Shoot: Ceremony

 

Wedding Cinematography

 

Lesson Info

Shoot: Ceremony

and then now the ceremonies start of the efficient I'll go through his sermon family and friends we're gathered here today to witness and celebrate the joining of jamie and lena and marriage with love and commitment they have decided to live their lives together as husband and wife no other human ties are more tender and no other vows or more important than those that you are about to take both of you come to this come to us this day with a deep realization that the contract of marriage is sacred as are all the of its obligations and its responsibilities and I believe you had some vows and so we'll start with jamie I promise to always be forthright and loyal and trustworthy because on ly with truth between us can we grow together I promise to always be forthright and loyal with can you repeat that with truth between us can we grow together because only with truth between us can we grow together I promise to always embrace and encourage you I promise to always embrace and encourage you ...

loving who you are now loving who you are now and who you have yet to become and who you have yet to become I promise to be your partner in all things I promise to be your partner and all things not possessing you not possessing you but working with you as part of a whole know working with you as part of the whole going to stop it here and I'm just going to go into I want to go into compositions for camera one camera two and camera three as you can see the centre camera's been established here and they're exchanging vallis now for the exchange of vows I probably want a composition similar to what I have right here but if the efficient was just kind of going through his sermon or maybe maybe it's a jewish ceremony and they're they're going through like the seven blessings where there's some singing going on and things like that and jessica's kind of got that covered with um camera one I want to make some adjustments here and if you have the opportunity if you have the opportunity to get some creative shots save you have a cider if you have another camera that's got maybe a wide angle lens maybe start getting some creative shots but you always wanna have a solid camera established uh center all for for the most important parts of the ceremony of course and back here see I have that monitor going on a tripod I want to make sure I kind of frame that out so I got the center camera established here and this camera honestly I gotta have a lot of times where the photographer will come up and he'll say uh say I want to get you want to get a close up shot with a wide lands and there's no problem I'll change the lens on this camera too a camera that's got a wide lens and I'll go up with the photographer because the last thing I want is a photographer crossing the camera during a very important moment so we can work together as a team and we'll ask each other says hey how you going to shoot the kiss and then tarver say well I was thinking to shoot it like I said perfect I'll shoot long from the back with you so you just need to make sure that during the kiss there were survivors not kind of come up and you know across the camera blocked the shot because it kisses you know it's very very important or if they're breaking the glass or anything like that so yeah I have a question is there a reason you're level off the cameras that lower it now or well it's just the tripod like I wouldn't have been using this tripod my my tripod that I use it actually has a center stock that actually goes up and down so I usually manipulate that but it actually would be a little bit higher like eye level it wouldn't be eye level up here it would be I love when I tell you a lot of times you're gonna get to the ceremony and I think you saw in a couple of examples how beautiful the ceiling was in the arrangements all around the the the altar area if you shoot I level straight across you're only going to see this squared up and you're going to miss everything else that's going on in the frame so I tend to always shoot at another angle just to kind of get some of that now obviously there's nothing up there or it's not it's not that attractive then yeah she's something a little bit more more island but generally speaking they've got beautiful arrangements up above them or they're gonna marry the church they have across you know so there's other elements that you want including the frame and if you were shooting eye level not only are you like a giant um object now you know in the sir might I try to remain a cz under the radar as I can just just low profile out to the side I love to shoot from the back long because I don't really have to be appear the only time that I'll come close as if a photographer wants to come close and shoot more of a wider which is great and sometimes I can even shoot long and talking for last night's say hey I can go up and just kind of go to the side and I'll be out of your frame and that's perfect you didn't make sure that he's not going to at some point some point important jump in front of the frame and being shot and things like that so it just depends you know a lot of photographers that I work with we work together a lot so I already know what they're gonna do if they say they're going to have to one side there's going to be off to one side they're going tend to kind of cross in the middle I already know I'm gonna come up and just be wide with them you know so there's got to be a lot of trust here because you are kind of risking a very important moment that's going to come up either with you know breaking the glass the kiss exchange of vows and things like that and I really don't want them in the shot at that point there will be very difficult in post to cover the photographer later on if they do cross during very important moments so so this is this camera here this is ah this is pretty good and like I said I can always move forward I think I'm in hot lava I can I can always move forward and I can always move back I can change lenses I can do long lenses I could do wide lenses I wanted to show you show you the composition for the bright angle right now so I can get theseventies two hundred just a quick question for you you have a bag or how are you carrying your lenses they're switching them out or how how are you I used I used a little pro bag it's uh it's an x two hundred which is an excellent back and we travel a lot for the weddings and this bag is its airport certified so everything fits uh in your overhead compartments on any plane really I've only known a couple of really small planes where it didn't fit but it's an excellent bag for your cameras lenses audio gear but I mean more while you're shooting in jail I'm shooting same bags I just you just have it at the side somewhere I'll have it on this side I'll really try to conceal my bags in a way where they're just not visible if there's a sound board there's a deejay or some like that I'll generally put the bags back there and that's it so we know exactly what we need for say like a ceremony shoe we know exactly what we need for the reception shoot so we're just kind of pull the gear that we need for the particular segment and that's it yeah all right cool so and I can ask questions the very air coming in we'll question the studio audience so it sounds like uh ray that your second shooter is pretty much locked down once they get to this portion and you're actually doing most of the moving is that correct yeah absolutely the only movement that's going on with the primary shooter up here is panning either on the efficient on the bride or getting cut aways of the family and we're gonna go through some of that right now I didn't want to tell you this the center angle that we had even in this room that's not uh the greatest light in the world I was that I was that four hundred which is the native eyes so for this particular camera and it's very clean okay so even in this from this if this just goes to show you how well these cameras perform in low light situations so let me show you what the main angle would be doing here and when you when you decide where you're gonna be as a main able remember it's not gonna be it's not going to be just about filming the bride you also have to get the official in here so this one's gonna be a little bit trickier um lena could I have you come for a little and jamie I'm gonna have you I'm gonna have you back up just a little bit that's good so you guys have your vows right okay so this time I'll probably have them read their vows to one other that's and this is probably pretty good composition for do you want your maybe your maid of honor can hold your flowers okay I'll probably bump on my eye so just a little bit and remember guys check focus right there on her eyes very fast and now already it should literally just take you a few seconds to get your exposure right check focus and hit record because these things at the ceremony gonna happen very fast so you have to be on your toes and you guys can go ahead I'll have have ah have lena go first okay god I promise to always be forthright loyal and trustworthy because only with truth between us quick grow together I promise to always embrace an encouraging you living who you are now and you have yet to become I promised to be your partner in all things not possessing you but working with you is part of a whole were you about to cry no this jacket because if you were I'd keep rolling I let you go okay okay so this looks great I've got I've got an amazing bright angle here just remember to level things off now if she's just standing there holding the vows and you're bright angle and the groom speaking and she's not crying or she's not emotional and he shot that you can use just look for other things because maybe she's doing something with your hands or maybe they're holding hands they're doing something else that you're going to be able to consider as like a very usable content that you gonna be able to use later on in the film so a lot of times there they're doing things with her hands they're squeezing tighter things like that things that you can actually see visually that are going to add impact to the film it's a it's a great cut away so just be be very aware of what's going on you don't have to pan down to see the shots there you can actually just visually see what's going on and if something's there some things that just make the adjustment now here I have a problem because is it okay yeah um very important teo charge about it before we shoot way had one better but here as you see we have a little bit of ah challenge because now when the fishing starts talking we've got we've got jamie shoulder in the way and we don't have really like a clear shot off the efficient so what I told you before is if you don't have a shot you have to do whatever you have to do to get a shot so in this particular case where would we have to move to get a shot either either there or you know we could we could look and say you know could we could we potentially shoot here it just depends what your lanes look like your lanes of shooting in this particular case that would be very congested to do it that way so I would probably I should probably just here just so I can get a clear shot of the officials from here you don't take a question yeah we did have a question it came up that might be kind of fitting actually this was like five or six people asked this a and dance rudy vasquez and black and white how do you work with the deal solares short recording time during the ceremony this camera here doesn't have any limits so it just yeah once it's once it's done I'll just leak over to the second card if you do have a camera with a twelve minute limit this is very common but it's not anything that anybody should worry about this is ah you never really use a shot for longer than twelve minutes and postproduction anyways so unless you're actually delivering every frame of video to your client which you never are the camera shuts off you just pressure court again it's not it's not any problem that you ever have to worry about in my opinion it's not it's not even an issue and usually both cameras are not going to stop recording at the exact same time so you're always going to be able to cover actually every frame of video during an event but honestly we're delivering for the most part twenty minute films twenty five minute films so you're not delivering the actual full ceremony always and even if you did deliver the full ceremony you'd at least still have a second camera that was covering you for the time that your camera stopped recording ray I got uh kind of a two part question from pablo do you have any issues matching the footage from the three different cameras and what is your work flow as faras saying the timers on the cameras so when you get your footage back to editing everything falls into place so these cameras they don't have time code unfortunately so you can't see him like this they have a great piece of software known as paralyzed if you don't have paralyzed and you're shooting with the lars you're killing yourselves because this program does all the work for you it's used the audio that was recorded in camera as a as a reference to sink everything up in post production is very fast you know I'd do anything manual but just dropping the clips on the timeline and this this program does everything for you it does all the work for you it's thinks everything up and I highly recommend it if you have your shooting dslr you have to have paralyzed because to do it all manually especially how many times I stopped a record because I stopped in record all the time because I'm constantly checking focus so I have a million clips that I'm recording it and literally you can drop all million a million clips on the timeline along with justice clips a center clip whatever whatever cameras were rolling for this event and just literally in the click of a button just have everything sunk pretty much perfectly green with bar alicia thank you and then the matching of the footage the matching of the footage you try to do as best you can on set you know if color temperature if everybody shooting at fifty six hundred all the camera ship be shooting at fifty six hundred if you're doing any type of white balance shift in the camera all the camera should be doing the white balance shift you should try for the most part to match your curious owes apertures not too important but at the end of the day if there's any imbalance between clips you just have to correct that in post and we'll cover well actually cover the tomorrow where we have three different camera angles that we're trying to match up in color correction so we're going to cover that tomorrow during the editing portion of this hopefully everybody hangout for for day three awesome thank you so much yeah questions in the studio audience so compositionally with my photography and always partial if I can get the shot to try and do over the groom's shoulder looking at the bride and vice first so you get that almost exclusive images you would if you were in that position yourself but in the tight setting like this it seems like that be like you were talking with lane almost impossible and you were saying how you don't want to rush to get to a shot would you just say forgo that kind of composition is like a nice tohave but get in this position where you can easily pan from bride too efficient and back and forth exactly and you don't wantto remember you khun you can actually compose your shot a little bit a little bit wider and in post production with these cameras I mean the resolution is so so great that you can actually punch in a little bit and not really notice any degradation off of quality so but if you ever have to uh zoom out you know the clip that's not going to be that's going to be a good situation so thank you yeah just give yourself some some room to work in the edit

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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