Austin is now seeing the changing of the guard:
The Interactive portion of SXSW has ended,
[photopress:_SXS1987.jpg,full,centered] Hooking up in the Blogger Lounge
[photopress:_SXS1971.jpg,full,centered] Chris Anderson, writer of the Long Tail

the film continues,
[photopress:_SXS1754.jpg,full,centered] Robert Rodriguez filled the room with indie filmmakers

[photopress:_SXS1820.jpg,full,centered] Rose McGowan with happy fan

As in all film festivals, though, the premieres, sneaks, panels, parties and celebs,
have all happened already at the beginning of the event. Tons of screenings still to catch.

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But the music, which may be the heart and soul of this whole deal, began last night.
The town has EXPLODED with people!
And now, the photographic requirements have shifted.
The crowd shots are easy, but the clubs require a little more for a solid image.
Of course access is a key element, but check your gear.
We’re using a Nikon D700 with a 24mm-70mm, 2.8 as standard, and an 80-200 2.8 (yes, an older lens, non VR), extra batteries, extra media cards, comfortable Crumpler neck strap.

[photopress:_SXS1883.jpg,full,centered] Illeana Douglas working a blond wig, in a Dutch comedy group

Sure, sometimes a flash is fine, and it can work the stage the right way.

We kinda feel that if you can go with a non-flash, real stage lighting pic, it may come off more authentic to the scene.
then there are the colors of the stage lights to consider. Now in the major concerts you’ll attend, there is a lighting plan set out and designed for maximum impact , usually relating to the performer.
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Let’s be real here.

With about 1400 performances going on all over his city, you just have to be happy that there is light, period.
Color or not.

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So here is a question for you; do you think it’s a better idea to maintain the reality of the light, or go 180 degrees another way to remove the color from the equation?