Three days, two live sets, one studio. A bridge at sunset, a neon claw machine floor in Union Square, and a portrait package that carries the artist through the next twelve months of releases.
01 / The Objective
This is a single production block engineered to fill three separate content needs at the same time: performance footage that proves Kluster Flux live, personality footage that gives the socials a reason to exist between releases, and a clean asset library that press, DSPs, and promoters can pull from without asking for anything new.
The two shoot locations were picked because they cover opposite ends of the visual range. The Williamsburg Bridge gives the wide cinematic frame: steel, sunset, the city behind him, trains cutting through the shot. Partea NYC gives the opposite: tight, loud, saturated neon with an actual crowd in the room, which is what makes short form read as real instead of staged.
Every non-DJ concept in this treatment was written to be shot at Partea in tandem with the set, so we are not paying for a separate day to get them.
02 / Schedule
Friday through Sunday, September 11 to 13, 2026. Both locations are now locked. Partea has confirmed Friday evening on a four hour exclusive block, 6:00 to 10:00 PM, and the bridge stays on Saturday for sunset. Sunday is the pickup day.
Daytime is the controlled environment: a tight three hour studio block in Bushwick, with Joey shooting the stills himself, so the full portrait package lands inside the hold with no second supplier to coordinate. Looks are ordered by priority so a slow start costs the least important frame, never the press shot. The afternoon is a clean reset, and the evening runs on the venue's clock rather than ours: the four hour block covers load in, filming, breakdown and load out, the room has to be completely clear at 10:00 PM, and anything past that bills at $700 an hour.
The full day is built backward from sunset, which falls at roughly 7:10 PM. Setup happens on the walkway at the graffiti alcove, gear stays light and battery powered, and we shoot the set through the fall of the light so the footage moves from warm gold to blue hour to lit city. That single move gives editors three visually distinct looks from one performance.
With Partea locked to Friday, Sunday is a clean pickup day: anything the first two days missed, extra concept coverage, and the second angle passes that always get cut for time. One thing still sizes this day, which is that Joey flies out on Sunday, so the usable window is whatever sits before his flight and that departure time is the last piece of the schedule still open.
03 / Locations
Exact spot / bridge walkway alcove
Saturday, golden hour. The alcove on the walkway gives us a natural frame: painted steel on three sides, the tower centered behind the booth, and open sky above. The chalked and tagged deck reads as texture on camera instead of clutter, and the pedestrian and cyclist traffic becomes free foreground movement rather than a problem.
The train running the lower deck is the single best sound and visual punctuation on the whole shoot. Every pass is a built in transition, and it is the exact physical moment the Drop Without Context concept is written around.
Partea NYC / Union Square
The claw machine floor is already lit the way the content wants to be lit: hard cyan and magenta, mirrored ceiling, reflective glass on every surface. There is no lighting package that buys this look cheaper than the room already gives it for free.
This is also the only location with people in it. A crowd of 20 to 30 made up of fans, friends, and cast models turns a set into an event on camera, and gives every non-DJ concept a supply of real reactions and real answers.
The venue has confirmed the date and the rate, and the booking carries one hard condition worth flagging up front: the house system is the only sound in the room. Partea staff operate it, they will play a playlist or audio bed our team supplies, and no external mixer, speaker, or production gear may be connected to it or modify it. So the set here is planned either as a performance over supplied audio through their system, or off a self contained battery rig placed with their advance approval. Everything else is straightforward: equipment placement is cleared in advance, and the room goes back exactly as we found it.
04 / Non-DJ Content
Three formats, all approved, all shot at Partea in the same block as the set. Each one is built to be repeatable, so if a format performs it becomes a series instead of a one off.
Ask people on the floor to confess the dumbest thing they have ever done. Cut the answer directly into the drop, or into Kluster's reaction to it.
The format runs on strangers, so the crowd is the engine. Every person in the room is a take.
Man on the street / reaction cutOpen cold on one hard physical moment: a receipt ripping, a grill flame, a train crossing the bridge, a shutter slamming. Smash cut straight into the drop.
No setup, no talking, no intro. The whole format is the cut, which is why it survives on a feed with the sound off for the first half second.
Cold open / smash cutRead short anonymous stories about terrible decisions out loud. Kluster rules on who the dumb f*ck is. Viewers are invited to overrule him in the comments.
The verdict is the hook and the comment section is the format. It is the one concept here that is designed to generate the next episode from its own replies.
Recurring series / comment drivenTwo performances, two completely different environments, one setlist strategy. The bridge take is the cinematic one, cut for hero clips and announcements. The Partea take is the crowd one, cut for energy, reactions, and shorter verticals.
Both sets need a locked track list before the shoot so the edit knows which moments it is protecting.
Setlist to lock post approvalA mix of fans, friends, and models cast through Backstage, the casting platform that connects performers and content creators with production teams. Target is 20 to 30 people on the floor.
Casting a portion of the room is what guarantees the shoot has enough people and enough usable on camera personalities, rather than hoping the right crowd shows up.
backstage.com05 / Headshots and Artist Photos
Studio session shot by Joey, who covers the stills as well as the video, so there is no separate photographer to book and no extra fee. Four distinct looks so the next twelve months of press, releases, and show announcements never need a new shoot.
Simple dark and neutral background portraits for DSPs, press, decks, booking, and professional announcements. The versions that get used when someone else is designing the layout.
The main Kluster Flux look: harder lighting, black wardrobe, direct eye contact, and deliberate empty space left in frame for release or show text.
Environmental portraits around the bridge and the industrial streets nearby, shot to read as editorial rather than tourist photography. Captured Saturday alongside the bridge set.
Five to eight second locked off portraits with small movement, built for teasers, loops, visualizers, and announcement posts where a still is not enough.
06 / Deliverables
Ranges below reflect the realistic yield from three shoot days. Final counts get locked with Joey after approval, once the edit scope and turnaround are set.
| Asset | Volume | Format | Source |
|---|---|---|---|
| Short form verticals | 15 to 25 | 9:16, sound on, platform ready | Partea concepts and both sets |
| DJ performance clips | 6 to 10 | 9:16 and 16:9, hero and social cuts | Bridge and Partea sets |
| Recurring series episodes | 4 to 8 | 9:16, built for repeat posting | Dumb F*ck Court, Dumbest Thing I Ever Did |
| Retouched stills | 20 to 35 | High res plus web and social crops | Studio session and NYC editorial |
| Motion headshots | 5 to 8 | Five to eight second loops, no audio | Studio session |
| B roll and transition library | 30 to 60 selects | Raw selects, cleared for future edits | Bridge, trains, streets, arcade floor |
| Edit turnaround | 2 weeks max | First selects, then full delivery | Measured from the final shoot day, Sep 13 |
Volumes intentionally left as ranges until the shoot scope and edit capacity are locked. No count on this page should be treated as contracted.
07 / Budget
Every line now carries a figure. Joey has quoted the shoot and the gear and carries the stills at no extra cost, our retainer absorbs the edit, the studio is held, the bridge needs no permit, and Partea is now a confirmed quote against our actual date rather than a model. Flights are the last soft line, booked to a ceiling that points would mostly absorb.
| Line item | Covers | Amount |
|---|---|---|
| Videographer | Joey, three shooting days at his quoted day rate. Covers the shoot only, with post editing quoted separately. Terms: 50% due before Sep 9, balance after Sep 13. | $3,600.00 $1,200/day × 3 days |
| Camera gear | Rental gear Joey brings in on top of his own kit: two A7V bodies, Laowa 10mm f/2.8, Tascam DR-40x recorder, a 75 inch tripod, two Ulanzi R094 clamps, and a Pelican case. He handles sourcing, pickup and setup for all of it. Quoted lines come to $660, held at $800 with $140 of assumed overhead for tax, case sizing and rental wiggle room. | $800.00 Taxes included |
| Crew travel | Flights for Joey, Dariush and Reza. Joey flies in the day before the shoot and out on Sunday, the last shoot day, which his rate sheet requires be covered on top of the day rate. Arrive Thu Sep 10, depart Sun Sep 13. Likely to be booked on points, in which case the cash cost lands well under this. Lodging is carried separately on the line below. |
$2,000.00
Three flights, all in Points may absorb most of it |
| Lodging | One room at the Bklyn House Hotel in Bushwick, shared by Joey and Dariush for three nights, in Thu Sep 10 and out Sun Sep 13. Reza stays with Jared, so only one room is booked. Held in Bushwick so the crew wakes up beside the studio, with the L running direct to Union Square for the Partea night. Bklyn House Hotel, 9 Beaver Street, booked for these exact dates. $228 a night, $710 for the three nights, plus 14.75% tax and $3.50 a night city tax. |
$825.00
3 nights, 1 room, 2 people $710 plus tax, all in |
| Photographer | Headshots and studio portraits are shot by Joey himself, so there is no second supplier to book and no separate fee. Carried inside the day rate above. | Included No additional cost |
| Studio rental | Artist Loft, Bushwick via Peerspace. 350 sq ft with 13 ft ceilings, north facing natural light, two muslin and four velvet backdrops, two 600 LED panels with stands, steamer and wardrobe rail. Held for Fri Sep 11, 11:00 AM to 2:00 PM, 4 to 5 people on site. Not soundproof, so all audio on this block is treated as unusable. |
$129.95
$36/hr × 3 hrs $108.00 Cleaning fee $5.00 Processing fee $16.95 Before taxes, not yet charged |
| Partea booking | Private production rental of the Union Square location on exclusive use, quoted by the venue for Friday, September 11, 6:00 to 10:00 PM. Four hours is their minimum and the block is billed from load in through load out, so the filming window sits inside it. $600 an hour across the block, $700 an hour past 10:00 PM. Reserved on a signed rental agreement plus a 50% deposit of $1,200, with the balance due before the shoot day and a certificate of insurance naming the venue. A 5:00 to 9:00 PM window prices identically, so the schedule stays on 6:00 to 10:00. |
$2,400.00
$600/hr × 4 hrs $1,200 deposit to hold Overtime $700/hr |
| Casting | Backstage posting, model rates and releases for the Partea night, priced at a flat rate per person across the full 30 person crowd. Overhead covers the posting itself, no shows and replacements, and release paperwork on the night. |
$2,000.00
$50/head × 30 heads $1,500 Overhead $500 |
| Crowd and hospitality | Fan and friend call for the 20 to 30 person crowd at Partea, plus food and drink on site to hold that crowd through the set and the non-DJ pieces. Ceiling, not a target. Comes down if the fan call carries the room. | $500.00 Capped spend, Partea night |
| Bridge production | Speaker rental with table and generator for the walkway set. No permit required, so the only cost on the bridge is the gear that makes sound. Quoted at the ceiling of the rental range, so this is a maximum rather than an estimate. |
$300.00
Speaker, table, generator Maximum, not an estimate |
| Transport and load | Jared's car as the primary vehicle across all three days, with rideshare as overflow when the car is full or parking near the location fails. Covers gear movement between Bushwick, the Williamsburg Bridge walkway, and Union Square. Allowance across the whole shoot: fuel reimbursement for the car, parking, tolls, and rideshare overflow. | $200.00 Flat allowance, three days |
| Post production | Edit, color, retouch, delivery in all formats, handled by our own social team rather than bought in for this shoot. Absorbed by the existing monthly retainer, so it carries no line cost here. Turnaround is capped at two weeks from the final shoot day. | Included Covered by monthly retainer |
| Contingency | Weather, overtime, replacement gear. Sits on top of the overheads already carried inside the casting and camera gear lines. One hour of overtime at Partea is $700, more than this whole line, which is why the 10:00 PM clear is the hard edge on Friday. | $500.00 Contingency and overhead |
| Total | All thirteen lines at current estimates. Photography and post production carry no line cost, one because Joey shoots the stills himself and the other because our retainer already covers the edit. Partea is now quoted and dated at this exact figure, so flights are the only line still outstanding, and points can only move that one down. |
$13,254.95
Working estimate Not a contracted figure |
Working budget for approval. Studio rental is a live Peerspace quote against the three hour hold that the Friday schedule is built to fit, so any overrun on the day is billed as added hours. Videographer and camera gear are quoted directly by Joey, and post production is deliberately excluded from his day rate. Partea is a confirmed venue quote for our date: $600 an hour on exclusive use, four hours minimum, billed load in through load out, room clear at 10:00 PM, $700 an hour past it. The Friday call sheet is built to land inside that block, and it becomes contracted once the rental agreement is signed and the $1,200 deposit clears. This is a working estimate for approval, not a contracted figure. The one soft line left is flights, where points would absorb most of the $2,000 ceiling.
08 / After Approval
The venue is locked, so what is left is paperwork, sound, and music. Nothing else moves until these five are closed. Everything above is already agreed in principle.
Ready when you are
Sign off on the plan above and the budget, the Partea deposit, and both setlists go into motion the same week.
Approve and move forward