Shoot: Wedding Prep Details
The first thing that we're going to demonstrate shooting are the details and then moving on from there to the bright beginning, her makeup done, getting dressed and photo session. So this is the beginning of the day beginning. Yeah, normally, like we said before robyn knight alternate, when it comes to the details in the hair and makeup, he will be shooting the details while I'm shooting the makeup and then we'll swap shoot details will heed his story and the makeup, but for what we're doing here, we're going to start with the details, show you first, how I would shoot them, then how robert shoot them and move on to the makeup where you'll start seeing that kind of simultaneous stuff happened. So if we come over here, I have all the details set up. We have an awesome pair of shoes. We have an invitation is there are bride and groom's name don and eema, so we're really excited for that we have a okay here is well, and then we have lots of little details here we have hairpiece and earrin...
gs, and then we actually have these air robs my wedding rings so thes will be fun, and once we get to a close up of them, I'll tell you the story behind them as well so we're going to start here with the shoes I always like to use natural light and because I do that it works well with rob and what he's doing with video I don't like to flash at all because what happens if you're flashing while your cinematographer is shooting video? You see that flash and it's it's very unnatural it's harsh, it is quick, but it just doesn't look natural on doesn't lend to the story in the seamlessness of that I know I brought this not fan of flash yeah, it can be a little intrusive I mean, during the reception, it sort of expected and there's nothing you can really do about it is people are going to have cameras and they're going to flash, but if you know if you're working with a photographer in a nicely lit room like this where you have a lot of natural light, there really is no reason that flash and, you know, I run into situations a lot of times where I worked with photographers who just flash, flash, flash and natural late and sometimes I will ask him up say, look, you know, we'll be okay if I could get a couple shots without much of clashes happening so it's a little intrusive, but we know each other so well and she understands that and you know, she knows that she will try to be considerate with that if she doesn't need the flash and sort of situation, right? So if you're working with your second photographer who's doing video for you, just be conscious of not using your flash if you know that he's filming during a certain point of time, so we're going to go ahead and get started. I'm going to get my exposure. I haven't said it yet. I want you guys, they're with me for that because I am going to demonstrate using the live you sorry my courts here just be patient. We are tethered, so we're gonna be moving around very slowly and carefully. So if you want to grab the reflector there you want to introduce our yeah this's, our assistant here he's going to be helping us out and hold the reflector is helping us out with wires and changing lenses and all that. So thinking so much and he is dressed up as well as you can tell. So come on over you're just going to come to the side. I'm going to use the silver side of the reflector right now to shine right on the shoes. A lot of times I used the white instead of the silver, but I'm going to use the silver this time because we have really awesome and those shoes that are shiny and the silver is going to bring out more of a reflection and emphasize the chinese part. So to get my exposure, I switch over into live you and I don't have to focus for this, but I will and get my exposure is actually pretty good right now. Right now I'm shooting at I s o three hundred twenty, my shutter speed is at one twenty five and my aperture is at one point six for the details. I do like a really low aperture I love the look of charlotte up the field, I am going to go a little bit up, I'll probably go to two point no on my aperture bring my s o two, four hundred and then my shutter down to one hundred I'm also going to set my white balance at this point and it looks really good actually it's a fifty, four hundred it's a little bit warm, but I kind of like that I'm just going to bring it down a little bit we're at fifty one hundred right now, so you can see I'm just looking through my live youth. To get my exposure I love doing that it just makes it very fast very easy I don't have to take sixteen pictures look at the back of my camera my history ma'am I'll get it right where I want it I'll take a shock actually no john come a little bit this side because right now I have the issues and the reflection in the mirror of the bride's dress totally unintentional obviously um and then I take one picture and this is the point where I will look at my history graham and double check my exposure and it's pretty good I can see some of the highlights that air blinking out here which I did I don't want so I'm just going to bring my shutter up to one twenty five to compensate for that and take the shot again and it really is great I've got the the flowers in the background here the dress kind of it's very subtle in the back and I'd like to take a few different angles for this I'm always thinking about the album when I'm photographing and a lot of times these details make it into the backgrounds of the album so take a regular shot of it and photograph it so that you know the shoes are in the full frame but then I'll take them so that there's a lot of negative space so for this one I'll take a shot with the shoes all the way over in the bottom, right? One more of the different focus because what happens here then I've got a great shot where I can have this is the background and use use either pictures or preview for tomorrow moving video in the negative space, so I'll usually stay in the exact same light for the different parts of the details because I want them all the match again. I'm thinking about the album, I want all of the colors to match it with the like, the look the same, so that when I put it into the album spread everything matches, it looks cohesive and it looks good. So what? I'm going to do me and take a different shot of the shoes because because I'll have shoes on, uh, we're gonna just take a different angle here uh love the reflector on there looks amazing, my life hasn't changed, this looks great, and I'm just going to do one more with a lot of negative space so that you can see what I'm talking about there, and so I give myself some options perfect, actually, if you want to like jumping into a quick cinema shot, there will be great a lot of times, robin, I really work off each other he's an inspiration to me, and I hope I'm an inspiration to you. So if I'm shooting and he's in the room, I'll leave that there, I'm going to go grab that and usually I'm like when I'm done, you can do that. S so what we've done here is I'm just kind of seeing the nice angle she's brought what that she set up, you and I have my my slider set upon a tripod and I will bring a tripod with me a lot of places sometimes I'll keep it in the car it's a little bit too tight in the room, but we have some space to work with in here so I would bust it out on basically I'm just gonna do a quick cinema shot of the details here that we might use in our fusion's larger and this is also a man photo tripod is one of the model number of this is a four about five o forehead age five or four hd head but the legs I don't know what but they won't believe him on number five forty six b there you go, forty sixty is the tripod here, and then he has the scent of the atlas mounted to this china had a swell synovate atlas ten the atlas ten retails for about eight hundred dollars it's a very high quality slide are very durable takes a lot of beating I'm very rough on my equipment yes, I try to take care of it I really did try to take care of it but a lot of times we move so fast in the cinnamon rolls they just don't have time to do that especially on a wedding it's not like we're putting on a movie production where we've scheduled time we just have to do what we have to do in order to get it done so what I'm gonna do here is I'm gonna attach my camera to the slider and I'm going to shoot the shoes and I haven't really set up my camera at either so I'm going to go ahead and pop on and you'll notice how he just had his model pot on there was able to take the camera right off the mountain pod and stop it right onto the the slider so that it's nice and quick and easy all the same quick release plates around this camp right locks on nice okay so you could see if you think the live you hear you can kind of see that I haven't really set anything up I'm going to go into my men you just make sure my settings are ready exam assuming this would be the first shot of the day so I make sure my foot my card is formatted which it is to go down into my live you movie function settings again this is a cannon five d mark too I'm shooting in nineteen twenty by ten eighty at twenty four frames per second and because of this room I've got my sound rick cording set a little bit lower so my mike is seeking as you can see on the view meter, mike is picking up my voice but it's not peeking into the zero, which is fine, it might actually be a little bit too loud, so I'm going to drop that down just a touch so it's peaking right around the negative twelve range and that's good so later on, when the bride is getting her makeup done, you know, if she says something like go home so nervous or something like that, we'll pick that up, which is what we want to do it's kind of the idea, so all right, so we're pretty much ready to go let's get our exposure here and the idea is I'm just going to slide from behind this clock that we have on the table and to the shoes, so I'm just going to go ahead and get my exposure first and I'm not three twenty on the so one sixty on the shutter at two o my aperture and remember we talked yesterday had to use the magnify button, so I'm just gonna magnify in and get my focus on my shoes here, which it looks pretty good, very happy with that and right there that's a nice shot I mean I'm happy with that's pretty cool but we're just gonna roll the camera here you might see a slight jump on your display as I do this that's just the nature of the tethering and I'm going to go ahead and start my shot on slide over this way and with wires on here baby, would you mind holding that it's a little bit tricky to do? We're tethered but just give me an idea so just something like this and you can see how the reflector is really helpful for rob is well so that he doesn't have a big drop in shadow on the left side of the shoes it gives him a really nice dynamic shot with shadows and highlights what I really like it if you watch the face of the clock it's that come around you see the reflection of the shoes in there you can see the reflection of the shoes in there that is awesome on the right side there that's it my shot is done so you're talking like what six seven seconds that I filmed there you know for each one and I did it a couple times give myself some options sometimes the slider might catch or you might get a little bit of ah rough movement and you really want to make sure that slider shot is really nice and clean so I'm happy with that so I'm going to pop off here and I'm going to let vanessa jump in and finish up her details and when I see something else I'm going to shoot I will do that and I do know I want to shoot the rings and you know we're assuming we're on the wedding day you know we're assuming that we're here andre have all this time in the morning the bride is still in the infancy stages of getting ready so we have a little time to play one of things just to know that I know rob did kind of subconsciously at this point is he made sure that he had four grounds in his slider shot which really makes the slider shots look like slaughter shots and not just like slowly moving video you peeking behind the clock having the clock in the foreground really just makes the shot much more dynamic absolutely so I'm going to go ahead and just shoot the invitation I don't go crazy too much with invitation I usually photograph it just because I know that when I sympathies to magazines and to bridle blog's that they want a picture of this it doesn't usually end up in the bride's album but it's a good shot to have I wouldn't mind ending up in the bread's album and I'm just a little bit too hot on my exposure so it's going to two point to here and again, I'm keeping in all of the same lighting circumstances so that everything matches not only for the album but if the ends of been magazine as well I like everything to match it just looks better on the spread and then I'll just get a little bit more creative shot again, giving myself some negative space there so that I can use it in annapolis later. One of the things I also like to dio and this works pretty well for robbie, it does remind me a little bit of a cheesy picture where I kind of put all of the toys together in one big shot, so I have the bride's okay? And I have the the shoes and the invitation and everything like that. But again, I do take this strictly because I know that a magazine looks for a picture like this so things to keep in mind on the wedding day putting everything in one shot and you can do creatively it doesn't have to be a typical shot. This is really nice light we're very happy with this light beautiful natural side light that's great for us, especially for the cinema because we're not using any artificial light during this part, right and again, just little details and this is actually very this's very indicative of what well, what happened between vanessa and on a real wedding day because there are times when the bride might be in the middle of getting her hair done and there's just hair dryers and when all this noise and not really getting much of that because it's just you can't hear anything and she looks horrible at that time so it's kind of like just let it happen and all this will come in with us and we'll hang out we'll talk more which back in for taking shots do you get your ring shots of unity that now actually I got the rings here and I have hearings and hair well so I'm going to take an overall shadow this so that we have it and then we'll get into a macro shot and the macro can be really fun it's a little bit hot there again and I think a little bit warm so I'm going to dial down like calvin's to forty seven hundred again using that manual white balance to really dialling in the color that you want. We've got some fun toys in the back here that really really great for for the macro and just to reiterate for the cinema I am shooting flat I have my camera set in neutral on the color profile because that's going tio take out a lot because this is very harsh light and if I was shooting out standard mode my whites are going to be really, really blown out possibly and my you know my dark suit me really contrast so to kind of just make that separation so we get nice detail I can add the kind of the contrast back into my liking later on this's not switching to the macaron we're gonna get real close up and do some cool detail shots here all right? So I'm going to take a picture of this and then let you guys see what's going on with these crazy rings here the thing to remember is the macro shots you actually want a greater depth the fields here because with the macron the compression of this lens very little ends up being in focus so I'm going to adjust my exposure and it's going to really dark because I just went up to five on my apertura so I'm going to just adjust and right around there looks pretty good I'm that eight hundred sixteenth of a second at five point so let's take a shot here and actually when you see the photograph that she takes come up on your screen you see vanessa's wedding ring will tell you the story behind the wedding ring that one looks like it was in focus I do focus manually all of the macro shot so if you can see that wedding ring there that is actually rob had that designed truth be told rob and I are pretty big scifi dorks yeah star wars and star trek and lord of the rings frequent our tv but that ring right there is actually modeled after the novelty ring from lord of the rings that galadriel had the blonde elf that is her ring of power it's called minya s o that is my wedding ring that I had there that is recast I found a model of it and we, uh we ordered the replica and then I had to recast in platinum then put a real stone in it. So so it's got a little story behind and my ring is like tungsten carbide it's just completely indestructible it's one of those rings that they say if it gets been done to your figure they're just gonna slice your finger off isn't coming off that's that's that's a little bit about us we are big big door, so feel free to send its length like cool scifi stuff because wait, I don't know if you want to show it a push focuses like with macro on this lighter yeah that's a great idea actually that's a great idea. So what I'm gonna do is and this is a great thing that you're seeing here is generally I don't use the monitor pod much to shoot my details I like there to be some motion in the shot and the ring is not going to get up in sprout legs and walk so we have to kind of introduce a little bit of motion here and this is a little bit more advanced but again if you're going to do any sort of advanced motion the slider would be the way to do it because it's so simple just lock it on and you can push after you get your focus it's really not that difficult so I'm going to demonstrate for you push focus or you know it's it's a form of pre focusing and I'm going to use the mackerel openness is using sorry just want one more picture I don't think I have the macro of my ring right so you think a little bit of setting up with tethered cameras so let me go on ahead and just turn this off for a second and this is where things kind of slow down and you want to just go ahead and this is why I also I have an assistant that hangs out with me the day of the wedding I have my own because they can hand me lenses when I'm juggling with a lot of equipment so it really is helpful so what I'm doing here is I'm gonna lock back onto the slider and and robin's gonna demonstrate a push focus and what that is it's similar to a pre focus where he is going to pre focus the camera but instead of the subject moving into focus he's going to move the camera into focus or into the right framing so that the subject is in focus right? So this might just take a second to set up and I usually do spend a little bit of time on detail shots because I want to make him look really good and it does take a little bit of practice to get the ring toe look, you get the shot to look exactly how you want to looks up what I'm doing here is just opening up my exposure a little bit him a little bit dark and every you know as you may know, every lens has its own look so I'm not gonna move toward you just a little bit and sometimes if you are working simultaneously like we're taking a longer period of time to do this right now probably shouldn't that and I will shoot around him so I know exactly what he is seventy millimeter lens on I know his his sight is right around here so I can take detailed pictures from this angle of the kind of fun props that we have here. Okay, so what if you could kick this lot the reflector in there that looks really good. What I'm gonna do is to aids very shallow for this macro song is gonna open up a little bit I may have the bump so touching and five hundred I'm shooting a thirtieth of a second and that's okay for video is not going to look a crisp is it would if I were shooting it? Actually you're in my light you're late that's a common thing so I'm gonna wait till you move so I can get my correct exposure there that's this is really shallow and with all the rig is very heavy with the tethering monitor on it, so I'm gonna try to make this as steady as possible basically I'm a start rolling and I'm going to start my focus and I see that rocking that's just because it's too heavy but basically I'm going to start my shot with it in focus and I'm gonna wait a second let's get exactly what I want stone and focus on like that and then I'm gonna slowly pull away whoops, I hit something here looks like yep nod let's move that back let's try this again and again you know it, we'll have to do this a couple times, so start from there and then you could always reverse the shot so it looks like it's actually pushing in on it something along those lines it's kind of nice and I'll probably shoot it from two or three different angles just to kind of get different looks because what I generally might like when I'm shooting it, I might not like it when I look at it later on and that's just part of being an artist just kind of happened you're always thinking about those sorts of things so I'm just gonna change up my view here just to get another angle being in the moment to weigh do have the dress over here which is awesome we're going to get a shot of that and again this is really just showing how robin I work when we're going back and forth if he's doing something I'll come over here and do that as well I don't think I need the reflector on this have moved my light so I am going to double check my exposure through my live you it looks good there get some nice detail shots address we've got her veil here as well and some nice boca and the backs we have nice tungsten lights and I kind of like tungsten lights when they're in the background and not on my subject so I have a light coming through for the actual dress in the background you'll see the yellow there that shows me some nice nice boca actually this will be great and again shooting with the album in mind delegate a shot that's a lot of negative space like that that's what I'm gonna do is just do a little funny when you actually let the rings be the emotion here so what I'm gonna ask john to do is I'm gonna ask you to back up that ring and you're gonna roll it right into it. When I say, go get him a little bit, shall we go ahead and just try analysis, looks just something like that. A lot of great bring shots you can do like this. It does take a little bit of practice to do. John, can you back it up a little bit more, so it's, almost to the edge, keep going, keep going, keep going, ready. And when I say go, you're just gonna roll over everyone. Two, three go, I mean, it's, it's, cute. I mean, you know, I would probably spend more time than we really have to, just kind of perfect that I usually spend twenty minutes doing shots. So that's, just a general idea of what I would do in orderto to capture something like that. So just fun, fun, fun, little details.