Wedding Cinematography

Lesson 13 of 33

Shoot: Candids

 

Wedding Cinematography

Lesson 13 of 33

Shoot: Candids

 

Lesson Info

Shoot: Candids

and I generally have a seventy two two hundred on here but sounds like I have one hundred I'll just kind of deal with us and and lena you can just look this way here yeah so if you have the seventy two hundred you don't have to physically move the tripod for word about you know we have a prime lands on here you're kind of forced into adjusting forward or backwards but if you have have you got a zoom lens on there it works a lot better so here and you can kind of just face me a little bit right there and shift over this one yeah that's good so here remember you always want to check focus and that's gonna be pretty tricky because I try to do a rack focus from lena jamie and these were really just beauty shots and then just look beyond me so you're not looking you know looking at me just like that and nice and happy yeah so she's nice to have it remember and you're not happy back there jamie yeah just like that do you see that so these air just they're really just natural reaction all I s...

aid was you know just nice and happy and they automatically lit up okay and and I can also I can also adjust this toe where you know maybe I'm shooting something like this and here when you do it rack focus is a little trickier because you don't have that check focus option that's everything so I'll just get a couple couple little candy shots you can even you can't even shoot her bouquet here that type of thing you can do pants and you can't even you can't even work off her shoulder let's say whatever whatever kind of looks good to you because um creativity is gonna come from within right so when you compose shots based on how feeling that shot you know but the main thing is uh is the lighting always nice and happy back there okay remember get them in the zone if you're if you're wrecked focusing back to jamie and he's kind of looking serious like he's not too happy just kind of get him in the zone just nice and happy just checking lean out there you go and then I can rack focus back to her and and just couple different candy shots and remember back to the first look what I'll generally do is especially you don't have a lot of shots with the groom because generally at the first look this is the first time that I've seen um jamie on the wedding day because I don't do group prep so this is a little like my first interaction with jamie and I haven't had the opportunity to get any shots of jamie not jessica has but I haven't so when he's standing out here waiting for the bride to make her approach I'm basically getting some shots and I'll have you come over and you can you can step off back there I'm gonna change I'm gonna change lenses real quick can I ask you a question yeah people in the chat room had asked about this is from j d d um who had asked about so we have the static camera on the side you're shooting on your tripod and then your wife is also shooting from the opposite direction how many cameras are on the first look total is it just the two it's just two of us physically so it is you and jessica and the state and the side can the static camera three and we just really started doing that recently okay um she should be kind of just like the main angle and I would just frame up the side cameron and leavitt but recently I've become the main angle we've had the side angle and that she's been grabbing her mono pod just for some additional content and trying to find shots that are you know like I tell you outside the box a little bit different shooting through some foreground maybe doing some rack focuses and and really just creating more content for us is what is what she's looking for rather than one of us just standing around doing nothing during the first look she's actually become like an active shooter so you don't have one getting the groom's face and one getting the bride yeah she'll she'll get the groom's face if she's if she's part of the first look depending on the situation because what happens is if he's here and he turns here turn turn like to face lina like there and say she's getting his reaction here I may be in this shot now that type of thing or I may be in that shot so it's very tricky sometimes sometimes there's like a column or maybe there's some there's some trees you kind of concern yourself so you're not visible to the other cameras or photographers that works out great so sometimes it's just a little bit tricky getting the groom direction and usually you can see between between that main angle and the side angle that that that motion of him seeing the bride you're actually able to see his reaction pretty good not like a tight close up shot like you have ah of the bride maybe but certainly you know from the side angle and this angle here you're about to capture some of that all right so just stand there just nice and relax and I always tell the groom just to get him on his own I just say listen you know just nice well I just stand there you know think about your girl uh just to get him in the zone visually yeah yes so the good thing with this is you can punch in and get different shots as opposed to having the prime lands on here you can kind of get we need to remember I'll always check focus just to make sure everything's tack sharp you know so you can just start composing shots you can pan up nice relaxed there go and now lina can you can you come up sort of behind them yeah right there so now let's say she was getting ready to make her walk from there let's say the walking distance wasn't so great if she was just there I could just try so you know lina hold on just hold on there before you started walk because this is a great little shot that I can take before they do the actual first look so I could be here and the first thing I wanna do I wanna check focus on her because it's more it's more important to be tack sharp and focused on her then when I do this little rock focus back to his boot near andi and you're nice and happy just looking over a jamie there you go nice nice nappy and then I just come back here and you miss a little bit and then I go back here nice and happy on the back and then now you can start your walk and and I and I can I can come back to her and you go ahead you in top of motor you toronto just each other and then all right folks sure get her reaction perfect perfect ration remember don't get tunnel vision to where you're just stuck on lena you know pan down a little bit suit see what her hands were doing you know maybe maybe they're joining hands you see the oku compan rack up and and just try to get as many shots as you can with this with this main angle but right now the actual meaning was going to be the side angle because side angles getting both side profile's getting all the interactions all the motions and things like that he's being captured right here so if you do have an active shooter that's gotta mono pod now is the time to kind of about trying to get his reaction get her reaction starts shooting more stylistic shots with foreground reflective surfaces and things like that but be fast because this whole interaction here is probably gonna last like thirty forty seconds max you know maximum before they start looking at you for some type of direction thanks guys yes it also thank you yeah did awesome look right uh appreciate you being here helping me out all right man and congratulations on your marriage I hope they last a long time you look happy both you look happy so that's a good sign yeah cool we happy for them yeah all right everybody kind of get the gist of what we do for the first looks it's kind of let me tell you most of the stuff that I d'oh it's it's very basically I don't try to do anything that's difficult or overthought or anything I just try to think of lighting number one camera position number two and the way things are going to fall into my shots and that's how I kind of composed my shot it's cool ones that's such a kind of like it has to you have you need preparation but at the same time it is like capturing that specific moment you'll never get that again so it is a really fine line between having everything in order and then letting it flow naturally yeah I mean that is really the test of the first look and it's and it's a very compelling moment and I tell you it's it's content that you wouldn't have had otherwise you know if you would've let this go and maybe you would have let the traditional bride just be a traditional bright and sometimes I would tell you I have weddings that don't have first looks and it's fine it's the way that it's going to be you know it's just gonna be a wedding with no first look but you know what then of the day it's still gonna be a beautiful wedding now is going to be as content loaded and maybe as compelling as the wedding where they maybe had personal vows and first looks and more speeches and things like that probably not you know so that's why I tried teo and you should offer them the suggestions on things that were going to make their film be great but it's sir choice either take your suggestions or not take suggested you know maybe they have their own way of thinking when it comes to their wedding and stuff like that you don't want to mess with that you know so it's very very delicate especially it's really traditional down south north carolina that's where you're from yeah so maybe it's not time to change things in north carolina but eventually maybe things are going to start changing because you know what's gonna happen some north carolina bride is goingto watch some wedding film of yours probably that's got a first look in there and maybe you're going to set the trend in north carolina single handedly you could you could change things in north carolina it happens because I tell you even in south america unheard off first look's unhurt because most people are you know catholics and stuff and there's just there's no way that you know they're going to be seen before that wedding ceremony at the church and they're doing first looks in south america now so times are changing you know things can change you can set new trends you conspire brides with your work on get him thinking differently

Class Description

Ready to find out what separates wedding videographers from sought-after wedding cinematographers? Join acclaimed event cinematographer Ray Roman for a crash course in wedding cinematography.

As he shares what he’s learned about filmmaking working with NBA All-Stars, high powered CEOs, and everyone in between, Ray will guide you through every stage of filming a wedding, from first looks to post-production. You’ll learn about the key gear needed for documenting weddings. Ray will cover basic film structure and time-shifting methods. You’ll also explore both basic and advanced composition techniques that you can easily integrate into your workflow. Ray will also share his proven sales and marketing techniques for connecting with clients and turning consultations into sales.

By the end of this course, you’ll have the skills you need to market your services, capture weddings on film, and give your clients a jaw-dropping record of their once-in-a-lifetime event.

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