The Art of Wedding Filmmaking

Lesson 25 of 35

Wedding Day Overview: Dancing

 

The Art of Wedding Filmmaking

Lesson 25 of 35

Wedding Day Overview: Dancing

 

Lesson Info

Wedding Day Overview: Dancing

Dancing is one of those things that just think about a year's shot you've been shooting for like how many hours like maybe seven hours eight hours and you come to the dancing and come on you have to mean it by this time you're like really tired and your energy levels are really down so it's one of those scenes that if you know you don't think about setting a lot of techniques you can't get lazy and then should have really bad because generally people that are in dancing the dancing pot they want the lights down and then you think two so for what do I do you can't shoot when it's dark if it's like completely doc and like very twenty times a lot even if you shooting with the mach three where you can shoot up to around five thousand it's gonna be really hard you need some sort of like okay so what do you do ok so in the beginning when I started dancing as I mentioned you don't need to capture the a ll the dancing again I repeat what I have to say it's not so violence it's cinema so you're...

you're you're providing them an experience you providing them with a story right so if you think about it I'm sure look and that's what I told you I have couples say they are but we want you know in the doctor where they're like can you just put we're going to see, like, lots of dancing, you know, and look that's fine, but just to point out, we don't actually shoot wait, do you like constant shooting? And I'm sure them these example and they go, oh, okay, I see what you mean, you know? And but if it's something where it's like something like, for example, if it's something where they practice as a group that's different, right? And if it happens, like during certain times of the also and shoot it creatively, but all I will make sure that I get most of it, but I still capture it like in that way where I'm being creative, but I always make sure that I bring the right lights and I asked them, are you dancing outside? Like we talk about the venue? We talk about the timings, we talked about many things of the day, so for example, if they're if they're going to be dancing outside like you know that they get married by the vineyard and the getting married outside, you need to ask him, look, you're gonna have a deejay, and that will give you a clue in terms of if he's got power, so I mean, you could go to the you could go to the lengths of contacting d j I don't you know but if I feel that yeah based on what they're telling me that there aren't this possibly know there aren't going to be any extension cords I'm grabbed that led panel right um or you can basically use you one line if you got a very basic kit where you've got one line then you can just use that one line on even if it's like a inexpensive glow like a lamp right that is maybe two hundred what one hundred fifty what? Because look the data lights not everyone look you know if you're on a tight budget if they are between eight hundred thousand dollars so for some people you know it's a bit of a stretch and that's totally understandable because special few of starting out you may not be able to budget that but if you're not renting and you just want to buy ah light maybe a lamp that could be like a four hundred dollars or some important how much it is as long as you know it's it's a reliable light and you come to the stand and everything again get some diffusion paper and you can you can use one light and you can if it's inside you can bounce it so if it's inside it's pretty easy if they've got like like ceilings like what ceilings and you can bounce it it's pretty cool but if it's outdoors and this is nice ceiling right so I would position you know make sure you bring your position is somewhere where no one's going to trip over it have a quite high and put a diffusion paper on it because if you just shine it like harsh it's gonna look awful so like gnarly I learned that word in the u s um but you know, you want to have the diffusion papers so you just get a nice soft light and you know, maybe if you have a second line you can have like for example let's say this is your dance for you and one one side maybe one maybe slightly on the other side and what you want to be doing is again you don't want to be shooting in the same direction of the light source, right? But then you must say, yeah, but then you're only getting like one angle wealth like how's that gonna work people dancing they're gonna be moving a whole around he'll be fine, you know? I mean so and with dancing must of time, they can appreciate the you're getting you're getting like selected shots, right? You're getting a sequence right? I'll show you a sequence ofsome dancing and hopefully you can get an idea in terms of not just the lining but in terms of the different shots you can get don't be stock in like I'm going to get all the dancing it doesn't have to be that way and they will appreciate this I can assure you a lot mohr then just going like capturing the whole thing right let's have a look we're telling a story right? I've used two lenses it fifty million and twenty four is a bit of glide it's when they answered and I basically mixed it up I had my pouch yeah, I'm I built had my security and I was just going there like getting all these shots bank, bank, bank and knows and you know, I was doing the same but he was doing a different angle he was probably in a different lens doing different things, but I just showed you all my shots just potentially just one operator one person can get all those shots because you're you're you're giving them a story you're giving them a sequence that you know, that shows the event as it had no as it happens, but in terms of the many elements that are happening, these drums and these you know this fireworks but obviously not all weddings are like this, so if you've got like, just you know, every day pip to step people dancing right, you could get people's hands close ups, you can get feet you can get like this different frames shooting through people you just cut it all together as opposed to just you know, constantly shooting dancing and like I said it's just like very much like how we shoot the broader print right sure the different elements how they how they havea reacting or how they feeling faces clapping movement mid shots feet different angles off the hands maybe they like holding hands and they're doing some sort of dance so really just have a variety so you sure the different elements off what you're capturing the audio there the music was that ah long take of the music that they perform that night yeah that was actually just down from always more demonstrating the shots that was actually the audio we got from the camera through the mind that wasn't too bad, eh like there's those camera mike say they're pretty good but if you if you're adding that to the doctor later because let's say they've rehearsed the dancing and you want to provide that then I would recommend that you get like some sort of signal so you're constantly recording but you know, you obviously have that issue where if you're chopping and changing you and make sure it's all in sync so yeah, they just depends what you're selling what what you're providing in terms of the poet and this just different methods you know you could get the line out and then you have your own camera mic and then like I said that those recorders they do record stereo as well then we talked about like licensing the music if you're taking a montage of different shots and there are you going to put in some different music or you're going to try to find that song that they were dancing to or how does that work usually on the dance footage unless they've specifically asked as part of the taco we're using that footage to tell the story, right? So that will be part of the the hole that they hot highlights because that's who they are I'm just going to jump too to next clip because this is basically thie winning highlights studies about two minutes and this shows you that we can tell the story in a very condensed time frame wade like to thank you all for coming here today and sharing our special day with there are times when it's good to be surrounded by people who are important to you and for us this's one of those occasions and we'd like to thank you for your kind wishes card's presence way love you so much you've bean an amazing little brother tow us it's been a long road growing up without a mom so look at the fine man that you've turned out to be a way know that she would be so proud of you, sweetie, so proud one of your finest qualities is your gift of giving you have a heart of gold and you put your heart on your sleeve with people that you love that's what makes you so special to us way ah way to be more I promise to be true to you in good times and in bad in sickness and in health I will love you and honor you all the days of my life wasted thanks all right well let's take a couple final questions that video was awesome and it's incredible to see what you can do in two minute it's what you can do in nine and you can actually be just as touching into so that's amazing so the question is and I'm just wondering I know we've covered this a couple times but marion from bucharest, romania who is a regular here in creative life hi marion do you also provide a longer version video than the highlights one so we know we can do a two minute like what does that? What does your customers usually want? The whole package can you just kind of list out they wanted to and a nine and a longer video we offer is a cinema hall it's which is between five seven minutes sometimes it goes up to eight and obviously in with farah and sandra sze example he pushed the ten minutes because if we're incorporating pre wedding stuff footage then we can enhance or extend the story without, you know, dragging it out unnecessarily. And then they get, like a taco edit, which is basically the ceremony in full and speeches in full and the first dance, usually like in a very overly creative and, uh, in a grave way. So there's, different shots. There's, not just one shot, very creative. Unless they have rehearsed, they've rehearsed the moves, and we make sure we have one. That's. You know, I'm not safe, but, like, constantly rolling. And then we see the other one can be getting the super creative stuff in the different angles. So you just need to find out, because if they're taking, spent some time rehearsing, then that's, something that they thought that would appreciate.

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.