Whether rigging a PTZ on a truss, sliding a Blackmagic camera across a mezzanine railing, or capturing the mayhem from inside a drum, Filipic delivers visuals that match the adrenaline of live rock—with the help of Matthews Studio Equipment.
For the past 15 years, multimedia engineer Tony Filipic has been quietly shaping the visual identity of the world-famous Whisky a Go Go in West Hollywood, California. From multi-cam livestreams to on-the-fly recording for documentaries and archival releases, Filipic’s work is enmeshed in unpredictable, loud, tightly packed environments—and he loves it.
He learned grip fundamentals in film school, then deepened that knowledge working for a grip and lighting crew in Las Vegas, learning the names, functions, and quirks of the tools that now underpin his live-concert rigs. When he moved to Hollywood in 2010, a chance conversation landed him his dream job at the legendary music club.
Today Filipic provides lighting, multicam video, live switching, and multitrack audio recording for artists performing at the Whisky and on tour. His setups range from a simple PTZ recording package to 10 cameras running simultaneously—handheld, rail-mounted, or whatever setup he concocts to spark cheers from the audience. His specialty is creatively rigging camera angles that capture the energy of a show without getting in the way of the audience. It’s a job that demands constant improvisation and gear that won’t fail. That’s where Matthews Studio Equipment comes in.
Rocking with Rock Solid Tools
Filipic’s daily kit is built around Matthews hardware: Matthellini Clamps, Mini Matthellinis, Ball Heads, Knuckle Heads, Grip Heads, Baby Pins, Gobo Plates, and compact stands that he fashions into a modular, rock-solid camera support ecosystem.
One of Filipic’s signature shots is from a camera hidden inside a drum’s cage, capturing the frenetic movement of double-kick metal drumming. Using Mini Matthellinis and articulating arms, he attaches compact cameras like GoPros directly to the drum kit’s hardware. “Those Mini Clamps go on tour with me everywhere,” he says. “I’ve mounted them on drum cages for POD, Dark Angel, and Death to All. They hold more weight than you’d expect and they’re perfect for those wild angles.”
Improvised Support Solutions
Part of the Whisky’s world-class allure is its intimacy whether the performance is a sensitive folk singer or a blow-the-roof-off metal band. Space is at a premium for the AV team but with a gotta-make-it-work attitude and resourceful tools from Matthews, Filipic orchestrates miracles night after night. He will tell you that standard camera support, like tripods, are useless in packed clubs—too much foot traffic, too many drinks—and the risk of equipment getting kicked over is high. To create a movable long-lens shot without taking floor space, Filipic builds what he calls his “sniper cam”. Combining a Matthews 2” End Jaw Matthellini, Knuckle Head, 2.5″ Grip Head, and Gobo Plate Baby Pin he mounts a fluid head directly to the second-story balcony. The result is a stable, nearly invisible operating platform with zero footprint on the floor.
Quick One-Handed Breakdown
Resourceful Filipic is a master of using small tools to get big results. Using a smartly designed steel Gobo Plate Baby Pin adapter, Filipic builds compact setups where a camera and monitor live on the same clamp. At load-out, he simply loosens the clamp and walks away holding the entire configuration in one hand. “I can grab the whole rig—camera, lens, monitor—in one move and run it back to my office. Matthews makes that possible.”
On Stage and on the Fly Grip Kit
Filipic’s work spans thousands of performances—from Tim McGraw to Def Leppard to Robbie Krieger. He’s filmed mosh pits, backstage surprises, and emotional reunion shows. On tour last year with POD, (supporting Korn and Evanescence) and other metal acts, Filipic packed a scaled-down fly kit of Matthews clamps and accessories. He was ready for anything: clubs, theaters, Live Nation rooms, you name it. Regardless of venue he could mount a camera safely to an overhead truss, speaker handles, balcony rails—anywhere crowds can’t reach. “Safety is number one,” he says. “Often these cameras are hanging over railings or above crowds. Nothing can budge—not even in a hurricane or an earthquake. I tell venue managers: ‘These are the clamps I use,’ and they immediately trust them. You can feel the difference. They tighten perfectly and stay put. Matthews has never failed me. The safety and support they provide is priceless.”
To learn more about Matthews Studio Equipment: https://www.msegrip.com/
View inside drum kit.
