socials, creds decks, or in the inbox of someone deciding whether we’re the right partner for their next brief.

So how do you film experiential events in a way that actually does the experience justice?

Here’s some of our must-do principles for making content work for us.

Simple documentation isn’t enough

There’s a safe way to film events. Wide shots, empty rooms, clean sets before the guests arrive. They’re lovely, but they don’t convey if the experience worked.

If you’re not capturing how guests interact with the environment, performers, and each other, you’re documenting a space, not an experience.

Experiential is about people, first and foremost. That’s why, when we film our work, people are the focus. For video in particular, reaction beats perfection.

Imperfection reads as authenticity, and authenticity is far more persuasive than polish, especially for that second audience deciding whether to trust you with their next brief. It’s also not just about isolated moments. It’s important to echo the full journey. What’s the point if chunks of the day are missing?

While the final edit can ebb and flow creatively, the entire experience needs to be showcased. Some projects benefit from a looser approach; others demand chronology.

For example, a six-room immersive where pacing and progression matter should be captured as the guest experiences it. Editing a sampling campaign video? Let your creativity run wild.

‍

You can’t replicate the room (so don’t try)

A screen will never feel like standing in the middle of a room at its peak. It won’t fully replicate the scale, the laughter, the excitement, or the fear, if that’s what you’re going for.

So instead of replication, think translation.

A film should feel like a natural extension of the live experience. Before briefing photographers or videographers, we sit down with project teams and ask:

What’s the intent of the experience?
What energy are we aiming for?
How should guests feel?

We then shape those answers into a narrative that works across platforms, without losing the soul of the live.

For most projects, we create a sizzle film as our hero piece of content. Although it’s solid as a standalone piece, it has to work hard: LinkedIn, Instagram, website, creds decks, industry press, the list goes on.

To make the video impactful wherever it’s sitting, flexibility in filming is key. If you’ve captured the right moments, adapting for different platforms feels far more natural than trying to force it later down the line.

Sound is also criminally underrated. Music choice absolutely matters, but layering the ambience of the room, plus subtle sound design and effects carry emotional weight that visuals alone can't. It’s often the last decision in post-production, but one of the most powerful. It’s what makes the second audience feel the atmosphere beyond the screen.

One of our most recent examples is our work for a Stranger Things S5 fan activation.

Our final edit didn’t document the day beat by beat. Instead, the edit jumped around to match the day’s hectic vibe, building momentum without losing any of the experience’s key touchpoints. Tactical colour grading echoed the show’s 80s aesthetic, sound effects were layered throughout, and creative cuts kept the energy high.

For the finale moment - Vecna tearing through the rift - we pushed the editing a little further. Distorted audio, warped footage and unnerving visual techniques that mirrored the eerie atmosphere in Trinity Buoy Wharf.

The second audience

Every event has two audiences. The first is in the room. The second will never be there, but you still want them to understand it: future clients, collaborators, press, talent, industry peers.

The only encounter they have with your work (yet) is through what you publish. No pressure.

Acknowledging that second audience changes everything. It influences what footage you prioritise, how you edit, how the narrative is shaped and how guest reactions and emotions are framed.

That said, we try not to focus too much on the people watching at home. And here’s why.

Regardless of who the content is for - B2B, consumer, festival, brand - we always stay rooted in who Bearded Kitten is. Our content is unmistakably us.

And for what it’s worth, this thinking comes in later than you might expect. While many agencies plan content capture from day one, we don’t. Our content approach kicks in once the event design is signed off and in production. Lock it in too early, and you’re just chasing endless iterations.

Maintain authenticity, always

We have a clear, confident sense of who we are, so we’re never worried about putting content into the world that doesn’t reflect us.

Our tone of voice is consistent across everything. Short-form, long-form, stills or video. Our own socials or a leading publication. The Bearded Kitten personality is always at the forefront.

Our key piece of advice is never second-guess yourself. Find your unique, authentic tone of voice and commit to it. You might worry you’re “too much” or not “professional enough” for the industry, but experiential thrives when it's confident and unapologetic.

Be yourself in everything you produce. The right clients will find you because of it, not in spite of it.

‍