Filipic Harnesses Matthews Gear

For 15 years, multimedia engineer Tony Filipic has helped define the look and feel of West Hollywood's legendary Whisky a Go Go.

From multi‑camera livestreams to fast‑turnaround recordings for documentaries and archives, he thrives in tight, noisy spaces—delivering kinetic images with the aid of Matthews Studio Equipment (MSE).

After learning grip basics at film school and deepening his know‑how on a grip and lighting crew in Las Vegas, Filipic moved to Hollywood in 2010. A chance encounter soon led to his dream role at the famed venue, where improvisation and dependable hardware are essential every night.

Today he oversees lighting, multicam video, live switching and multitrack audio for artists at the Whisky and on tour. Rigs range from a simple PTZ capture setup to 10 cameras running at once—handheld, on rails, or bespoke mounts that bring audiences closer to the action without blocking their view. Reliability is non‑negotiable, which is why Matthews sits at the heart of his toolkit.

Filipic's daily kit centres on MSE staples: Matthellini Clamps and Mini Matthellinis, Ball Heads, Knuckle Heads, Grip Heads, Baby Pins, Gobo Plates and compact stands—combined into a modular, rock‑steady camera support system.

One signature angle places a camera inside a drum cage to track blistering double‑kick patterns. Using Mini Matthellinis and articulating arms, he secures small cameras such as GoPros directly to the kit hardware. "Those Mini Clamps go on tour with me everywhere," he said. "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."

Space is at a premium at the Whisky, whether it's an intimate acoustic set or a full‑throttle metal show. With crowded floors and roaming drinks, tripods are a non‑starter. To create a long‑lens position that doesn’t eat up floor space, Filipic builds his "sniper cam": a Matthews 2" End Jaw Matthellini, Knuckle Head, 2.5" Grip Head and Gobo Plate Baby Pin supporting a fluid head bolted to the second‑storey balcony. The result is a stable, near‑invisible operating perch with zero footprint.

He also optimises for lightning‑fast strike times. A steel Gobo Plate Baby Pin adapter lets him mount a camera and monitor on the same clamp, so breakdown is a one‑handed operation at load‑out. He notes: “I can grab the whole rig—camera, lens, monitor—in one move and run it back to my office. Matthews makes that possible.”

Filipic's résumé spans thousands of performances—from Tim McGraw and Def Leppard to Robbie Krieger—plus on‑the‑road work. Touring last year with POD (supporting Korn and Evanescence) and other metal acts, he carried a slimmed‑down fly kit of Matthews clamps and accessories, ready for clubs, theatres and Live Nation rooms alike. He mounts cameras to overhead truss, speaker handles and balcony rails—well out of reach of crowds and always with safety foremost. "Safety is number one," he said. "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."

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