Shoot: Hair & Makeup
Guys big round of applause for dawn thank you so so much is such a big help for us having you model so I think I'm gonna have you in this seat and remember a lot of times makeup artists are just tend to be in bad light or maybe they brought their own life so it's good light but they're in a bad background or something along those lines but we have done here we place this chair here so that she's going to have nice three quarter light hitting her face and then make up artists coming on in and I know she's going to set up some of the makeup spot so I give you some room to do that and the things that we're looking for of both for photography and video are beauty shots you know there's not a ton of crazy story going on a lot of times but there is just beauty shots I love focusing on the lashes rob lowe's focusing on the movement of the brush against both make a pallet and her eye and that kind of movement is really nice and fairly easy to capture because you know she's not jumping up and d...
own all over the place she's sitting in the chair and we can control this and reenact this a little bit as well so I know you've got some makeup touch ups to do so we're going to let you do your thing for now and generally when we come into a bride's house, we don't like tio go right away and shoot like right up close because we've just been introduced and we're really aggravated to makeup artist totally in this space right now and she's an artist too she needs to have her space and we wanted gracefully enter into it, but while she does that, we'll focus on getting shot's a little bit whiter so maybe the first one we'll follow you then yeah, I'm basically just getting a nice negative space shot here and guys there's gonna be things in the background? We're just gonna we're just gonna deal with it nice on focusing on this magnifying in to make sure my focus is good and just ignore the camera guy in the background part of it that is part of the fun and I love that because she's got the dress in the background here this is a great great shot that we could end abusing love it and then if you want to just it's just going to say come round to the front that's perfect right there so the light falls under face love that and if rob is here in this angle and I do tend to shoot a little bit faster because I don't have to wait for the motion of what's going on, I'll just take another angle that I know is goingto help me out and grab grab a different what I'm doing right now is I know she's gonna go back to the bride at some point so I'm just waiting for that waiting for the moment where the makeup waiting, some time creating sequence member, I'm shooting for a secrets here, so I'm really just kind of waiting definitely a lot of waiting I think both in photography and way called anticipating, you know, it's gonna happen. It was really cute down he kind of looked up love that wei have some awesome steak last good I'm just gonna leave the camera rolling this way I don't have to keep stopping and starting it. I'm just doing that more for the tethering sze of the guys here creative live can follow me a little bit easier normally, I would stop and start camera, but just for the sake of this, you kind of see how robin I slowly start to circle each other, you know he'll come too, then where I am and then at some point I'm going to move on and go go around the rest of the circle there, right? So I'm gonna walk over here and again continuing in six months is here this is really nice light right here, so the first shot of rob sequence was kind of a farther away shot and now he's working on the ones that are a little bit closer, remember, if you're going to sequence shots, you want to get a lot of different ones in different angles and different, um, different perspectives as well. This also ties together with member before we waited for her to approach dawn and now she's gonna do it again from a different angle. I love that that's a gorgeous video shot, a lot of great action. I don't even mind that she blocked it that because that's a good way to transition to another shot or cut away, what I'm gonna do is move around to the other side now, and I'm usually moving very quickly at this point because I'm not wired down and I'm running around trying to get the best shots quickly and at this point, if they're putting on lashes, this is not a point where we would ask them to do something for us because lashes it's as a makeup artist, you have to have a hand like a surgeon to put eyelashes, somebody it's also fun, where you can get kind of foreground shots, it's to dividing the back love that I get robin back, sometimes they're too is you see that one, but another advantage to shooting shallow, you can't really tell him and the one of the things we like to do is back up and do a silhouette shot as well it's kind of like one of the one of the staples that we like to do watch the rack focus here of that so from the makeup artist hand right to her face with the mirror and you're in your own shit happens a lot it happens a lot it's okay, beautiful on the light here is just gorgeous it really is so there I just did a four five shot sequence of the makeup and it was all different angles thinking three sixty around around the subject and told the story it's all from different heights and I'm still seeing great light and I might want to switch my lens up in a different point too. So do you want one? Thirty, five hundred thirty okay, so you didn't so much so I'm going to go ahead and do that so photographically we have things that match I usually like to ask him what's going on with that and we have one thirty five that we did yeah and I'm going to steal his shot because I loved his mirror shot here that was often I love the look of the one thirty five it's really intimate I can really get in without annoying anybody and then don't just flickered the window kind of like this see, this is what we mean by working together this is you're always trying to not get in each other's way love that good you go ahead with one thirty five love that and nice close up on the lips what just different detailed action and even when she moves back and re brushes that's kind of a cool shot it's just you brush again like you were just doing on your handler you were prepping it yeah and the light on our faces just absolutely beautiful do you want to dio lashes shot next? Sure all right, the lashes shot is probably the money we're going to get in the closest it's the one where we have the the most in the most personal space of both the bride and the makeup artist so we usually save that one for last so that their hopefully a little bit more comfortable with us by them and what angle would you like, baby? You take the lead, whatever you want well I'm loving where she is I'll probably just turned her head this way. All right now see for continuity purposes I pretty much already did what I needed to do, so we got a bunch of different things happening I've got, you know, the make up artist toying with the brush, fixing the brush in the going and approaching the bribe but also of the wide jennifer approaching the bride so that's three shots right there that I know well in sequence and maintain continuity, which is great so now if we just turn her into a different direction, get a different shot it's somewhere else in time now we're working on her lashes or we're just getting a shot of the finished makeup products so it doesn't really need to maintain the same continuity of where the light is on her face, right? So what we're going to do this is kind of a typical one that we would set up it would have make a bars come on in with one of the brushes or scare a brush that woodward and I are going to do don't look down at my feet because you love my shoes bourbon and then get a nice makeup shot I just need to adjust my exposure and you know actually I mean, you take one step back that way and then in this way you're going to come from the side is that with the lights still on her face and then don't just looking right down there it's perfect I love that good opportunity for me just to get and a good last shot is always fun and I like that one where you can see your face and then when we just have the lashes so you're gonna lean forward even more don keep coming right there is perfect and I'm just going to go to a really little aperture and get just last just flashes in focus and that should be it and you know, for fusion I would never I mean in my films I'd never really have somebody looking right into the camera but for fusion because you're kind of mimicking your photography you might be able to get away with it without it looking too like you're breaking down that fourth wall so don't honey what I wanna do is having the same thing when I look down and when I tell you look up you're gonna look just bring your eyes right to me on the count of three again I'm gonna get my focus here close up sorry guys in the booth by now one let's give it another second okay, here we go counter you bring your eyes to me one, two, three back down one, two, three let him think crazy eye with a camera right over my head that's great perfect a lot of times like that all direct things not only for rob because you know, he's trying to keep still but also for me because I want a different expression or more than one expression while we're overshooting so we're going to do now is we're going to get the get dressed we're going to have her mom come over mother of the bride is entering the scene come on over big round of applause from other than read what she is she's going to help her get dressed on dh this happens a lot on weddings, you are probably not there while she's totally getting dressed, so we're going to let them kind of scoop behind the quarter and get most of the dress on andi, you'll just come back with it unzipped and we'll show you what we do getting the dress zipped. All right, so we'll let him do that. Any questions from you guys while we're here have any questions? Questions with the awesome just taking it all in and what do you think is probably one of the first parts are easiest parts that you would start implementing on a wedding day? Definitely details and stuff I feel like I can control it. It's not going to be moving or running away from me. I could start there and integrate that somehow, even if it's, just like a little blip to send a client like your pictures are almost ready. Here's little trailer and so that I feel like I could start there. I like to intimidate me. Yeah, I agree. And honestly, the very first thing that I filmed for robbed the first time a second shot for him was details and it was iraq focus between the shoes and the ring it's probably my number one recommendation after you've already shot unengaged mint session portrait session, some sort of non wedding photo shoot that your first thing when you go in, try it on the details first, because, like he said, they're not moving, they're not going anywhere if you don't have a slider, but you want to do something that's artistic I mean, you can really do something. Is something really simple? Would you mind holding to this if you don't a slider together in the crazy take take your camera, put it on the table, focus your camera, take your ring, spin it or something like that. You know, this is just pre focusing in a spot just something you know. I mean it's gonna take a few tries to get it right, but at least it'll, you know, just getting it's hard to do on this on a tablecloth. Just trying to get to spin in one area like just right here would be a nice little shot have so without the complicated movements of the camera. So it's, just something to think about. Uh, what do you guys think is probably one of the more difficult spots to shoot in the morning working around the makeup artists and hairdressers and other people there's always one that's difficult, just photographing and video and I feel it's even more difficult. Yeah, the way I approach it is I always looking, you're comfortable first, like vanessa said, we don't just walk in and go right up to them to start filming, you know, we'll let them you comfortable, all, usually introduce myself and to say, hey, look, I'm gonna be out of your way. If there's anything you need, let me know on daddy's story. I start shooting my wide shots first, and then I'll move in and start giving my more close up stuff and that's, what's beautiful about having the telephoto prime lands, the one thirty five. You still get beautiful shots, but I can maintain a distance on. We try to do that as much as we can.