Skip to main content

Gear

Lesson 4 from: Wedding Cinematography

Rob Adams, Vanessa Joy

Gear

Lesson 4 from: Wedding Cinematography

Rob Adams, Vanessa Joy

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2200+ more >

Lesson Info

4. Gear

Lesson Info

Gear

All right. So let's talk about some of the gear. I'm gonna need my keynote, um, appear for a second, so I can kind of walk through some of these. Some of these talking points that we're gonna cover equipment are my toys. You can't make money without spending money. We all know this right. You can't become cinematographer or do video without making some sort of initial monetary investment. The good news is, you know, good storytelling doesn't require, you know, the most expensive year. Okay. Is it nice to have a nice $1000 slider rig? Yes. It's really nice. You can do some really nice movements with these with these tools. It's great to have the best cannon prime lenses or Nikon prime lenses. Whatever you're shooting, that's great. Image quality is really important. Good audio is really important. But honestly, guys, I've seen some of the best wedding films I've ever seen have just been guys like three guys with Monta pods, you know, and it's just the way they're visually telling this s...

tory by framing their shots and using depth of field. That's really what makes it impactful. All right, So don't feel like you have to go out and spend $10,000 to get the best cinema gear out there. To start telling stories. You really don't. It's nice. It's not 100% necessary. Actually, my Steadicam Michael, I know a guy I know guys that used the $8000 Steadicam Scout. Okay, it's this huge rig. It's really nice to body harness and everything, and they put a DSLR on top of it, you know, and it's a rigged that's meant for a really heavy camera. And it does provide extra stability cause it's so heavy. But I used the glide came HD 4000 with the best in arm. It's a $3000 rig, and it does the exact same thing. I get the seeing exact result from that rig, so I don't feel the need to go out and spend on really expensive stuff. It's minimalist, and it does the job. You're in good shape, so I'm going to show you a minimalist approach to equipment. Basically what you know what the essentials are when when dealing with all this stuff, if you're gonna invest anywhere be, I would say it first. Investing audio because audio is Really? In my opinion, it's more important than the visual visuals. Nice. You want visual? Look good. You want to have nice, high dynamic range? You wanted to look, you know, clean and crisp by. If you have bad audio, it's gonna ruin that. It's gonna take away from the film, so spend your money there, so HD DSLR. That's what I shoot with. I do believe they're going to be around for a while. I mean, all these new cameras air coming out. These large format cameras, like the C 103 105 100. Those are great cameras. Don't get me wrong. But for $16, they don't fit into my editing into my wedding budget for shooting weddings. Not gonna buy four of those. I'm sorry. It's way too much money, and they're wonderful cameras. And if I'm doing some sort of a corporate shoot, I'll rent one and I'll rent a red epic or something like that to a corporate shoot. If I want that, you know that that level. So I really think that the HDL solares for weddings will be around for a while. I'm shooting with five D mark twos, guys, I don't even have mark threes. A lot of people go. Why don't you have more threes? And I say to him, I spent, you know, close to $ on my DSLR when they first came out. If I'm gonna upgrade and spend that kind of money again, I'm going four k. I'm going for four K resolution. So the next time I upgrade my cameras, I'm taking the next step up. I'm not going to sit there and go to another 10 p camera just cause it has a little bit better dynamic range and some audio meters. But that's not enough to make me go out and spend $10,000. Does my client really know the difference between a five D Mark two and five d mark three? They have no idea. I would like to be able to, you know, shoot something and say, Oh, wow, you know, the image quality is better on a mark three, you know, But it's not worth the investment for me. So if I'm doing a really high end wedding, let's say and I'm gonna travel somewhere on don't want to hold my gear, I'll call lens Protego. I'll be like, Yeah, send me out. 35 The more threes. Great. Now I'm using five DeMARE threes. Didn't cost me $10,000 they shipped directly to the place. By the way, guys, if you don't know what if you don't know what lens protego is Anybody you're not know Williamsport ago is lens protego dot com. These guys rent equipment, their incredible. I'm gonna jump ahead to this slide because I wanted to see these guys just came out with an app, a mobile app, and basically you can do your rental order from the APP, which is really cool. So let's say I'm here creativelive And they provided all this stuff by the way, they sent up all this out to me here, so I don't have a look across country. And if I were to pull out my phone now pull up the app which just came out and say, Oh, you know, I forgot a 72 272 100 tomorrow I could order right there on the app will be here tomorrow if I pay for the overnight shipping. So you know they're great. So if you are gonna rent equipment. Renting equipment is a great way to experience what you need to buy. Okay, so I highly recommend you go out and rent equipment. It will definitely help you. I'm just gonna back up here for a second are wonderful in terms of image quality on day, there are the Sony and Panasonic versions of those large format cameras. They don't do four K, but they're large format. They have super 35 millimeters sensors on them. They're wonderful to you can use those for weddings. They have the audio that onboard that a little bit higher quality. They're fantastic. So if you find yourself in a situation where you're just now buying equipment and you're trying to make a decision between DSLR and those large format video cameras, I think it's six of 1/2 dozen. The other go with what you're comfortable using in those cases. I think the image quality is pretty comparable across the two. Does everybody know what I'm talking about when I say, like I think, one of the model numbers on those the I don't even know that the Sony FX 700 Panasonic K G. A. F 100. They look more like a video camera with interchangeable lenses. Their great nothing wrong with them. I used the S Lars. I'd like the compact size. I like being able to slap him on all my different devices. And just on Monta pods. I like to be compact and not, you know, wielding around big, heavy equipment. So Monta pods and tripods guys, use them. Don't try to shoot handheld. I mean, you can shoot handheld with the DSLR if you know what you're doing. If you are gonna shoot handheld and you want that sort of look is that looking work? You know, you can have that sort of floaty in the moment raw. Look, you know, but it's intentional. Don't don't sit there and expect to be rock solid shooting hand held. But if you are gonna shoot handheld, put a wider lens on a 35 or 24 you know, and give yourselves many points of contact as possible. Maybe with kudos, E finder or something like that. You definitely want to try to do that. Otherwise, Monta pods tripods. We lock everything down. Everything we shoot is on some sort of a stabilizer. We don't play around when it comes to shot steadiness when I'm in the edit or if I look in and edit and I'm reviewing and edit that my editors has done and I see a shot that shaky gone, get out, find out, find another way to make it work because that's it's just consistency within the brand. When you look in my videos online, you know, maybe the older ones have a little bit of shake and some of the shots just unintentionally. Or maybe it's so subtle you don't notice it, but there's no excuse now at the level we're at. So I'm really adamant about steady shooting. If you aren't amount upon, there's a little bit of motion and shot. I don't see anything wrong with that. It's part of it. But do strive for steadiness guys because it will ruin the film if you have too many shots that are all over the place. That's the one thing I don't understand that I watch films online. I'm like, you know, stories there, but the camera technique is taking me out of the story. You don't ever want that to be the case. You always want to make sure you're locked down solid so you could tell the story visually without distracting the eye away from eso. Any questions about this exam going to go over some of these in more detail? Does anybody have any burning questions about equipment before I even get into it? Just some folks earlier online. We're asking about using a crop center sensor, camera versus full frame. Are you gonna be adjusting that at all? You can do just that. I can address it right now. Actually, the five D Mark two is a full frame sensor, so I'm getting the most out of my lenses. Okay, so if I put a 1 35 millimeter lens on, I'm getting 100 35 millimeters in that aspect ratio. If I put it on a 70 it's a 13 crop 16 crop. It's basically zooming in your image. Okay, so you're only getting you're getting a longer focal length on your lenses, which could be advantageous. You know, we keep five D Mark Hughes and seventies that already. So if we're in a situation where the ceremony doesn't allow us to get as close to the action as we want we could slap on a 70 7200 on it. We're getting that extra focal length out of it. So it z personal preference. Whatever you guys are comfortable shooting, I don't think there's a clarity difference. I mean, all cameras of different in terms of their clarity and quality. We do not want your mono pod fall right behind you. Yes, let's move. That's a good idea. Let's make our equipment fall and break on the ground about that rule number one. OK, good. So let's just put this on the ground before ends up their unintentionally. Okay. Well, thanks. Thanks, babe. Always looking out for my back. She's got me very good other all watching that, not paying attention to me. That's a great way to take bets. Now what is the one to get a full go sliders and flyers? Couple different kinds of sliders that I use. I have a couple here I am. I'm a fan of Synovate Products. I really like their stuff. It's durable. It's heavy. Heavy duty. This is a set of eight Atlas flt. I have a standard manfro 701 head on top of here. Your basic everyday run of the mill slider. But it's nice because these things are small and compact in their really light. Okay, this is the Kessler stealth. This is a longer version of it. These air really cool cause they're belt driven and you can attach a motor to it, and it'll do motor drive, which is really cool. This is just on loan, actually, don't own one of these. But these air great to have if you're looking to get into the market first slider. But I do like this intimate stuff. I like my things to be at the ready quickly. I don't want to be like this and move in and trying to put things like we have a jib and will only use it if I don't ever have to move it there in the wedding day. If you look behind enough, you guys get a shot of the jib operator over here, which is this is a Kessler crane. We actually have access to a gym, someone to this. It's a huge device, and I'm not gonna with that out of church, the priest is gonna look at me like you nuts. You're not putting that up in here. But if we're in a location where it's a on site ceremony and I could put it up in the balcony, it stays. There will do that. But generally speaking, you want to keep ourselves compact and keep things fluid. So said he can. We really talked about. I used the HD Which is this Mammy jammer right here. Okay, this is not balanced. Just put this up here for show, but basically, I use this with the glide can vest and arms. So it's a full body rig gives me the most stability. I'm only using this. I'm not using this much. Okay? I'm using it for re enacting the first look for some more dynamic angles. I'll use it during the Internet or during the there is a ceremony during the processional. I'll use it during the receptions for everybody being introduced into the room. But this is never my primary camera. I always have other cameras rolling. This is just added effect. Don't try to shoot a wedding with this being your main camera, you're just gonna put yourself in a bad position. You're not getting me inaction. You're just Then you're just getting this. And in my films, you know, you'll notice Steadicam use, but it's not over. Dominant. I'm not. I'm not putting like a bunch of Steadicam shots together for like this, you know, wide circular. Look, it's more basically accent shots. Put a 50 millimeter lens on it, a little bit of depth of field and track along with something. You know, I want my movement on my camera movements to be subtle, because if you watch movies, there's a couple things you should notice. Number 13 Camera movement is usually intentional on romantic movies and romantic movies is sort of what I'm going after. That sort of a look that I'm trying to achieve. So I'm not going to shoot handheld. You know, I'm not gonna get into a dialogue scene shooting over the shoulder with two people and having this motion. Why? Well, that creates a little bit of tension that creates a little bit of drama. I want my videos to be drama free. Okay, so what I'm trying to do is make motions really smooth, really intentional and subtle. Sliders air good with doing that in a study can, like start to use it for that effect. Only number two. I don't zoom. What was the last time your I zoomed. Your eye doesn't zoom, so don't zoom. You can zoom in rack and get your shot, but I wouldn't sit there and try to zoom while you're filming it for effect. It's not, in my opinion again, just not natural to the eye. It screams Amateur, it screams home video. It doesn't look professional to me, so I avoid. We avoid that. We use zoom lenses. We use 7200 16 to 35 but we will use a just Iraq our focus and keep the shot at a focal length as we're filming. So that's it. That's the overview of the of the camera equipment for visual. And here the prices. So the Synovate Atlas will run you about 8 to 900. That stealth about 1000 up, just depending on what? What length, what size you go with like an HD 4000? About 500 bucks Stand alone without the arm and the vest without your adding another two grand on top of it, ma pods, guys who does not own one of these Monta pods. This one right here. This particular one. Everybody in this room have one. Okay, get one if you don't have one. This is industry standard. These Monta pods of the sturdiest out there are not saying that, man for does not sponsor me. This is what this is what we've always used their fantastic and all the heavy hitters in the industry use. Um they're discreet for stability. The little articulating feet on the bottom are great for all services. There. Really steady. You got this panting motion on the bottom. It comes with the head, which is really nice. You know, Not that I advocate a lot of movement with the camera on this, but just being able to get to where you need to be is awesome having this. So we have three of these at a responsible at our disposal, one for every camera unit. And they're not cheap there. About 270 bucks each, but they're worth it. So if you were gonna take the minimalist approach, I would definitely say before you buy slider before you buy a Steadicam, get yourself Amman upon. Get yourself a high quality mono pod. Get yourself a high quality tripod and then move up to camera movement tools. All right, so but definitely the man photo mono pod is definitely the way to go. And I lost my clicker. There we go. Okay, so that'll cost you about 270 bucks. Tripods. The man photo, 5 35 legs and 50 forehead. It is a great choice, all right. About $800 rig now. It's a lot of money. There are cheaper tripods out there. The one thing I find what cheaper tripods and we've been using them in the past is that you'll be in a situation where you need to move the camera quickly and reset a shot or move from here to here quickly. Because let's say you're on the ceremony and you're on the bride and groom, and I see Mom starting to cry over here. Okay? If I'm on this tripod, I want to move quickly, get over their rack, my shot and get it. But the cheap tripods, their flimsy. So when you do this and you get back over here, now you're trying to adjust. Your shot for composition is moving, and it's just it's doing this. Get yourself a really high quality fluid head because when these things move there really fluid and even if you have to move quickly, it'll put you in that position fast and you can adjust fast without that movement. All right. So again, you get what you pay for. Um, you know, you want to spend where it's important to you stabilizers. Monta Pod. Tripod. You know, go with something good. Give yourself more of an advantage When you're shooting, give yourself every advantage so that when you are trying to tell a story visually, you don't have equipment hindering you. Your equipment should never hinder you. It should always be helping you. So going with high quality stuff is important. Minimalist approach. Here I would go with the man 45 61 Bhd V and a high quality tripod. That's where I would go. Okay, let's talk about what's in my bag. This is actually what I take on the wedding. As faras cameras go right, we have 35 d mark twos and we have a 70. Okay, Sometimes my second shooter will have an additional 70. Thats way we know if we want to shoot slo mo 60 frames per second or something like that. We have the ability to do that. I like the 70. I think it's pretty good in good light in low light. It doesn't hold up the five d mark to I wouldn't push it too much past like 12 50 or eyes, so in low light, because then you really start to introduce a lot of noise. But as far as the goes for outside, it's a great camera. It is a crop sensor, so you're gonna get a little bit more out of those focal length lens lenses. So that's what we carry as far as cameras go and these air good all around for weddings. In my opinion, I wouldn't try to shoot corporate commercial stuff with them. I'm not gonna go out and shoot a, you know, a commercial, something that's gonna be aired on broadcast television with it. You know, for that you want if you're gonna want to go with something, you know, way more high quality than a DSLR. Um, like I said, five D Mark is decent in low light. So the way I set up my camera for shooting it's pretty specific. And it's so vital for us when working with multiple cameras, that all the cameras air exactly set up the same way and that they're all configured the same way. Because if you run into a situation where one camera shooting on one color profile and the other camera shooting on another coat color profile, good locking color correction is going to be a night. So it's really important to try and, uh, and keep that consistent across the board. So this is the way we do it. I'm gonna actually plug in the camera here and show you how I set up my camera. Anybody here shooting flat shooting flat basically means you're turning down contrast, sharpness and saturation on your image. Okay? And we do this because H 2 64 is the Kodak that these cameras record, too. All right, it's a crappy Kodak. It's a really bad Kodak for video, all right, it's not really meant to be edited natively. There are programs out there that will do it now, but it's not really meant for it. And the color space is awful. It's not like shooting Fillmore high quality digital cinema where you have a lot of dynamic range in the image. So when you go to color, process or color, grade or color correct, you only have a very finite amount of data to work with. Because it's so compressed. Age to 64 is horribly compressed. It's awful if your photographer think of it this way. If you're shooting raw on your camera, that would be the equivalent of shooting high quality digital cinema. DSLR Shoot the equivalent of small J pig. Okay, so very small pixel dimensions, very low amount of data, a very small amount of data for color crushing. So we want to shoot flat because we're going to remove as much of the Satcher color saturation and sharpness because we always add it back then later. But once you lose detail, it's gone. Once you blow out a bride's white dress, details gone. Explain what Kodak is for. Yes, yes, I know. Yeah, I am. I'm talking a little bit more advanced. Okay, so Kodak is basically the file format. OK, so like, J peg is a file format for photos h 0.2 64 which equivalent? It's basically a quick time movie. Okay, we all know a quick time is that movie. It's just the format of the video file. So it's Yeah, it's not something that you really need to know too much about. It is important to know that DSLR footage you can't push it to its limits. You got to be real careful of getting it right in camera, because once you lose detail, it's gone. And blacks, especially blacks like black suits and things like that. If you start crunching those blacks down really hard in camera and capturing an image, it's really compressed. And there's not much detail, good looking back back. So shooting flat gives you all that detail back? Well, as much as possible. So if I'm shooting an image and it's a bridegroom, stand next to each other and she's got a white dress and he's got a black jacket on. By turning down my contrast, I'm going to see more detail, and then I can always sweet in the image. Later on, I could add back in some color. I could head back in some sharpness, so we achieve that by using the color profile, and I'm gonna actually do that first cause now that we're talking about it on the five D mark to the little color profile button has is on the neutral setting. Okay, so what I would do here is essentially turned down. And this this is the way neutral looks in its default setting on the five d five d mark, too. So this top image up here is the sharpness. That's you notice that's turned all the way down. We don't want any edges to be crisp and sharp. I mean, we want the image to be in focus, but we don't want details and patterns to be really sharp because the flicker and you're gonna have images, what you're gonna have, ah, issues with that later on opposed. So we turn the sharpness all the way down. The contrast on the default setting is only one notch below absolute zero eso What that basically means is the camera saying, OK, we're gonna knock the contrast down a little bit. I turn that sucker all the way down. All right. I don't want any contrast in my image. I wanted to be really flat. All right? I don't want to see a whole lot of punchy colors and things like that I'm also gonna turn down my saturation. Okay, so I'm gonna knock that down almost to the bottom. We usually put it about one knocked up above the bottom. There. I do wanna have color. I don't want to be a black and white image. You know, I want there to be color information in the image, but I don't want it to be very apparent. Okay, so we're knocking our saturation down and the color tone. I'm leaving exactly where it is. I will adjust color tone in my camera, depending on the mood that I'm trying to create or to adjust for the lighting scenario that I'm in. All right. But I'm not gonna do it via color tone, basically years moving it one way or another toward the green and magenta by adjusting this. All right, you can do it here. I choose to use the white balance bracket ship. How many people here shoot all manual on their DSL? Are you guys doing that? Good. If you're not, you really should start thinking about getting into all manual white balance and things like that because you're gonna have a lot more control, especially across multiple cameras. about what you can do with your color afterwards. So I'm gonna jump back into the menu here, and I'm gonna take you over to the, uh, the live you movie function settings. Because in addition to setting the color profile, I always set up my cameras consistently across another set of parameters. So we always shooting 24 frames per second. Okay, And there's a lot of debate about what's best to shoot at. Some people like to shoot a 30 then confirmed toe conform to 24 afterwards, meaning changing the frame rate afterwards. If that works for you and you like it and you want to take that extra step, that's fine. Go ahead. But for the most part, for my cameras were all set the 24 with the exception of cameras better on Steadicam or the Glide camp. And the reason we shoot at 30 frames per second on that is because I want to conform it afterwards, and it's gonna give it this very it's going to slow it down very slightly. Okay, it's gonna give it this very dreamy quality. It's also gonna make it appear more steady, all right, depending on the motion that you're making with the rig, so I like to shoot at 30 frames per second with that, otherwise, all the cameras of shooting a 24. And the beautiful thing about today's modern editing systems like Final Cut Pro 10 is that you can mix thes frame rates right on the project, and you don't have to worry about having render issues and things like that. So yes, a 24 or 30 depending on the camera unit and what it's going to be doing for the day. Sound recording is always set to manual, and I have the road video Mike Pro on this camera. It's got a plus 20 db boost on it, which what it means is the audio that this Mike is going to record is gonna be amplified because the processing electron ICS in these cameras for audio socks. It sucks horrible. Don't ever count on the internal camera, Mike. Always by yourself, get yourself external Mike. This is probably, in my opinion, one of the better ones out there. The sky's the limit with audio guys. You could spend a ton of money on audio to get a desired result. I think for the money. The bang for the buck on this Mike, I think these mikes are sold for like, 230 bucks. Now they might have come down a little bit. That's a great price for a great Mike have on here. Another option would be this Mike here. This is a Sennheiser M K E microphone. It's a little bit less expensive. However, this microphone does will not give you nearly the quality that this one will. The base, the sound quality, the clarity, these internal inputs. The microphone inputs on these cameras is very noisy. It's hissy. You ever notice that you plug in one of these mikes, get cheaper making here that sucks. You can remove it, but you're gonna degrade the audio quality at the same time. The road video. Mike Pro, Because it has that plus 20 db switch on the back. You can see I'm getting a good level. And it's turned all the way down here because amplifying the signal so much so what it's doing is it's overpowering the internal circuitry year and providing a clean line clean audio signal. So the problem is, if I turn this up. It's going. It's going. It's going to start peeking fast. Okay? And for those of you who are new to audio, you don't ever want to see red on your audio meters. Ever. Okay. You always want to make sure that your audio is peaking somewhere right around the Negad between negative 12. Negative. Six. And let me clarify something for you here, guys. This 12 does not mean plus 12. Okay, that means negative 12 negative db. Okay, so you want to peak somewhere right around there? That's there for a purpose. It's meant to be a guide for you. When recording audio. Once audio is distorted, it is gone. There you were. There is no bring it back. So it's always better to be cautious and under modulate than it is to trust the auto on these cameras cause it'll screw you, it'll screw. It might work in a quiet environment cause it's boosting the signal. It's gonna add noise. But in a loud environment, it's just gonna it's gonna blow right through the roof. It is going to sound horrible. So it's important to emphasize on camera audio because this is what we're gonna use This is the sound we're going to use for a couple different reasons and or edit A We're gonna use it to sync up our cameras. Anybody here working in what? Sinking and things like that. Okay, good. You're gonna need that audio of the of the audio is turned off. Yes. What? You're manually sinking all your footage. Have fun with that. You know what? I don't think we're bringing clap lords and slate boards on the wedding with us. So be prepared, Teoh. Capture good audio on and go with a good mike if you can. So that's my sound recording lesson there always, You know, put it in manual so you can adjust it. And this comes along with being diligent when we get into day two and talking about knowing your roles and talking about like, um what my what my camera people know to do. That's one of the things That's one of those little things. Little details. They have to make sure they remember to dio, this is so important in post have clean audio at the end. All right, so, as far setting up the camera, that is pretty much it. I'm not gonna go too crazy if if I'm in a situation where I find myself under really green lights, you ever work in a church or in a building that has florescent lights, but they're not daylight balanced, and they're really that old type of phosphorescent, and it just casts this green hue and you look in the back of your camera. You're like, Why is everybody green? You know, and your call, you're trying to adjust your color battles here. It says You're not getting what you want. It's probably because the lights are just casting off color temperature. But you can. You can account for that by using your white bracket or your wife bound ship bracket. So basically it's a grid, and you can move around where you want to compensate your color tone. So if I want if if things are very magenta and very red, I'm getting a lot of harsh red tones and somebody's face, you know, because that doesn't look good to me. I want skin tones to look natural with them. Look fair. I'm gonna move my bracket away from the magenta side, and I'll make sure that wherever I set this has got this little grid parameters. Here. You have these coordinates. I'll make sure my other cameras set up the exact same way. All right, I'll call it out to my crew. You know, white balance bracket shift B three, G two. And they know Bubba. Bubba, Bubba, Change it. Good. We're ready to go. All right. So that's the only other variable that I will mess within the menu of the camera. Otherwise, I'm just sort of leaving. I don't mess. I always shoot manual mode. I don't shoot aperture priority or shutter priority. I don't let the camera do anything. The camera does something because I tell it to do something with cinema, you have to be real vigilant about shooting manual. In my opinion, I have yet to see a good camera that's come out that can follow Focus, auto, you know, or one that has good auto white balance. I mean, there's times for auto white balance, but I'm not gonna get into that right now. We'll talk to him a little bit tomorrow. Any questions about how I set up the camera? Pretty straightforward. Yeah. With your road, Mike. I have one as well, and I was getting that hissing sound So you don't plug directly in the camera You record wirelessly. Or how do you think this is just for reference? Yeah, I did plug it directly into the camera, but this is my reference sound. OK, so let's say I've got three cameras rolling and I'm recording sound when I go to sync it up later on thesis. These of the Mike's going to use the sink, everything up. And then yes, I'm using digital field recorders for all these other things. We get into that a minute so all the sources can be sink together. Okay. Thanks. Yep. Really important. Any questions about this from our audience? Yes, Bob, I would like to know. Does Rob ever record audio off camera with a second system? Yes, we do. And we're gonna get into that. I haven't even touched on that yet. We have tons of different methods of shooting or are capturing sound off camera. That's really the meat of what? That's the audio I'm really looking to use. There are creative methods of using this audio, and we'll get into that tomorrow. But basically, I'm Yes, mostly external. All right. Question from if stop is what color space does he use, and in camera, Adobe or SRG. B s RGB is what I use, but it's fun. It's the most compatible in, and let's see a couple more things about setting up the camera. And I just also wanted to mention that, um, we did put together a list of your gear and there's dropping that that a link to that in the chat room right now. But that is in our forum, and it's ah creativelive dot com slash forum. Vanessa Vanessa Dash Rob's Dash Year dash list. Um, so let's see, I guess the question and this is probably you'll get to this later. But we showed us 30 frames per second, and people keep asking about how to record at 30 frames per second, then slow it to 24 per second. That's a great question. Actually, there's a couple different methods you can do. Theo. Easiest method that I use is by using a program called Cinema Tools. It's on Apple program. Unfortunately, it was bundled with the, um with the original final cut studio, which has now been discontinued. So if you could get your hands on a copy of That's Great. Otherwise, you have to use motion apple motion if your Mac a Mac user guys and speaking purely from Mac terms. Sure there's other programs, and pick string clip will do it for you, which is a free download if you go to MPEG stream clip dot com or I'm sorry. Squared five dot com its name of the company squared five dot com squared in the number five. It's basically just a frame rate conversion, and there's a menu setting in there just to do that. So there there are programs that will help you to do that. All right. I would love to just get this out of the way. Um, what about Magic Lantern? Do you ever use it? Why? I don't use it. And what is it? Yeah, it's a matter of fact. You know, I had somebody tell me recently that they came out with a newer version that actually doesn't require you to keep the the firmware on a memory card on. Did it actually load onto the camera? Honestly, I've gotten so used to shooting without zebra stripes. Every no zebra stripes are they help you know. What's that? Everybody? Well, not everybody. Zebra stripes. Basically, it'll tell you what part of your image is overexposed. Okay, So often images too bright or an area of an image is too bright. It'll put what amounts that they look like zebra stripes there, black diagonal stripes and the magic lantern will do that. It'll add. That's the five D mark two, which is nice, will help you t j to gauge your exposures. It also, I believe, adds audio view meters, which is nice. I've just gotten so used to working without them that it doesn't really make a difference to me. So no, I didn't answer the question. I don't use it. I just find it's another thing that I have to think about. No, it's all over shooting neutral. I find that the image quality is good enough to get what I need to get. Okay, One more than have you tried using the Technicolor Senate style profile? Yeah, I actually have used it before. Technicolor has their own picture profile, which you load onto the five d mark. Your any DSLR on. It's a really, really flat picture profile that really knocks down Gamma really takes out a lot of the I guess you could say a lot of the grey saturation out of a lot of. So I mean, it's going to give you an image that will scare the crap out of you when you see it for the first time you're looking and makes it more difficult to focus in camera because there's so little sharpness to the image. It makes it hard to kind of gauge where your focus is. So I used in the past, but I found that it's a little bit too much work in post that. Go ahead. See, here's the thing with wedding films. I don't want to spend hours and hours and hours color rating. Okay, I want to get it done. I want my editors to work efficiently. I want the footage to look good, but I'm not gonna spend $10,000 on a color correction system to to bring back amazing color to flat images. I'm gonna shoot neutral and I'm gonna add back in using. I used a new blue color picture plus and color fast. It's a plug in for final cut pro, and it's great for adding basic color, primary and secondary color grading to your to your footage. So, yeah, I've used the Sina style before, but I just I actually have a loaded on a thing on that kind, but I just don't use it. And can you explain one more time? Um, the difference between you know why 30 frames per second versus 24. 24 frames per second. In my opinion, it makes things look larger than life. Okay, 30 frames per seconds. What? You see your network news shooting with Okay, so it looks more riel life. It looks. It has a very home movie quality. It looks a little bit too real for may. It doesn't have that cinema feeling to it. 24 frames per second is gonna look like cinema. You know, major motion picture movies are shot 24 frames per second. They just recently shot the Hobbit. Peter Jackson has shot the Hobbit at 48 frames per second, and people are complaining that it makes him dizzy, which I thought was interesting. But for a three for a three d format, I can see why he did that. But we're not. We're not even going to address that as far as wedding scale, I will shoot 60 frames per second from time to time if I'm doing slow motion. If I want to add some slow motion into the mix and that's that's what we call over cranking. You're shooting at a faster frame rate to slow it down without using the slow motion that's built into your editing program, which is caca. Okay, you don't want to do that. So this is a whole workflow that goes into taking 60 frames per second and then conforming it Teoh to 24 with the slow motion on. The same principle applies. I'll shoot 30 on the Steadicam because when I, when I conform it to 24 is going to slow it down. I think blood by around 82% and it's gonna give me this really nice motion. It's a little bit slower, then it's technically there. You're over cranking, essentially shooting 30 but you're mastering the

Class Materials

bonus material with purchase

Client Communication and Business Pack.zip
Movie Poster Template.zip
Discount Code.jpg
cL Wedding Cinematography - DAY 1.pdf
cL Wedding Cinematography - DAY 2.pdf
cL Wedding Cinematography - DAY 3.pdf
Short-Form Edit Format.pdf
Vendor Resource Guide.pdf
Full Editing Video (computer audio only, no narration) SD quality
Full Editing Video (computer audio only, no narration) HD quality

Ratings and Reviews

a Creativelive Student
 

Fantastic course. I'm still on day 1, but for me it's gonna be very useful not only for weddings, but for everything filming. Lots of great hints, just amazing. Thanks creativeLIVE!

a Creativelive Student
 

best iv heaver seen, i shoot wedding for about 15 years in israel ,and i saw all the best wedding and production ,but u bring something but diffrent and i will be happy come work with u in state,and happy that u work with me in wedding one day. thanks

NBeezzy
 

I want to get into shooting video to tell quick stories. This creative live course was an awesome intensive session to get me started with the right equipment and mindset. I don't usually pay for too many things like this but this course was priced right and well worth it!! Thanks Rob!

Student Work

RELATED ARTICLES

RELATED ARTICLES