Plan for the Day's Shoot
All right, so what we're going teo do today we have all these various scenes and we just want to give you auditory and visual we have a white board behind us rob is going to start using just a demonstration and a preview of what we're going to be doing for each of these we're breaking them down into a lot of different sections of the day the important sections the first section is going to be hair makeup, the bride getting dressed and the bridal photo session ah lot of times during this time this is where rob and I are looking for the story we're trying to find the theme of what's going on in the wedding because in the morning is that we have a little bit more time to capture a little bit more of the detail of that so I'm going to explain your thought process there yeah, you know I didn't really have, you know, sort of a process when I moved when I walk into a bride's house in the morning and you know what I'm doing my films and I do the bride's house and my second cinematographer will...
go to the group and he has a whole other process okay, but my process for the groom's prep for for the bride's brother is basically do details first so I'm gonna shoot like the rings, the dress, the shoes and that sort of thing while the brides still in the pre getting ready phase so she might be halfway done with her hair I'm not going to shoot her during this point she's not gonna want to be you know, her film half done with the hair half up half interface I'm sorry I'm not going to shoot down the concentrate on details and then when the bride is to a point where I believe she's presentable enough to put on camera will start focusing on makeup shots and telling the story around that I don't need a whole lot of makeup shots in my stuff especially infusion pieces you might use one one shot but I'm looking for not just this this standard shot from the front of her getting makeup done I'm looking for different angles looking for light, looking for how you may be just the brush in the hand is working feverishly to get her done because maybe they're running late or maybe the intensity on the makeup artist's face. A lot of times I shoot the makeup artist because they're like on their like, you know and there's a lot of drama intention in that and then the brides usually like this, he said, so she's looking like a cadaver just so you don't really want to focus too much on that, but you know we focus on close ups and things like that just to kind of tell the story and literally this is like a three or four shots sequence I don't do a whole lot of it but again just like we talked about sequences we worked three sixty so you'll see when we shoot this I'm working all around the subject and maybe I'll even back up far away and do some sort of a wide shot you know, some sort of a slider maybe your reflection in a piece of glass or a picture frame or something like that so that's you know, for the bride getting dressed same thing I'm just looking for a moment I'm looking for emotion mom at some point we'll usually cry when the bride is getting ready sometimes I've seen dad walk in the room and just gush s o we're always waiting and prepared for that you know how we talked about on wedding days? It should just be you shouldn't try to handle the photo and video yourself you should have somebody else doing the video that person needs to be looking for these things that person needs to be looking for and it's called anticipation anticipating action you know just being ready for it you know if you know his dad's out in the hallway or dad's finishing up at some point he's going to walk in the room and at that point he's probably going to see the bride in her dress and there's going to be a reaction shot there so it's important to be ready for that but you know, mom helping and bribed the back of the dress and not just the same old shot of the zip up but you know, mom's face as that happens because maybe she struggled a little bit usually, you know, wedding days I mean to me they don't want to be perfect I don't want every shot toe look like everything went smoothly I wanted to be what it wass a lot of times it's not so perfect, right? A lot of my groom's prep stuff is the guy's just getting frustrated folding the stupid handkerchief, but how the hell do you do this? But that's part of the day we want to, you know, incorporate some of that so you can get beauty shots but still have that a story in that drama kind of mixed in there? S oh, you're going to see when we go over to the window and we're working with the broad, getting ready that's what I'm looking for the facial reactions close ups and then I'll get a couple of wide shots too, but again sequencing in three sixty and then the bridal photo session is maura vanessa's thing you know, for photos, she really that's more static brides usually standing in one place, but then during those parts for video, I'll look for light I'll look for like beautiful light hitting the bride, and maybe I'll do like a serious of slider shots or maybe just one or two nice reflections with maybe a till turpan you'll see when we actually do this, then I'm not really doing a whole lot with bridal photo session because again it's not there's, not a whole lot of emotion happening there that's my thought process walking into the bride's prep another thing to think about and we don't really were not really have a bridal party here today, but a bridal party can really give you a lot of story as well. Good bridal party if they're not being obnoxious constantly, you know here's the thing when I walk into a bride's house because audio is very important to me, I always ask him, can we turn the music off and this may or may not bode well with bridesmaids were just look at the day as a excuse to drink and get drunk and be silly not alright, not all brides, but you know, we're also in new jersey, which is a totally different story no that's, something to think about. You want teo, prepare your environment for what you're going to shoot, so you know when you walk in, if there's like jay z blasting, you want to be like, you know, it's a school for now, but maybe when we start doing the broad getting ready, maybe we can turn it off this way you know, the parts that you needed the audio for, you'll have so don't be afraid to ask and I've never had a bride tell me no, you can't do that because brides now when they hire us, they want the best product that we can give them and I make that clear to them. So that's just one thing to notice. One of the things that we talked about yesterday was being able teo eliminate audio problems before they start, and things like music in the background or a lot of times you work in hotel rooms and you walk in and the air conditioning is blasting and usually hotel air conditioner is make a lot of noise and music to turn them off on ly for like I don't want to make everybody sweat, but the thing is, when the time comes, all that will be on for when the bride is getting dressed because I know I can remove a little bit of sound afterwards. It's fine, but what if I said the bride down to go over her vows that thing's getting turned off because I wanna make sure that that audio it's gonna be a key part of my story I wanna make sure it's there but yeah audio you know those these are things you want to think about so pretty much for brian's prep that's about it I'll focus on the bridal party for story a lot of the times like the maid of honor going over her speech or just the bridesmaids helping each other get ready you know you know tying the sashes and you know packing their their little gold bags and you know pouring the moses and things like that they're all things that you know lots of little things just become little sequencing parts or little just little details that tell a story for example in the most is okay I hear a bride's maid called out bride's name do you want a mimosa and she goes yes I want a mimosa and I know she's going to go to the fridge is going to get it out pop the cork she's going to pour the champagne she's going to open the r j container and that's a sequence you can already see where you're going with this okay shot of her pulling it out shot of her screwing in the corkscrew shot over pulling it out and you see these is a different angle I always joke with broad that sometimes I get jealous of him shooting video because some of the things that he shoots if I had taken a still frame from any of those photo good like photographically it wouldn't have made sense because it's not the full sequence or it's not the full story but when they were able to capture more of the story of your video it's just it's just fun to be able to do that yeah, we definitely try to do that, so the next thing we're going to cover is the first looks so we're not gonna cover the groom's prep today we're just gonna assume the groom is getting ready and we have somebody there and shooting that a lot of times it's just if you're just doing fusion, you may not even send somebody to the group spread way just felt like we leave that out assed faras the first look this bride and groom are going to see each other before the ceremony and then we're going to a photo session and then they're going to get married, okay? So this's common where we are, they like to do this on going actually set it up so where we have them in the optimal position so when they see each other for the first time, it unfolds nicely in front of the camera and this is the one thing I think I mentioned that yesterday that yesterday that I insist on having control over for a wedding because even if I'm working with a photographer, I don't know it's like not vanessa you know I always make sure to contact photographer ahead of time say, look, you know, I'm totally help you out with whatever you need and you can do whatever you want for the photo session I just really would like if I could have some control there in the first look and ninety nine point nine, eight percent of the time they're like, cool if I don't have to sit up that's fine, you just go and do it and I'm always respectful of them always make sure I leave them avenues to get their shots and you know, if they want to re enact or whatever a lot of the times, they just want the initial reaction, so we'll show you how we do that for the first look, you know, you're having a video guy on your team, so you have the advantage of control control and putting people where you want, so I don't know if you want to demonstrate just ideally on the whiteboard yeah, position absolutely there's a couple different ideas I like to do, I mean, and I don't want to do this the first look the same way every time because of me that gets very boring, very fast on dh the typical one you may have seen is kind of like, you know, that is ahead, okay? You kind of have the shot of the groom is kind of standing there looking maybe off camera, right? And then the bride comes walking up from behind, you know, this way and that's like the first shot and then your second shot is something like okay, we see the groom that's a nose I wouldn't want to stick figures we see the groom looking this way and I'm a pictionary free. I love pictionary and I had a horrible that so the groom's looking this way basically and then the second shot we see the bride walk into the frame here and she's walking toward him, right? And then you maybe have a third shot where this is this's just build up. They haven't seen each other yet, right? And then the final shot and this is the money shot that everybody wants to get, including the photographer is when we basically have a shot from this is the bride. This is the groom he's first starts out looking that way. We have him turn this way and he caesar so we see his face for the reaction you know so that's a quick one, two, three first look and a simple camera blocking, you know, so it's just one shot here and you don't need multiple cameras to do this you set up your first camera up in front, you focus on the groom, you move to the side, you have maybe a why you couldn't even do such an extreme wide shot like an example of extreme wide shot would be, you know, that's your environment and then they're down here and she's walking toward him like that, you know, half in the frame half out of the frame, you with their bodies, there's a lot of negative space up on top, right? So then she walks in him and in the third shot is you just flip the camera around and then you get the reaction very simple that's that's about as simple as a first looking get, we like to get a little creative and, you know, we'll probably do something similar to this today just to kind of illustrate how we use the camera, but we've done cute ideas in other ways, too, where we kind of had, you know, the writing room were both standing the start ofthe standing in frame, but they're both looking in different directions, right? And we have them walk backwards toward each other, right? And then they get closer and then they grab hands down here like this and then we haven't look over, we haven't talked to each other a little bit way like a mike up the groom for this part because we'll have them talk to each other a little bit before they actually see each other and they get all like this and then they turn into each other so that's a that's a two shot sequence first look perfect for fusion piece because you know you could just slap them into a fusion piece two shots and then you have your photos to mix in, so we'll do this both ways. Maybe we'll kind of illustrate how we would do this both ways it really doesn't take much time at all. Normally when I do my cinema stuff, we do this with three cameras, so we do it all like from all the angles at once and then I'll reenact it, I'll pull everybody else out, I'll pull out all the cameras upon all the personnel, the photographers and then I'll do a steadicam walking up with the bride with just the entire scene and then maybe walking around the ones and all of them rien after the reaction a lot of my brother's grooms of pretty good actors and actresses that this's so first look that's pretty much how we block out the first look and we'll demonstrate how we do that but this is fun with white board I know wait are actually going to have a ceremony today as well we have a gorgeous archway being built right now and rob looks like he's really excited shape, but he's gonna teo was prepping the good but for the ceremony usually I'm in the center aisle I have to say I would prefer to not be in the center aisle is I think more the creative shots tend to be elsewhere is a photographer, but that is definitely one of those control things where I feel like I should be center aisle if anybody is going to mess up the bride walking down the aisle it's going to be me, you know? So I'm usually in that position and then I have a second shooter on dh there's sort of a rotation that kind of goes on so that we rotate and that way your angle with your video person can get all these different angles and again, you only have one camera, but you can put it together to make it look like you have a lot more. Is that what you're pretty much? So we're going to assume for today that it's just, you know, it's a wedding day and your fusion team and you're the photographer and you have video person with you and this is how we would do this, okay, so your first friend let's use the marker they work, so basically, you know, you're going to probably want a film if you're if you're doing fusion you know, you have the option of filming a lot of the of the ceremony. I would just focus on filming like the vows in its entirety and let everything else be just just beauty shots. Make it clear to your clients I cannot stress this enough. Make it clear to your clients that you are not covering the day, all right? Because if they think they're natural thought processes okay, my photographers doing some video, okay, I've never seen fusion before, but they're doing some sort of video, right? And then after the wedding, you give them a fusion piece that has seventeen video shots in it and thirty photographs or whatever it is, right? And they go. Where is the rest of it? Okay, very important to establish early on. Listen, I'm only gonna be shooting very short clips of the day. If I give you anything that's longer it's a bonus and you could even maybe sell that to them separately. Say, hey, you know what? I filmed the whole ceremony from the back. If you want, I can put it on a separate tv dvd for you. For x amount of managing your client expectations is something that we do in business anyway, and this is no exception at all. You really want teo even stress more the client expectations with this and do that obviously by showing them examples and talking about fusion and you're not replacing their coverage for the water for or cinematographer if they're choosing to get that and they can just doing that ahead of time will definitely save you and your client confusion and grief later yeah, a lot of the guys and girls that I know that diffusion around us they say they usually book it with brides that aren't having any video done because in this economy a lot of people just go right to video in the video is the first thing that they cut, which is sad because it's so beautiful and it's what you have after the wedding but it's a reality so a lot of people cut that and that's kind of where a lot of photographers have come in and said hate, I see you can afford video but maybe you could afford just a little bit extra and I can get some motion for you the day of because who wouldn't want a little bit emotion you know, if they can't afford a whole video okay, I was really good but right now all right, so basically this is a standard ceremony set up okay pues on the inside or chairs on either side is we're gonna have today you have an island yemen archway and have the groom standing there waiting be married okay? So you can kind of approach this your video your video got get a purchase from a couple different ways to get a couple of money shots and these would be the money shots for me okay, when the bride starts walking down the aisle here okay, I would want to position him somewhere here like in the pews here this is a really bad camera rob ok somewhere here and focused on the on the groom's face okay, groom's face up close because this is one shot this is two shots when the bride walks past your camera right you could you could definitely get a shot of the bride from the front coming down the aisle I think that's boring this is a more interesting way to do it. Let the bride walk past the camera focused on the groom's head on the groom's face and she's out of focus, but she walked into the frame right? And then basically you do this is that you put a zoom lens on for this your wide at that point and then you cut to you know you zoom in and wrap your focus and that she walks in or share theirs is just his close up reaction of her and maybe you get a glimpse of her walking into the frame as she gets closer, something that we're not seeing the bride's face come down the aisle but what's more important, I like the groom's reaction better, I think that's more important when he especially they haven't seen each other for the first time, if they have seen if they haven't seen each other for the first time do that if they have seen each other because we've already done a first look, maybe you'll consider going to the front of the aisle, and that would be simply and what I like to do is, you know, you can you can get a shot of the groom from the side looking up the aisle, getting ready at his nose, you know, kind of maybe like a three quarter shot, so you're seeing, you know, when I do a cross like that that's like where the eyes are supposed to be and that's sort of like the face of the angle on the face, so you could sort of shoot him like catty corner just kind of waiting, waiting, waiting and then turn your camera up the aisle. And if you can step behind the groom, if you have a little bit of leeway to do that, you should over his shoulder to the bride coming up the aisle like that so you're standing in one spot you too and it's kind of like we do it starters, anyway, probably you turn, you get the groom and they have plenty of time to turn back and get the bride walking down the aisle by pre focusing on one of the pews and living here walk into it yeah a better way to illustrate that would be you know you shoot from back here you can even just go because a lot of times ceremony sites that there's a little bit of room between the archway and like the wall or something like that you could find a way to kind of squeeze back there you won't be in anybody's way maybe you could just ask the officiant ticket nudge over this way or just shoot between them if you have to and then you're seeing here is the isle that's really bad anyway ride's coming up the islands here like that so you're focused on her she comes up so that's that's an option money shots just quick money shots so you saw two or three money shots for the ill and stuff like that and then once the vows happened this is how typically I would do it with one camera if I had one camera to shoot ceremony I would have to be you want to be quick on your feet if you can so they get up there and now they're facing each other okay there's the homily happening happening and we hear the priest or the officiant is saying all this stuff and we're actually gonna demonstrate this today so maybe go to the center aisle riding room, looking at each other officiant standing between him, the standard shot, right and he's talking, maybe just get a couple shots from that, maybe maybe even fill most of the homily if you want to get ambitious, remember, we're going to make him up. We're gonna have the sound for this part, if you have a tripod handy would probably be beneficial to use a tripod. Okay, so we would be in the center aisle, maybe somewhere toward the back zoomed in and just getting that sort of a shot when they when the when the fishing says, okay, we're going to our vows, okay, you wanted now get to the side angle and remember, we talked about movies and dialogue yesterday, and we talked about bringing you into the conversation now is where we really want to start thinking about that really nice, shallow depth of field to bring us into that moment, and you're probably going to be using a longer lens and that sort of compression of a longer lens is also gonna do the same thing. Enjoy your eye into the subject. So what we'll do first is usually when I see your nose from this angle, so normally the groom says his vows first, right? So when you come over here, that's the groom's head and this is really hard, but basically I'm shooting over the bride's shoulder, okay? And getting the groom talking to the bride the whole time so you have to make a decision here do you want to stay on the one side and just get the groom saying his memory getting the audio of both? But are you going to focus on just one of them giving their vows or you gonna try to get both? The nice thing about most ceremonies is to do the vows and then immediately after the rings so you could get the groom doing the vows for them by the time you walk around, get the bride saying her whatever she says, the beach bring on right so that's another way to do it or if like space allows and you can get to the other side without being obtrusive. What? I'm sorry, but I consider you keep walking over there. What I consider to be obtrusive is you never want to walk in front of the ceremony in front in between the pews and what's happening I think walking behind is okay is almost quickly and quietly and discreetly and get over there and then displaying yourself she's not talking about a catholic church altar, we're assuming this venue well, assuming this thing this venue so what I'm gonna do here in this case is and today I'll show you how we do this when I feel like the groom is wrapping up his vows when he's kind of getting toward the end but remember we're not going to show him the whole time in the fusion piece you're looking for some sort of positive reaction smile once you get that right so you don't need it don't need to be on him the whole time if you don't want to once he gets toward the end we're going to flip to the other side just reverse it now we're looking at the bride over the groom's shoulder like this okay, so three shots for them for like the ceremony itself and that's that's really what I would leave it at and then when they kiss at the end and then come back up the aisle that's a perfect opportunity for you to run to the back grab your slider put it on the floor pree focus halfway up the aisle remember yesterday when we did that slide and we had tyler walk right into the shot that's when you do that they kiss it's kind of cool to get the kiss out of focus and then let them walk into the foreground something like that so every ceremonies different they don't all flow the same way either so you're gonna run into barriers and opera schools and things like that but just thinking of what money shots you want to get ahead of time will really help you teo sort of planet out what you want to get so basically if you're going to think about the ceremony and what shots you're planning to get there, we talked a little bit about storyboarding might be helpful think about the bride coming down the aisle but the groom's reaction of that happening as one the vows being the second and if you can get those three angles that's great and then third is the recessional I was safe processional, recessional backwards but the recessional if you have a slider or even if you don't have a slider just having the camp, you could stick the camera on the grounds and that we have like a ppe uses a foreground and you have a pre focus for the bride and groom to walk down the aisle. Yeah, or if you have a tripod a little cheap small tripod just put it down low and you get the same effect instead of cameras lighting it's just low down to the ground that I'm walking to focus. So so that's what the ceremony is going to look like and what will demonstrate the bride and groom photo session is something that I think we enjoy probably the most which you don't ever easily get enough time with seems like we're always rushed by this point of the day right, but hey that's its wedding to think we all we all feel like we never have enough time with the bride and groom, but the bride and groom photo session is definitely where you will see a lot of me directing and knowing the things that rob needs to get a lot of that happening and I'm having them in doing certain things in a certain motions so that rob could get the shots that he needs because normally the photo session is going to be your time with the most control. So if you're doing fusion on a wedding day, this is the part where you want teo do those artistic thing try a rack focusing shot word the groom is in the background and the focus to the bride in the foreground our back and forth try a pre focusing shot where you have them holding hands and walking towards the camera and you just get the shot of the hand something into focus. So these air parts were you really practice and have fun with because the bride and groom parts you can kind of put in at any point, you know, the kind of have a foreshadowing of the dining room and being married and having a pretty general shots and brought them together is pretty generic shot kind of use it anywhere in a film or in a refuge in peace yeah, and it's really great for the bride and groom is well that you're not keeping them in a very stiff and type position that you keep adding the movement and you keep changing up the poses so that you can see all the in between moments that you know are being captured by the person you have doing video and today you'll be able to watch us do this and then see the tether on the screen to see what we're doing with the video and you know, those little moments in between and really this is where having a second person doing the video for you really is beneficial because now it's getting done at the same time and we're you know, on the ship's senior shoots and engagement shoots if you're doing it alone takes double the time wedding these you don't have the luxury, so now we're nailing it all in one shot, which is really good as the last part of the reception and just to give you guys a heads up, we're going to do the bribe getting ready bridal photo session then we're gonna have a reception and then after the reception in the last segment of the day is when we're going to do the first look ceremony and bride and groom a little bit of backwards but logistically we have tio bump up the party a little bit and start that earlier what's going to be really fun and this is a question a lot of us we get this so so much is about lighting during the reception because this photographer's what do we do? We flush and you can't flash on the video and while we don't wantto have bright lights on the top of our camera like in no way would I ever stick my video late and like hot chute on the top of my camera and blind people s o we get a lot of questions about what we do for lighting and specifically audio as well for the parents dance of prince jin's parents toasts what about yvonne? Our best man? We're going to have the mom do it the reception today so we're going toe black out this room totally black it out for you guys and set up lights and we're going to see exactly how it is and you really only need two lights you don't need to have more than two light they don't need to be crazy powerful lights either that you make it work with, you know, depending on the venue too this is a relatively small room we could definitely make it work with what we have, but this is the general layout guys, I'm going to tell you one thing about lighting real quick cause I'm going to draw a diagram of how I like my receptions xo football style yeah exactly but first things were really remember is don't ever put a light on your camera yes on camera lighting is the most unflattering light that you can never use and only that it will never be beautiful it just looks like direct flash like if you have your camera flash on you powered somebody right in the face with no other lighting like direct flashes the use if you're using it to phil and you have the sun outdoors pin lighting but you're talking about a dark room black room boom and you're hitting with direct flash it's just they're going to floating in space because they're exposed only for the faces and it's just not flattering okay, so we don't want to do that instead I use a two point lighting method okay for example now this would be for toasts because I'm generally not lighting for ceremonies and churches and a lot of times when there's ceremonies in a venue usually the lighting is pretty adequate I might have to fill or throw a light up here and they're just kind of splash and light and maybe a dark area of the aisle but I don't go crazy unless they don't have lights and I actually have done weddings where the wedding planner did not consider any lighting at all and they were having it in the tent at six o'clock in like october and it was dark and if I didn't have my lights, there would've been no light and people would have been staring at blackness so it's it was beneficial that we had our lights, but we're going to focus on receptions because this is mainly what people want to know when it comes to lighting. So what I do is let's say, for instance, there's going to be speeches, ok, what? What do you see most at weddings? What? Where do the speak speakers usually stand? Does anybody can just threw out something behind the bride and groom, right? Right? Usually they put him if this was the broad ingram table, they put them behind. I don't want that now it might seem easy and maybe if you're just one camping infusion that's fine, maybe you want that I like them to be looking at the bride ing room when they're giving the toast. I don't want them running going to be like this. I don't want them to turn their chairs all the way around looking like this, and a lot of times in the back here they're up against the wall. So it's just flat there's nothing really there, so what? I always tell him and say, you know what, we're going to move, and I worked it out with the deejay in the maitre d in advance we're gonna put the speaker on the dance floor if this was the dancefloor let's say this is the dance floor and the head table is here I'm going to put them about three quarters of the way back looking at the bride and groom. Okay? And what that's going to do is make it so if I put my cameras have one camera here well, again we're assuming we have only one camera. If I put my camera here and my light's here uh, that's a bit my light here and another light back here basically what's happening is shooting into my lights and that's going to give me that really nice pin lighting and stuff like that so the way I would do this and this is the actual diagram. Here's the head table bridegroom is sitting at the head table looking this way and the speaker is going to be here standing on the dance floor. Okay, this's, not the frame of the video. This is just a diagram of the room and an overhead shot overhead. So I'm gonna put one light behind the speaker, maybe it's for far back in the room against the wall. Okay, but it's going back there and what that's doing this flooding light this way and what that's doing is it's filling in the faces of my bride and groom and it's you know slightly off center of the room so it's placed three quarter lighting and it's also providing pin later back light to my speaker okay then I'm gonna put my camera here right? And then I'm gonna put another light back here behind the broad ng room on the same side of the rooms again we don't want to cross that access we want the light coming from the same direction and this light is now providing phil for my speaker and pin light on my brother pretty basic and then from that angle do you guys remember if you you would probably have both the photographer and the you are for on that side so you have both of them there? Do you remember why you want to stay on that side of the one eighty and what it is, right? So you make sure that they're not looking the same direction, so when you have the two side by side you've got it almost looks like they're looking at each other and you want to think that way when you're thinking of the negatives based on either side of him as well? Exactly when I free my shots up if I turn this camera this way I'm shooting three quarters on the speaker if I turn my camera this way I'm shooting three quarters on the bride and groom now this is considering one camera for fusion when I do my cinema stuff we have a camera here in the camera here and once on them and once on this and then we have a third one walking around getting reactions on the tables but for you guys for you guys, we're not doing that so what? In essence what the frings will look like by doing this is if you turn the camera to the left and you've got the broader room you've got this nice they're sitting behind a table and they're looking out they're not looking at the camera you don't with camera in front of him off to the side there looking out out past the camera and then your other shot is the speaker you know, three quarter view looking this way and then looking at each other and the nice thing is because of the way that the lining is set up almost to the back and behind them you're catching the shadow side of their face which will some them them a little bit but it's three quarter lighting so you're going to get the rembrandt lighting but it's still the shadow side of their face so not only does it islam them down you still the pin lighting but it makes the ambiance look like a reception and look like it's dark and candlelit and beautiful right? And I do that whatever I'm using artificial light on what we shooting into my lights never shooting with light to my back over my because again that's a seeming is on camera lady it's just gonna be flat you know? Right now I'm looking at your faces and our main light source is coming from up here it's hitting you over here so this whole side of your face on this side is all lit up I would never want to shoot you here it looks okay, but it's gonna look much better if I shoot you over here is a shot shadow side of that is facing me and it is looks more dimensional. All right, so I try to use that approach and everything that I shoot from dancing footage to parents dances ofttimes we'll shoot into the light directly with them in front of it for the flare. No. So that's what we're looking for diet for dynamic video lighting but that's you know for fusion if you're just looking to get a piece of the toast of reactions for the fusion piece because you know maybe go lay in the audio of apart of the toast it's great to just get a couple shots of maybe um the speaker in between sentences while everybody's laughing and she's smiling but she's looking towards the bride and groom isolate that then you maybe take a shot of the bridegroom's there was reacting the whole time there is in there another face and you've got all that different reaction, maybe bride starts crying and, you know, you could put in a sweet part of the audio there. So that's, what you're looking for again not looking to cover the whole thing, you know, you're just looking for those for those moments, if it makes you comfortable to fillmore of it or less of it to make sure you're getting it, you could do that to keep your clip short, ten to fifteen seconds and stop ten to fifteen seconds and stop because he's there for you to go through them and we'll see that going through a long video clip with without using a real video editing program is going to be clunky. It's gonna be difficult to get to, so okay, so that's, basically, how we do the speeches and the dances and the parties dancing? Well, basically, we've already got our two point lighting in place that's already set up, usually set that up there in cocktail hours cocktail hour is happening, and I've got this downtime. I'm now going to set up my lights on, and I don't usually turn them on until the introductions begin and we could talk about introduction is a little bit grainy introductions when they introduced the bridegroom into the room a lot of the times, if just one camera just be in one place and just kind of film it preformed focus and let them walk into the room into your focal plane you'll probably not end up using any of that in your fusion piece but if you want to film it can cool shot is go outside with the writing room and stand behind them before they walk into the room for your fusion piece and if you have steady came of course you know I walking behind them much to her sugar because I was being in a lot of her shots tryto hang back a little bit, count to ten and then go but what you can do is just, you know, go outside in the back of your mind pod and just focus on the door or you know we know how they open the door every time for couples to go through when they open the door quick focus on the table outside that or something out beyond the doors and leave your focus their pre focus this way when they announced the bridegroom the doors swing open on that light floods in and they walk out they walk right into your focal plane something think about for introductions but since we already have our two point lighting in place for the dances, I'm just now using my lights creatively when I walk around and shoot in perfusion I'm looking at five to ten second shots look over here that's a good angle on dad because he's dancing with his daughter get a nice close up usually with a telephoto lens and a close up on his face and they're dancing just maybe he starts crying and then I'll either wait for them to pivot turn or if you want a different ambience, different light moved to a different angle maybe shoot into your second light and get the bride's face and we till they come around to get the bride space because everybody dances a little wider ones slow circles it's kind of yeah that that would be it like that's also will demonstrate how we do that and work together because the whole time I'm thinking, okay, well, I don't want to be in her shot and she doesn't want me and, you know and I don't want, you know, I don't want her in my shop, so we're always thinking about where or each other is think about it this way most of the wings we shoot together and it's cinema crew photo crew there's six of us six of us but the way we do the cinema that stay out of the way as we hide ourselves in the crowd so a lot because we just have the model pods, so basically while the parents dances air going on or even introductions and first dance I've got my second shooter like like this, gentlemen, here with a mon a pod is standing in the crowd shooting like over the shoulder of people, and that kind of gives you that feeling that you're in the crowd because they're all shaded. There are shadows. Yeah, it's usually like a nice wide shot. Why? But maybe like a fifty millimeter lens and then, you know, I'll have another one somewhere else in the crowd, or maybe download with slider shooting up into the light. So one of the futures of one of the fusion, if you're thinking of that, you could stick them into the aisle are into the crowd during the dances would be a great place to have them go is a as a suggestion if you either don't want tha mme scene or if you want just a totally different angle. Thanks for convincing that for me. I was getting you start thinking cinnamon. You just go there and I'm trying to give a contract. Like, how much different is that? You sent mother in his refuge in like, again, we want to keep it simple. So just a couple shots of those dancing course is really all you need.