The Art of Wedding Filmmaking

Lesson 24 of 35

Wedding Day Overview: Speeches/Toasts

 

The Art of Wedding Filmmaking

Lesson 24 of 35

Wedding Day Overview: Speeches/Toasts

 

Lesson Info

Wedding Day Overview: Speeches/Toasts

Speech is an interesting thing right? Because if you don't communicate with these are the people that you need to communicate with when it comes to speeches right because we don't communicate with these people and this has happened to me even recently because not because I didn't communicate but just it's just you know I mean they just forget and but because I have my trouble there anyway it's not a big deal I just kind of like it just a little bit meaning it's like many stress thing have to grab it and but because I had my tripod semi ready and they didn't tell me I can still make sure I'm ready for the speeches but you want to be in contact with the gmc is that what you call it here in the states? Sorry doggy day so the person that is running the show making the announcement who has the schedule and he's coordinating the night we call and see all the deejay or whatever but you know what I mean you think to be in contact with that person like threat the threat the night and say hey yo...

u know from the very beginning you introduce yourself hi history ohio alfio and I'm you know I'm filming the wedding here and making conversation he doing you ask him about the line out if they're doing the deejay to get a fade and then you make a very clear hey man because you know we need to be ready to capture the moment would you be able to just give me like, ten minutes and notice before you announce anything so I'm ready and yeah you do that and then once they know then you you're going to be ready so you need to be contact with them see if there's a coordinator that is like a wedding planner I mean generally you probably already have bean in communication with her but it's always good like you know if there's anything that you know just just kind of reminded to let me know because they're they're running the schedule as well making sure that everything runs on time and who else could be the venue they're the two most important ones that anyone that anyone that's in control of the schedule you need to approach them from the get go that way they will tell you they will communicate with you until you when things are coming up so you're ready okay so then you know you've got ten minutes I'll give you the warning this ten minutes to go for the speeches so what we do is again we assess the space and I'm sure you've noticed houston and uh just so you remember any of you guys have bean at winnings shot winning like photography you all of you yeah did you okay, so you know that when it comes to like different venues it very so much like in terms of the set up in terms of like the lining sometimes their outdoor and there is no lighting so this is what you need to do you need to in the planning you need to work out are the toast what time roughly the toast or the speeches there they'll be around six thirty seven at this point at this stage during the season it's going to be around sunset around eight p m so my point here is you need to work out I can when's it gonna get sunset, right? And if I know that the light's gonna change I'm gonna get myself a led panel because if it's outdoors write some of these like winning's here that their outdoor and it's very hard to get an extension cord all the way from the detail where they when they do they're toast or they speeches so you need to bring a light that has a battery pack on it. It's not often that can happen, but you need to be prepared and ask those questions. And again, you know, make sure that you like, is you not in the same direction as you pointed the camera? So you know she d flat and in a way you go and you shoot and I'll show you some examples with reactions but you want to have a shot on the speaker you want to have someone manning that camera so if we're looking at a two operating system and what I usually do is I have because they're not gonna move right bridegroom not going to move on what I do is I speak to them and say, hey guys hey, doing you know with a small talk you know about a party you know again with a small talk's great, you know? And I said, listen, I'm just planning and descending on the speeches or the toast what I was thinking we'd be really good to get your reaction right? But the camera won't be in your way would be like truce of anyway, of course, but horses wondering instead of you sitting in your normal seat if we have to speak of run here, right? How about if you just kind of himself here I think would be really cool because you next to the speaker and that can like address you and then you can address them a little bit so I might have if they're goingto like if the speaker is here for example and the bridegroom are here so I would probably have you know you want to position the camera so you can apply of rule of thirds so they kind of like that that space of talking you got that negative space in the direction of where the bride and groom are that's what I usually do if it's like one of those venues where they're not like in a formal bridal table like those indoor venues which I'll get to in a moment there's nothing wrong with approaching the couple you know adjust accordingly like there's nothing wrong with speaking to the couples say hey, I've got an idea you know this would be really cool and be excited about because it is because if you think about it if they're next to the speaker they're gonna have a bit of connection because most of the toasts and speeches are going to be done so the topics will be referred the inn in relation to I'm going to start the toppings are directed towards a couple excuse me sorry so I'll have a locked off camera on the bride and groom if if we have like you know tooth mark threes or months three months two and a seventy seventy is like you know works really well put a fifty on it with crops enter crop factor it becomes like almost ninety five or eighty mil I think so you get my point and you know that's just an example so you just need to work out you know what lands would would be best for that situation, but it could be anything that as long as it's you don't you want to put obviously a twenty for thirty five that's really wide but at least a fifty eighty five really good um but yeah fifty be ok especially if you're shooting on a sixty day or seventy on you could kind of step back and get a nice shot off the brunnen groom now you don't have to I believe you don't have to shoot the bride and groom like just like a two shot you can actually bring it around because if they hear let's say the speakers here ryan got ha hey everyone's love being here and love you're the bridegroom is sitting here that you have to think about where they're drawing their attention if it they're obviously gonna be looking this way all the time right there going to be sitting down and there their face is going to be towards the speaker so you need to keep that in mind if you have your camera they mostly a shot is gonna be their profile right so I would bring the camera low we're not low bit like fairly eye level and pointing in that direction and then you could have part of the shot off maybe the hands off the speaker if it works may not and then them in the shot but I would keep a fairly safe and what you could do is you could maybe focus on the mai either the bride or the groom and every so often just change if it's a locked off camera then the third one you go around so one person's on it's important to make sure your main speaker that's meant I don't recommend having the the main speaker unmanned that's just how I roll because, you know, that's, your main speaker and you want to have that that's just what I what I think, and then I could go around and get some really cool reaction shots and I will show you that these reaction shots right there, not just like they actually they are connected with speaker because I've I've sink the shot that are in in relation to what they're saying so they're they're in sync, right? That's important? So adds dynamics and it's, you know, it feels really because, you know, you could see their reactions, it makes it really powerful. So let's have a look at this, so I hope that's pretty clear in terms of on obviously with a more formal set up, you probably have looking more control because they're just sitting at the bridal table and think of you just basically need to think of where are they going to be looking in what direction? And that and then from there you will decide where you would point the camera another thing that I I don't have one here but your know that there's a little led panels there's one there like this big right, um we actually have one of them in a kit way generally use it, but we could use that to light up the bride and groom at the table, right? Seven on a slight angle, not too not too intense, right? And you just shine it on the bride and groom and you just put, like, a little you know, they come with those screens, that stuff in the light, and that would just give a little bit of field I wouldn't like put it full, full intensity, but I will maybe put it on like half with something, and that just gives us just enough to eliminate illuminate them a little bit, and that will really work for you. And in terms of lighting again, I I would recommend something similar, too. Ah, data like something that where you condemn the light and you can spot the land and has bond doors and you can soften the light on what I've touched on that so I wouldn't go too much into detail with light let's look at this now this is a speech from shaan tell and shawn's wedding and there's, a combination of the bride and groom reaction and some reactions from the guests. Everything that you see everything around is because of nicole she's done everything she's ernst in young has paid a lot of money for this wedding I never grew up with a sister but this is what it is having what means so grateful to call you and although she will tell you we have spent tyler's hours converting her into a crank princess she has developed quite the champagne taste for things that I really couldn't ever really claim to understand like truffles and italian red wine and at least seventeen different vintages of german we live in a small northern town not much to do there unless you like art or outdoor activity. Sean wasn't really that interested in the outdoor activities a cz we have the lovely mosquitoes with your larger than your flies. Okay, so I apologized there was a slight trouble shoot there because the reaction off the the blonde nicole that was supposed to be that was actually her reaction when she said like, is this if this is what like sister is like then you know that comment there that was her reaction I apologize for that with little trouble shoot but that's all good but you do get the point. The other examples that were in that sequence actually showed the real time reaction I apologize for that, but that's the point that if you have that this system where you can have a look off on the bride and groom they're not gonna go anywhere it's fine, you have someone manning the main camera and then you could go around the other person go around get reaction shots you could use a actually one thirty five would be really good for these examples because if you find out that well they tell you it's kind of like a dame mood where we going for like a really yeah it's like a lo lining because that's the move with after now I think I'll get the one thirty five if too and really good in light life right because if they're saying to you that they're after they have actually taken the time to create thiss mood with dim the lights have been dimmed I wouldn't be inclined to bring in a line bouncing and put us realize what are you doing you know like so again you need to adjust so I would have been girl I actually don't have one thirty five right but I'll just rent it no problems like one hundred fifty dollars or something or depending where you're from no problem and then use that and then that's an if too and that's a great lands especially for for that for that some example so we're getting a number of questions about what you had a really long speech so there's a limit with lars capturing maybe twelve twelve minutes for one take so what do you do? Speech runs really long how do you handle that? Good question because we've got a look off camera on the bride and groom on dh you're getting a lot of reaction shots if you are including that in your package speeches inform you should be able to use the reaction shot off the the bride and groom as a fill up and because like I said, I recommend that you have someone manning the main camera that can just literally go press record again and so during the ceremony as well are you trying teo, you know avoid the most important moments by turning it on and off if you feel like you're running out up to your limit, you know they're definitely because sometimes you don't want to have the risk where she liked that moment there when chantelle is getting really emotional and talking about the wedding day and who's helped her, I want to make sure that the gap is small as possible, so I capture the speech so even if it's like four seconds it's not a big deal but if you feel they're pressing recording and it's it's literally two seconds and then what's the standard duration for your videos in general. Like earlier, you'd showed us the nine minute video with sunder and garage it's trying to say in the australian accent like something was better but what's your your standard duration our highlights film is anything between five and seven minutes and center and viruses film because there was more content there's more narrative then it was fitting tohave it nine minutes, because, I mean, you know, you know, when you watched it didn't feel that it dragged on because they were different elements, there was a sky, there was the interview, the vows arriving, getting ready so there's a lot of different elements, so it didn't feel like it dragged on the length of a film. There is no rule. Okay? Um, later on, actually very soon I'm going to show you a clip, I think it's about two minutes, and that pretty much tells the story, right? I reckon I would recommend that you wouldn't just sell that and provide that as your highlights like because you can capture look, you can't you can't offer ah, highlights that is obviously longing in that because our films at around seven minutes, even after eight there, very much engaging, yeah, they are, they are quite they do have quite a constant rhythm, and then I feel like they are dragging on, but I'll just as a demonstration that you can in two minutes, a really nice story, which I'll show you in a moment.

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

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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.