You have a pass for tonight and about an hour to get ready. Tell this page how big the room is and when the band goes on. It tells you what to put on the body, where to start the exposure, and the times that actually matter. It works for a room in any city — the reasoning is about the size of the room, not where it is.
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If you picked a Paris venue, its capacity is a real published figure and it is quoted above with the source we took it from. If you picked a size or typed a number, the capacity is simply yours — no source line appears, because there is nothing we looked up. Everything else on this page — the depth of the room, the focal lengths, the exposure — is reasoned from that one number, not read off a plan of any particular venue. We hold no lighting rider and no pit policy for any room, and this page will never pretend otherwise. Treat it as a well-informed starting point that saves you the first ten minutes, not as the house rules. The house rules come from whoever hands you the pass.
That is the part this page cannot answer, and it is the part Liaison is built for: the shows in Paris and the people behind them, in one place. This plan stays free and stays here either way — nothing above asked you for an address.
On most ticketed shows, accredited photographers shoot the first three songs from the photo pit and then leave it. It is a convention rather than a law, and it varies: some tours allow two songs, some allow the whole set, some ask for no flash and nothing else. Whoever hands you the pass tells you which it is that night — ask at the door rather than assuming.
Because it is the one published number that tracks how far you will be from the stage. A 300-capacity room puts the back wall roughly fifteen metres away, so a wide zoom covers the whole stage and a long lens is dead weight. An arena puts you far enough back that the reverse is true. It is a proxy, not a measurement — but it is a proxy you can look up before you leave the house.
It is a starting point chosen to freeze a moving performer, which is the shot people actually keep. Shutter speed is the setting that is hardest to recover from: a sharp frame at a noisy ISO is usable and a smeared frame at a clean ISO is not. Take a frame during the intro, look at the histogram, and move ISO from there.
No. This page has no form submission, no analytics call and no cookie. The plan is built in your browser and the shareable link encodes your inputs in the URL itself — which is why the link works for someone else without anything being stored here.