The Art of Wedding Filmmaking

Lesson 18 of 35

Shoot: Bridal Prep

 

The Art of Wedding Filmmaking

Lesson 18 of 35

Shoot: Bridal Prep

 

Lesson Info

Shoot: Bridal Prep

Okay so I've clicked in I'm ready go start with them on my part I've got my slider on the side which I've set up and I'll have that ready for a particular shot that I want to take but most of the stuff that I do is on um on a part of the bridal prep everyone's different I just find that um I can get a variety of shots and then if I see something that is super creative that could do with the slide out I actually want to do that after I've got a few creative shots with my mon apart because it's so versatile and I can get really nice coverage in terms of of many story coverage not coverage like just pointed shoot make that clear um okay so we just get this going so I'm having a looks ok so I just have a look here and bring that across I don't wanna destroy any cables turn the camera on now what I would probably do here is ask is it possible that we just bring her a little bit closer this way just so we're like yeah so and just a little adjustment and then they're ready to go now that I ha...

ve you noticed that she's actually blocking the light because she's in her back is to the sioux window so I'm so sorry I'm being complete pain can we have like you've um can we have her um um basically would you be able to turn her like a little bit this way and then now I wouldn't do that I would just kind of let her just do the thing actually should be fine here what I would do is just wait till she moved in a position where the light's good and then get the shot because like I said it's all about observing your they let you do your thing so I'm here and I've been told about that as you can see like I don't like jump into things I like to look and see like what one of the interesting ways that I could shoot this people are doing things so I could probably like go from you know I could that doesn't work so I can just start from here and there's like a little moment here and I would be actually I'll get is it in my bag? Can we get the microphone because usually I have a market for it here you always should have a microphone on your camera so then when there because they might be sharing like a little moment so that you can capture that effectively with your on camera mike and you want to be getting one of these microphones there the road I forgot the model but I could put that on the forums and you can find out but you want to have a really good on camera mike and I apologize that I forgot as I was explaining everything I forgot to mention that and I just click that in and I just make sure that my levels are good because sometimes like the night before you might be shooting dancing you may have had the audio in manual yeah really low you do that and you shoot the bride prep on very low manual you know going to get much because it's too low so I just check that and you should be checking this um the night before so I set your cameras clean your lanza's get your gear ready the night before really important that's cool sometimes what I do is I go manual but like a kind of just have it like around their cool that's enough level all right so come around he shot here they're with me I'm just referring just bear with me because I'm just not used to using the screen I'm usually just referring here which is a lot faster for me but it's all good I can I can adjust now I don't like that because I'm on the same direction off the key light so I would just come around this side on dh better shape so I get and we shooting many stories right so that's one and then you know she might have like a letter or something that she's like talking about a schedule and then I can um maybe she's showing her just trying to recreate since impossible scenario so I'll just get like a peace so they might be like can we get like, a note pad or something let's just add something to the formula here so yeah, this is just going through the schedule something you might be right down speed she could be right could be doing if you like now establish a connection with these ladies like I've said hello so you know what would be cool if I just with respect you just keep asking and then you just jump in and then I'm gonna look honestly this is a truth too shallow they're not going to think twice this like this is out there doing his thing okay there and then I might do the same thing but I'll go like right push in oh good, I'm still rolling it's going like this and then I got that shot here so I'm creating many, many stories all right? Not just like one overall shot I think this is a fantastic again one any one any one any degree rules to get shot here then I'm just gonna have to come around because of the cable and you pick your moments the idea is to pay attention mean we're here in the studio the point of the exercise is you need to pay attention what's happening be alert be observed what's happening old cases something's happening here so you know, just getting there may be what I could do is I could I could get two things at once it is the makeup happening there second just bear with me everyone I'm just not used to shooting with screen over there but what I'm trying to get across here is that you need to like you know I think outside the box pay attention to what's happening you know make sure you shooting a variety of different shots to create many stories that's the whole point so I've got enough here think they say I've got like three shots of you know, the the them talking about the schedule so go around here and now I'll just check with you do you need the mirror for the make up this at this point all right can we get her just for wall just get her like maybe we'll be forward him yeah yeah pretty much ok he's coming over here causing sit over there so usually what I do is I could start with like a like a basic shot it's a bit tight here that's cool doing a thing okay so I'm just getting shot here he's a shot so focus there and then I start getting creative then I start doing things like thiss spare with me guys I'm just just here looking this screen using my depth of field so I go there doing her eyelash or make up around the eyelash there so I just focus in there and what I do is like, I know she's going to come back possibly, but she does like, you know, what I'm trying to say is like sometimes like don't overly for everything she does that give you fine, you just need to assess there's a pattern with makeup, right? They'll do a little bit on the left and chances are before we get back to the right so you know and it's doing that and then I just this is what we've liked looking the screen but you know, subtle movement, right? And then I could maybe try something like this'd come around constantly like thinking of many stories, right? And then oh, use this bench and I'll say them maybe to the mob because, you know, it's just bench hayes and all right, if I stand on this, I should check with the cruise is that cave I stand on this? No wei have like a stool ever get? I can stand on because usually like a bridal prep is like chairs and things and your find to stand on them, but you need to ask you everything, you do it just polite, okay, I'll feel meantime, when you set that up, I'm wondering about your exposure are you looking at your light meter? You just playing by I'm just basically going to buy my eye yeah so and you also need to look at your color so you know around fifty four so she's just contained in the make up this is just another angle and I probably want to do it this shallow all right there's one there on then I can see that she's got like, you know this something that the bride thing on her her robe so I can probably get it could be like a nice transition to to the to the bride so my ending shot is here to get my focus and I probably wanted no pretty ladies focus in that's my last point off the shot then that could be I just met with me I'm just like during these and look at the screen and say but you get the point yeah is looking for this could be like an introduction back to the crypt see constantly looking around getting many stories, getting multiple shots off like a thing that's happening um you still give pretty much done like you keep going just keep going yeah yeah just keep going so we can kind of show variety shots so then we go all right um we got sameer is happening here so we let's let's incorporate some reflection shots to isolate you saying you want to isolate the action so we've done that we've you know cem depth of field type shots some interesting angles I've got a very simple angle before just to show his face that's simple angle you want to do like no all your shots should be like super when I say creative in a sense that it's you know it's um like god like a tease and mystery to it you want to have a couple shots where you just basically showing their emotion but we're nice framing nice composition and then you use that with all your mork kind of uh mysterious and teasing shots did you have a question for god? Well here we did have some questions coming in from the chat room regarding how do you work around photographers? Yeah, good question could we get can we get someone here to pretend their photographer sorry we should be able to find a photographer here bad no, not mad. Cool. Okay, so, um what? You never get caitlin that's right? So caitlin, you know, you just working away getting some shots yet but the answer the question firstly, if you don't know the photographer I recommend you make a quick phone call before the wedding and that will again break the ice so and you meet them at the bridal preppy say hey doing nice to meet you finally awesome cool, cool and it becomes a team thing and what you do is you just you just like look out for each other like if you want to get a particular shot and then that person is in the way you just communicate say r I'm sorry my in your way or do you mind if I just get this shot looks like you're getting a shot you just constantly communicating it's it's straightforward as that and sometimes the photographer might you be using flash on that flash is not gonna work for you right so you just left them there hey is it okay? Maybe after a few seconds you got their shots they just hold it for like maybe ten seconds twenty seconds well because you've probably got the shot in mind right it's really cool you've got the right angle you ready to go on dh then the photographers like got her shot she got flash going instead of like going life you know like you know I'm just hoping like you just stop and did you give him we looked like you done like you okay there you know you want to avoid that you know, just of what any tension just kind of communicate within politely and say hey so when you when you like maybe after a few few shots is it okay if I just get my shot without the flash so you know what I'm sick of you actually do that as a joke like it's nice it's kind of cool just picking moments and that's just my personally I'd like to kind of like tease people but in a funny way you know it's every so often you know, using the human bigger self and just constantly communicate with your photographer your photography is your friend and I said that many times and I gently say that because you're doing pretty much you're applying the same concept you know it means you know and I find the photographers they there should be like a god to you because they're looking for angles like you are and they probably see something that you haven't seen and vice versa they're really working with each other's banks and maintaining that relationship to support each other in a supportive environment that's right, then later you can you know you could give a bit of an elbow in the head and I fashion lady now you want to have some fun and communicate with your photographer great thank you cool so just trying to think of because there's obviously there will be a lot more happening than what we have here. So um you know, we could you know, you could just try to think so yeah actually continue doing the makeup here because I've noticed that you know, you notice there will be some mirrors right says I said these continued, eh? Okay, so you look at what's happening and I wouldn't recommend you saying, hey, do you want to hold the mirror? Just just just just hang on, hang on what totally awkward and then you you got a moment this moment because let's say the same mom's here, for example, that the mom in here and you should be putting the necklace you know, someone like it emotional song you like because you're getting audio do ever incorporate any conversations or anything that are happening into your finished product? Definitely you do definitely I'm my graphs and sound bites and we can show you should be able to show you some little sound bites because they constantly converse in like you know don't cry no way you saw me something make out I can't help you and you feel bad on so sorry every good chap, but do you feel that that particular mike still gives you the good audio quality that you speak of if you're in this range? It's it's fine, what I do ah, little times actually mike up the bride when I arrived because of the time constraint, I just wanted to actually highlight that it would be like but it's great that you mentioned that because I will mike up the bride with a very tiny lapel and I will stick it on inside the and saying concept I would, you know approach and say hey, I just need to mike you are is that cool with you and that foreign you know and then you're sure that if you at a distance and you're getting some shots that you can add another dimension to the shore and that is sound bites that sound by could be like, you know, something simple like accomplices happening and then they talk about how they feeling and that's great for your edit but these marks of really awesome like at this range like let's say mom's over here and she's talking or she's sitting down and she's like getting emotional um this is hypothetically you know, become around as well and they like having a little moment and sometimes like you know, you know, in an ideal position for the light um I mean I wouldn't have this cable here, but if I find that this is a really awesome moment and I have to like go around to get better light I prefer to just get the moment and just fix up post because I'm shooting at a the picture profile sittings I'm shooting not totally flat but I've load my contrast of lowered my my saturation so sometimes your subject when they're having a moment at that particular point they're just not in the position that you want them to be what all times I'm look I'm pretty quick and I'll just shift around and obviously we you know I would have the cable when but we still have limitations so that's another way you can do with those limitation to city camera up so if you just have to reshoot um with the moment happening then you can another thing is well that I have is some diffusion paper but this let's find but if you want to like, take another level just because the light's not too good come from the window that paper that I demonstrated to everyone that I use on the light panel you could easily just attach that to the window check with the makeup artist and that which is given nice soft light especially when it's a bright sunny day so yeah so picky pick your moments I'm just continuing here beginning I'll just come around with hair is excuse me mom is gonna come through she saw wei just continue with the makeup to show you like different so I'm gonna marry here because everything happens really quickly, right? Like it wouldn't take this long to the makeup but during that whole makeup time I'll quickly get because you've seen the clips, different shots that I get I'll get like maybe one here and one around you will like subtle movement and I got okay cool day is like a mirror here all sorry um I like gone like a smile I can be trouble kill so cool and then what I'll do I just kind of like so could we just shift a little bit? Okay, good that's cool then you're ready to go so then I can go with my city actually lindsay and sarah fan I can I can just get you just shifting back so I can see what the screen says okay okay so you know you can kind of like I know the lcd not having your lcd makes it a little bit more difficult but chandler point it's cool it's fine. What I'm trying to get across is that the point of the exercise is to demonstrate that you know you need to constantly looking for things so he okay I'm probably gonna be sure what I shouldn't be showing so like this is kind of cool all right? Nice framing you know and this doesn't even need much movement like I'm just happy it's kind of cool right? Sometimes you don't need that movement is that nice unless framing you know, like and then sometimes you want to like maybe two like that like, you know, empty space makes about different things and like I said to come around in and you know, on the other side of the light source you get the point so obviously looking at this lcd screen your I hear you're good now another thing I want to point out is these things these built right I recommend everyone watching this segment to get one of these right now and what about thes are under the name but you should just get I got these awhile back but you want to have some sort of built it could be anything it's got one of these clips if we could do a bit of a close up it doesn't matter what built it is because the straps that you get them from maybe from being a channel that so just a normal clip and what do you keep in that? What I do is I have a pouch for another lens, right? You notice in sandra viroj there were in the makeup there was some sorry fifty mil shot right? So some like meat shot made it kind of shots that I've made with the fifty mils and then I took out the hundred mil macro and I got some micro shots of the eyelash and I did that only one go so I had the lens he says this is basic but I do this is my process that okay it's all happening quick and you keeping the back on your lens and the lens cap you have you have to take both off when you pull it out of your belt like that or do you have them off like the back of the lens and the lens cap? So what I do is I take you mean like take the lindsay out here if you have that lens in the pouch, what I'm asking is, do you normally have no lens cap or back the lens or back cap on you so that you can just have it on you have it on okay? Because demonstrate again, you just have to find your groove, so I like it kind of works for you but it's like it's like a fiddly thing to say you find what works for you but unhappy too like her like this hold that the lens and them on a part and then I remove the lens where she before do you gonna do that? Because I'm getting ready to put it back into the pouch bang in here to get a close up off my fingers here I go, bang carefully ready go and then I can get a different shot with a different lens different look, do you ever shoot a wedding with two bodies so that you don't have to switch out the lenses or is that just become too complicated? I don't personally I think some people do, but I think this works better because you need to meet with two cons and into cameras obviously with photography it's a little bit different, but with well with my process that's what works for me, I think that that's the way she we should go because you want to have minimal things thatyou carrying because you're doing emotion with photography was just getting a steal right? So there's no motion that you're not thinking about like the motion aspects ofthe filmmaking movement you need to move you need to do things like that require action so you know you could change your lenders using these pouches and then I have a little pouch where I keep spare batteries now how many times I've done this right? I forgot to change my battery at the ceremony I'm doing cutaways like that's cool it's like flashing flashing and you know what's about to come down the aisle oh boy bang put the battery in and I'm good to go it had I done it sometimes you know it's fine but as long as you got back up here and I have a card as well so sometimes if you you're doing speeches for example and toast and they were talking for a while all right? You know instead of like for example getting your assistant or your second shooter too run over and get your card you get your card here bank hard, full changing card ready to go but obviously you know, like you general avoid that to happen because you put like maybe a thirty two gig in the car but I'm sure you know houston you've hasn't the toasts and speeches they're going forever right yeah so how have have these pouch as your backup then I have another powerful this is my system by the way, this works for may I know this system so well and it's like it's a fail proof for may right this pouch e r is a court the vault all right use cards going here you zip it and it stays it I don't care what happens I don't care if there's a psych line or if it's like if you need like you run into cards that does not open, you should have enough cards so basically every time you use up a card I put it in here zip it up and I know that I'm not going to lose that card because I've trained myself to think that he's a vault because the last thing you want to do is lose a car because you've mixed it up with like your fresh cards and then what happens? You start shooting and mixing up all your footage and then maybe like, uh, I've got this is my fresh card pouch got one here I'll just put it in my bag and it's got footage in it reliever and then you go like, not before I get my cards ready I'm going for my cut yeah so you know it's something really important that you have I recommend having these pouches because you can basically change lenses, you can have backup battery in cards, and you have a system. You know, it doesn't have to be this. It could be like some people have those, like, you know, those cases where you put the yeah, the guys back home that consider today, they've got, like, these cases where they have a system. If it's turned over, then it's used it. That's. Fine. You just need neither system that works for you.

Class Description


What’s the difference between a videographer and a true cinematographer? How can a single shooter successfully capture a complete wedding story? Join filmmaker Alfio Stuto for a three-day introduction to the wedding cinematographer’s mindset and toolbox. Alfio will cover everything you need to know about video storytelling, post-production workflow, attracting clients, and growing a business. You’ll learn how to choose the equipment right for you, from lenses to lighting equipment, and beyond. Alfio will share the one-of-a-kind techniques he’s developed over a decade of success as a cinematographer, including how to capture a live event through moving, evocative imagery that will last forever. By the end of this course, you’ll have the skills you need to tell a compelling, emotional story through video, with results your clients will love.

Reviews

user 62b97f
 

Excellent workshop! Worth every penny! Alfio really knows his stuff and is very inspiring. This class made my work look MUCH better. I would recommend this class to all my freinds. Cheers!

Trish Lloyd
 

This "class" is AMAZING. So much information packed into the hours! Alfio is a relaxed and fun "instructor" that you can tell has a lot of passion for what he does. Worth watching for sure!

ᖆᗅ ᗠᘴᗰᓰ ᖶᖇᕧᔛᘹᘴ
 

This is fantastic! Boatloads of useful information, lightheartedly told, as if by a friend. And this is in regards to the comment earlier that Alfio is not a good teacher. I find his manner of speaking very easy to get into. It's not rigid and you can tell he's speaking from experience and not quoting text-books. I'd much rather have this sort of teacher than any other. Brilliant stuff, I have to repeat myself.