I think we can end this section with some questions. All right? So we're going to just move around so we can do that effectively? I believe so. Yeah, because we're nearing the end of our reception, which was so much fun. I'm so excited. We did this. Uh, yeah. I'm gonna hand this to you. All right. Thank you. Okay. Who? Oh, that was fun. Everyone who's sweating. I hope you all out there were dancing along with. All right. So we have so many questions, but you just mentioned those six or seven shots for fusion, that is all. Did you mean for the dance or for the reception? And if it was the reception? So what is the dancer from the dance? Okay, okay. So those were the top while total two or three. Excellent shot from every part of the reception. Thank you. So, roger roger's global photo asks during the dancing where you manually focusing the whole time? Yes. I'm always manually focusing, but what I was doing during the dancing was pre focusing. So I was focusing on an area and letting the...
people come in and out of focus. What I like to do is all kind of single out one person on the dance floor. And focus on them and let them do their thing for five seconds. And then I'll move to somebody else and focus on them. And if they move in and out of focus it's fine. If they move completely away from the focus, I'll just find somebody else to shoot. They failed their audition and we find someone else. So a lot of folks were asking again if you could go over briefly the light situation. And do you actually bring these lights with you? And how do you set them up? Does the do the bride and groom care that you have them? And what wattage are they? Those types of questions? Okay, so the basic setup is on way. We have the diagram drawn out before. Just imagine a square room like we're here in a square room and our bride and groom are usually sitting at some sort of a head table or some sort of a separate table. There are occasions when they put him out of table with people when you just have to kind of work around that. But the idea is to use two lights, and whenever you have a situation where there's going to be toasts, we want to put the speaker facing the running room and your lights go on the same side. Okay, so if the bride and groom are sitting there which they are and I'm standing here and I'm gonna give a toast we keep our lights on one side of them not one there and one on the on the side diagram that's on this napkin for you which camera? My should be facing this one here. All right, so if this was the dance floor right here you've got a bride and groom table here and your speaker is right there. You and your camera person are here and the light's are here and here right now so being on the same side of the square is going to give him the same life. So the light that's behind the browning room is filling me in and providing the light there backlight okay? And then the light that's behind me is filling in the bridegroom's faces and it's giving us back light and that's pretty much the whole set up the watts that I use their six hundred fifty watts each, but I use dimmers so I mean it's very rare that I'm gonna have them at full blast. It would take a very large venue room for me to require that much light andan we focus them, they have spot and flood mode and I can focus the lights to a very narrow beam or a very wide and so in what scenario do you like? How do you know what to dim down to? And then which it's just a matter of eyeballing it? I can tell just by putting my light on a table before the bridegroom come in, I could look at and go that's for really intense it's really bright they're not gonna like that, so I want to die with down to where I get a good balance of a good exposure but being semi honest, ok, they also want to make sure that it's not so harsh that your exposure is explosion for their skin and everything else is going black you want tohave it somewhat, even slightly more on them think about if you're using a flash and you're using your flash to fill in the subject do you don't want that flash overpower everything else so it's the same principle we're just gonna give it enough lights where the ex opposers match on both the back of them and the front of them and that's what's gonna give you that really dynamic light that you saw in our images before thank you so and still with lighting labella photo girl asks, do you do you carry extra bulbs for your lights? And what would you do if a bulb dies? We have extras you know we always carry at least one extra with each light they are sensitive you can't touch them with your bare fingers the oil's alone will well you know what'll happen is the oils from your skin will get on the bulb if you have bare hand bare hands and then you go to turn them on and that whale heats up and causes the bulb to explode so when it comes to using a halogen lamp just be very careful to not touch it with your bare hands and so I think the other part of the question before was brought in her mind that I used the lights generally not because again like I said before this is very tight orders a lot of times of brides think that it's just the hall providing the lights and some halls do provide their own light some halls like them so beautifully I'm like wow that's great I don't even have to use my lights so a lot of the times the guests in the drawing room just tend to think that that's part of the package that's fine great a question from jared in seattle roger's global photo your on site workflow is so fluid and you're keeping so many things that we'll need to keep top of mind looking easy and natural as a beginner if I were to completely forget to capture an important moment like the first speech would you just move on because the moment has passed or try to recover by shooting something else the video part assume he's talking about since this is just fusion and you're not getting paid to do a full coverage just move on to something else that's just not something that you're going to have in the fusion piece yeah it's managing expectations just be sure your client is aware that you're not guaranteed guaranteeing any specific moments that the artist subjective and just doing it to enhance the photography of the day thank you so len incognito asks is there any issue with copyright music when taking video during the reception? Do you even use that question? I don't generally use that music you're usually audio is the audio of the speeches or the introductions if you're going to make something together in an actual film he's using license music for the dancing partners yeah, well actually overlay our own music over the exciting dancing stuff will put in our own high energy music I mean there are times like we did a wedding last year with a bride actually got up she's, an actress and a singer and she sang a song to the groom way of course used that in her film made it legal for a bit of peace and of that alone but that is a risk we're willing to take for that because it's I'm not going to leave that it's so important that you believe that other film so in the beginning rob when you were showing the steadicam and super fun to watch a lot of folks were saying ok so I don't have that piece of gear right now you know you showed the mono pod but for some of those first shot so they're what are some of the practical alternatives for people who don't have that piece of gear mirlande the merlin yes that s steadicam makes a piece of heaven called merlin it's a very small dslr camera stabilizer glide cam actually makes one too black like him makes the fly can it's called small less expensive light wade less expensive unit that you consider the slr on top of it if you balance it correctly you khun do those fly it is not the vest it's just a hand piece so if you don't have it and want it that's a good option you definitely if you don't have it I don't want to buy it you're not gonna get that same effect kind of walking through your mono pod yeah really shaking yeah wouldn't recommend doing that sliders always good they're less expensive and they're easier to use so I would suggest either a slider or or the fly can fly cames a good cheap alternative great and also to your point before that you're only getting these little clip it's for the fusion pieces so so you get to pick and choose which ones you could do with the gear that you have exactly exactly, yeah, kind of gives you more flexibility and, uh, whaler asks with so much gear that you bring to a venue, how do you keep everything safe and just carry question it's a it's a big concern for us. A lot of the holes that we work at insist on hiding our stuff. They wanted it, and I don't blame them like if I was paying a lot of money for a hall, I would want to walk in and see a bunch of gear laying everywhere. I totally understand that with that said, we always try to hide it obscurely somewhere where it's out of the way and we always asked for a table who's asked them to give us like a six foot table like this so we can win the tablecloth that we could put up against a wall somewhere. Hide our stuff under it, it's the halls that want us to put it in the kitchen next to the back door. That makes me very nervous. I've had equipment stolen on weddings before I'm very hesitant to let it out of my sight, so in order to keep it secure, we have ten cases which we love the they store all the gear we have about six bags for a typical cinema crew and that's a lot, I bring a lot of stuff and then to keep it say if we both have assistants so most of the time there is somebody near or by the equipment at all times yeah it's always within our sight I mean, you know, you do take a risk even just having one in the room but you know, as long as I know guys that chain it down then we have bicycle locks and create loops on their equipment just lock it down that's a way to do it. Okay, a question from our harrison. What do you do for a sink marker for the mike skin camera audio so that they can match up the audio to video later and it's from raleigh, north carolina there's a beautiful thing. It's a soft piece of software called pleural eyes p l u r a plural eyes e y e s and what this software does is you you select your audio source, which would be your you know, the mike that we had on the groom's mom and you select your camera footage with the audio that you recorded on the camera. It analyzes the way forms and sinks it up for you in a video editing program so you don't really need to do a slate like in the movies, you see the slates I mean, that would give you a reference point on the audio way for him, but this program do it for you. So we used your allies for the films to do that. And vanessa is going to show you tomorrow how she just takes that audio and it's not really sinking into the video, but slips it into the fusion piece. Lis smith from owensboro, kentucky, asks you mentioned you liked to upload your data to an outside device during a wedding. What do you use? How is it connected? And how long does it take questions? He's a pro. We just keep our laptop with us and we back up to the laptop. Probably thirty percent of my weddings were doing same day at its so we're editing something that shone at the end of the night. So what we need to do is continuously ingest that footage into the computer for two reasons wanted backs it up to it gives me the editor of the opportunity to work with it. So we use a firewire eight hundred card reader made by lex are. But the problem is that is this continued. There are other firewire eight hundred card readers out there so we could use one of those. Andi, just copy the cards as their full. So we're getting near capacity so and round copies them to the conf. Peter I copy mind to a hard drive for me I like to do that because it's it's double backed up the night of the wedding and I want to get home I don't have to put in all these different cards that I've used I just plug in my hard drive and company the footage from there right? So it's all copy of the computer and then yeah right now we just dump it off to two separate sources all right, maybe a couple more questions before we get a break from husband wife in the uk and bi chin they're asking about robbie or white balance during this whole section white balance for since we're under tungsten lighting I think I dialed in thirty three thirty six okay, so thirty six hundred on the kelvin scale made it just the right amount of warmth without it being too warm in the face and sometimes that changes just slightly depending on the up lighting in the room it might cast some up lighting is very strong and has a different color, so just keep that mind great. Thank you. Sure. Okay. So, um roger's global photo from seattle how much does the space you have determined? How off did he use the ground slider? Where do you normally draw the line between working it in and just not having enough room if I don't have any if it's tight, I'm not gonna try to make it work just for the sake of making it work. If I have a beautiful shot that works with space that I have, I would use all right. Fantastic. Well, it is about that time for our fifteen minute break, so thank you so much for the reception and thank you, everyone who came and joined us today. Now, that was so wonderful to have all of you guests and mother of the bride. Thank you. Could you tell us a little bit about what we're going to do when we come back? Great, yes, we're going to kind of flip to what we normally did before this, we're going to do the first look actually do in entire ceremony and a brian group session.