Ultra Music Festival has long been synonymous with electrifying performances, cutting-edge production, and unforgettable aftermovies. At the helm of these cinematic masterpieces stands Final Kid, the alias of filmmaker Charly Friedrichs, whose signature style has redefined festival aftermovies. His latest project, Ultra Miami 2024 Aftermovie, dubbed “Music is the Answer”, takes his vision to an unprecedented level of cinematography and storytelling. However, this year’s production faced a major challenge—severe weather conditions on Friday and Saturday prevented the use of sensitive RED cinema cameras, leading to significant portions of the festival being excluded from the final edit. This decision, while protecting the gear, left many fans disappointed as key festival moments were missing.

A Vision of Cinematic Excellence

Since his early days, Friedrichs has been determined to elevate festival aftermovies beyond simple recap videos. He achieves this by utilizing high-end cinema cameras, primarily RED Digital Cinema cameras with Super 35 and full-frame sensors—including the RED Helium, Komodo, and V-Raptors. Unlike traditional live event coverage, Friedrichs insists on a cinematic approach, treating each aftermovie like a short film rather than a festival recap. In conceptualizing Ultra Miami 2024’s Aftermovie, Friedrichs aimed to surpass the previous year’s highly acclaimed Vice City edition. Even before wrapping that project, he was already formulating a vision for 2024: an even more cinematic, emotionally immersive experience. To bring this vision to life, he collaborated with Aaron, a music producer with an orchestral-meets-electronic approach, to compose a custom soundtrack. The fusion of visual storytelling and music composition became the foundation of “Music is the Answer”.

The Role of Anamorphic Lenses

One of the standout aspects of Ultra Miami 2024’s Aftermovie is its heavy use of anamorphic lenses. These lenses are known for their wide aspect ratio, stunning bokeh, and cinematic flare, adding a dreamlike quality to the footage. Friedrichs had long envisioned filming an entire Ultra aftermovie with anamorphic lenses but was previously limited by the bulk and size of traditional anamorphic glass. Thanks to advancements in technology, Atlas Lens Co. provided Friedrichs with a selection of their Orion and Mercury series anamorphic lenses, which offered a compact form factor without compromising quality. However, nine lenses weren’t enough to cover the festival’s vast scale, so he reached out to Max Maloney, an expert in specialty lenses, to secure additional high-quality anamorphic optics. The adoption of anamorphic lenses presented a learning curve for the crew. Unlike standard lenses, anamorphic glass introduces a squeeze factor, meaning the footage requires special handling in post-production. The team meticulously calibrated their RED cameras to accommodate these lenses, ensuring every shot maintained the dynamic, immersive style that defines Final Kid’s work.

Was Using RED Cameras the Right Choice?

While RED cinema cameras are renowned for their unparalleled image quality and dynamic range, they are also highly sensitive to extreme weather conditions, particularly rain and humidity. This became a critical issue during Ultra Miami 2024, as the festival was hit with torrential rainstorms on Friday and Saturday, forcing the production team to make a tough decision. Fearing that the delicate and expensive RED cameras could be irreparably damaged, the crew opted not to use them during these rainy sessions. As a result, much of the footage from these days did not make it into the final aftermovie, leading to disappointment among festival-goers who felt that key performances and crowd moments were missing. This raises an important question: was it a mistake to rely solely on RED cameras? Given the unpredictable nature of outdoor festivals, some argue that a hybrid approach—including more weather-resistant camera systems—could have ensured a more complete aftermovie. Other festival filmmakers sometimes use rugged mirrorless or broadcast cameras alongside cinema rigs to capture unpredictable moments. While Friedrichs’ commitment to a cinematic look is understandable, the absence of key festival moments may be seen as a missed opportunity.

The Hidden Threat: Lasers and Camera Sensor Damage

One of the biggest challenges of filming a festival like Ultra Miami is not just the weather but also the high-powered lasers used in the stage production. These lasers, while creating breathtaking visuals for the audience, pose a significant risk to high-end cinema cameras, particularly those from RED Digital Cinema. The intense beams can permanently damage camera sensors, leading to unsalvageable footage and costly equipment replacements. RED, along with other manufacturers, has explicitly warned filmmakers against exposing their cameras directly to laser beams, as the concentrated light can burn the camera’s imaging sensor almost instantly. Many RED cameras have been irreparably damaged at music festivals due to accidental exposure to lasers. This issue is well-documented, with brands like Sony also issuing similar warnings about sensor damage caused by lasers. For example, Y.M.Cinema published an article detailing how Sony advises users to avoid laser exposure altogether. At Ultra Miami 2024, Friedrichs and his team had to take extra precautions to avoid lasers, strategically positioning their cameras and avoiding direct exposure to beams. This restriction added another layer of complexity to an already challenging shoot, forcing the crew to carefully select angles that maximized the festival’s visual spectacle while safeguarding their equipment.

Overcoming Challenges: The Storm That Almost Shut Ultra Down

While Ultra Miami is famous for its sunshine and high-energy atmosphere, 2024’s edition faced severe weather conditions, putting the production crew to the test. A torrential rainstorm disrupted the festival, causing audio equipment failures and even forcing an evacuation of the entire event. At one point, DJ Tiesto’s set had to be halted due to rain damaging the mixer. Rather than letting the chaos derail their work, Friedrichs and his team adapted on the fly. They wrapped their RED cameras in plastic bags, donned ponchos, and kept filming, ensuring they captured the dramatic turn of events. However, due to the sensitivity of the equipment, the cameras were not used during the worst of the storm, impacting the overall coverage of the festival. Non of these footage were survived the final edit.

The Saturday Comeback: A Cinematic Revival

Despite Friday’s setbacks, Ultra’s organizers worked tirelessly overnight to restore the festival grounds. By Saturday morning, the gates reopened, and thousands of festival-goers rushed in, eager to make up for lost time. The energy shift was palpable—the footage from that day captures euphoric crowds, explosive performances, and stunning Miami skyline backdrops, reinforcing Ultra’s status as one of the world’s premier dance festivals. The cinematography team seized the moment, pushing their gear and creativity to the limits. Friedrichs’ mantra, “It never rains in a Final Kid Aftermovie,” became a self-fulfilling prophecy as the film crew elevated their craft despite the previous day’s adversity. The footage showcases vivid emotions, intricate light shows, and electrifying crowd moments, all framed through the gorgeous distortion and bokeh of anamorphic lenses. Check it out below: 

The Bravery of the Filmmakers: Dedication to Cinematic Excellence

One cannot overlook the dedication and artistic bravery of Friedrichs and his team in choosing to shoot Ultra Miami 2024 with high-end RED Digital Cinema cameras despite the risks involved. Their unwavering commitment to achieving a cinematic look and feel is what sets Final Kid’s aftermovies apart from traditional festival recaps. The use of RED cameras, paired with anamorphic lenses, allows for an uncompromised visual aesthetic, maximizing the immersive experience for the audience. Choosing to prioritize artistry over convenience demonstrates a passion for creating a film, not just a recap. Many filmmakers would opt for more rugged, weather-resistant equipment, but Friedrichs’ decision to stick with RED cameras underscores his belief in visual storytelling at its finest. His approach ensures that each frame reflects the grandeur and emotion of Ultra Miami, cementing its legacy as the most cinematic aftermovie of any music festival.

The Wrong Call: A Missed Opportunity in the Rain

Despite their dedication to cinematic excellence, the decision not to film during the heavy rain on Friday and Saturday was arguably a misstep. While protecting the expensive RED cameras was a legitimate concern, the lack of footage from these crucial festival days left a noticeable gap in the aftermovie. The rain-soaked chaos, the resilience of the crowd, and the unfiltered energy of the festival could have added a raw, unforgettable dimension to the final product. Rain has historically provided some of the most visually striking festival moments—imagine the contrast of neon lights reflecting off drenched attendees, DJs performing against the backdrop of a storm, and the sheer determination of fans refusing to let the weather dampen their spirits. Had the team found a way to keep filming—using protective gear or backup cameras—they could have captured one of the most unique Ultra aftermovies ever produced. Instead, by avoiding the storm, they lost the chance to create something truly legendary.

Post-Production: Crafting a Timeless Aftermovie

With terabytes of footage captured, the real magic happened in post-production. Friedrichs’ editing process is meticulous, spending countless hours reviewing footage, selecting the most cinematic shots, and carefully timing them to the custom soundtrack. The interplay between visuals and music is where the aftermovie truly comes to life. Unlike traditional festival videos, which often rely on fast cuts and energetic pacing, “Music is the Answer” takes a more deliberate, emotionally resonant approach. The film’s title reflects its core theme: the universal power of music to unite people across cultures, backgrounds, and challenges.

Conclusion: The Legacy of Final Kid and Ultra Miami Aftermovies

The Ultra Miami 2024 Aftermovie is more than just a recap—it’s a cinematic journey that immerses viewers in the world of electronic dance music. Through cutting-edge RED cameras, anamorphic lenses, and masterful storytelling, Final Kid continues to set new standards in festival filmmaking. However, the challenges faced this year highlight the potential drawbacks of relying exclusively on high-end cinema cameras in unpredictable weather conditions. In the end, “Music is the Answer” is not just a title—it’s the philosophy that drives Ultra, its artists, and its devoted fans. And thanks to Charly Friedrichs’ visionary filmmaking, that message will resonate for years to come, although this year it was a bit miss, as the ultra epicness of the rain was eliminated in the final edit.