Lessons

Lesson Info

Overview of a Wedding Film

Let's do this. I don't even know where to start. This day is going to be sick. We have so much to do today. We're literally gonna shoot about. We're gonna film an entire wedding today and not only already shooting the wedding were shooting with three cameras. Okay, we're multi camping. A lot of parts of the day we're gonna start with, perhaps in the morning when you got your first look, we're going ceremony to go through all the different parts they were Break it down from you guys. Like I said yesterday, because I want to give you everything that I know about how issue my weddings and edit them. This course is really action packed. So while we're going to be thorough, we are going to move fast by the course and you'll be able to go back and watch this again and see all the information again because it really is going to move very quickly because we want to squeeze everything in today as faras filming. So just be ready for that. For you guys here in the studio, you're gonna want to fol...

low along and pay attention really closely. We're gonna split you up into pairs today and you will be working behind the camera along with me. Okay, So I will show you how we set up our cameras for unique situations and let you guys be the camera operator in those situations. Yeah, it's gonna be great. So lots, lots to do today. So we're gonna get right into it, and we have a little bit of a keynote. Were you go through and they were, like, jump through a 25 minute film and just kind of give you an idea of, you know, networks. Yeah, we'll get right into shooting in segment one year. We really want to get moving fast. So by the course now and you'll get the feature film that I'm actually gonna jump through in a few minutes and you'll be able to actually watch the whole watch the whole thing and get a sense of one of what I'm explaining. And the way I'm going to kind of jump through the film is sort of the way. I don't do it. In my consultations. We talked yesterday. We don't sit the client down to make him watch a whole 20 minute film. We give it to them ahead of time, and then we come in. We talked through it and just kind of say, Walter, in this part of the day, we're doing this with you during this apartment, doing this with you. So you'll also get the wedding day shot list if you purchase the course, which today is very useful because And I think everyone here has that maybe I see lots of printed things here. So you have something are? Well, if you guys at home have the course, take out that wedding date shot list and have that up, you're gonna see how we run through that. The shot list is basically just a guide to help you on the wedding day of your If you find yourself overwhelmed going in to shoot a wedding, it's really helpful to have a little checklist this way when you leave the bride's house in the morning, you know? OK, Did I get everything that I need in order to make the film? So I've kind of broken that down for you in a nice little pdf format. So we're gonna you know, you definitely want to have that. So we are gonna walk through a feature film here, and I just want to cut it. I want you to take note of a couple things. I apologize. The Texas A little bit small here, so I will walk you through it as we walk through. This is a couple things to notice on. Since we're not watching the entire thing in the pizzas that I'm going to show, you just look for for things like lens choices. Try to identify maybe what type of lens amusing in the scene that you're seeing in a lot of times When I'm shooting something, I'm shooting the same action with different lenses. It's not just like have a 50 50 50 50 50 50 Might do three shots with 53 on a 1 35 there on a wide and try to try to identify that as watching the film look for my sequences. We talked about sequencing a little bit yesterday, which is sequencing is defined as multiple shots with different names of the same action. Okay, very key to telling the story in my films, and I make use of it in every part of the day to try to identify those sequences they really do bring into the scene in all directions. 1 80 to 73 60 shots with very links and pacing. Okay, as you're watching the film, notice that all the shots are not the same length. Not it's not three second shot for the second shot. Three second shot. There might be like a two second shot. Three second shot to a second shot. Four second shot. All right, and that's done to keep it moving to keep it interesting. Visually, we don't want all of our shops to be the exact same. You don't wanna monotony to that. You know, if you if you kind of predict that every shot is going to be on the second or other, every other beat it, just get a little bit boring. I try not to add it to the beats. I will put big moments on big beats like the chorus chorus hits boom! Big emotional moment. We'll get into that when we talk about music theory on Day three, so transition shots and time shifting is something else gonna want to look for. My films are not generally chronological. They have a chronology to them, you know, you will see this part of Okay, maybe her soul today before and then toured the end of the night. But I'm constantly time shifting other parts of the day to tell the story around. I might open the film on the toasts from the third day of the wedding of it, you know. So I'm always time shifting and trying to keep things interesting. It for the chronology of the film notice my use of natural sand. I'm huge about using not just, you know, if the bride is sitting in the chair talking while she's getting her makeup them, which I will use but transitions like wind blowing crickets outside at night, birds chirping. I use a lot of natural sound to drive the story along because they don't want to be just dialogue you want in music. You want to have some other elements in there that really bring it to life. One thing you will notice in my films, I use a lot of Foley effects. I do a lot of sound design and sound. Design is a term that is not the use of music and dialogue. Sound design is you watch a movie trailer what coming? That sounded really good. That sound design, guys, I mean doors opening pops. Those are all things that I won't sometimes pick up in camera. Or sometimes I take from a sound effects library. Or or he's even created than themselves. Created the sounds. Remember one day he's like, Yes, you had a box of Bobby pins. Why do you need a box of Body Benz? The bride here, Silas reaching into a box and sent some. Somebody was yapping with a big mouth background, and I wanted to sound you Get that? A lot of eso I like to use little sounds like that's a note is that in the films you're going to see that a lot. So you don't get to kind of identify what is off camera sound, meaning external recorders in what is on camera sound. See if you can notice notice where that's coming from. Color grading. You're going to notice in this film that has a very unique color. Great to it, all right. It was a very rustic type of wedding, and I wanted to have a very vintage e kind of look on and I will change my color grading depending on the theme of the wedding. But there's a my style does not change. My style is very dialogue, heavy out like a lot of story. I like things that move very fast that, like fast cuts, so that's different than color grading. Notice the color great on this film. It's it's very, very different. It's the visual look, and it creates a mood for what we're doing right. The storytelling is very key in this film. We have a we have a little story arc that happens and you'll see what I mean when we start watching it and again because we're not showing the whole thing here. I do suggest that you guys go home a walk. Did anybody watch it last night? Okay, maybe you guys get a chance tonight. Make sure you get a copy, watch the whole thing and just get a sense of I know some of the people who may be bought the course. We're able to download it. Some people good. Some of some people out there will have already seen it. So in the storytelling, you see a lot of talking. What are these people about? What is a personality, and I want that to really come through and you're gonna see that in the film. So there is a story are that takes place over the entire 2025 minutes. Whatever it is you'll notice, you'll have to ask yourself, Does the mood change? And when you watch the whole thing, you'll get a sense of you know, how the mood changes from sequence to sequence. All right, and then sounds I'm here. We spoke about a kind of jumped going on that. What else are you hearing behind besides dialogue in that sort of thing? So let's get right into it. I'm gonna switch over my computer here, guys, and walked into this film that way. What's gonna way out there? Okay, we'll get to that later. So I'm just gonna make this full screen. And this is how I kind of show a client of film. And I might talk in certain parts and I'm not gonna make you watch the whole thing, But I do kind of want to show you the beginning and how we do. It's called the front porch, which is basically an opening to the film, and it really it really kind of sets the tone for the entire thing. So we're gonna watch just the front porch just for just the from port the 1st 3 minutes, and then I'm gonna start skipping through once you have a sense of the mood in the feel of this film, don't worry. You won't need to remember. His name is That was a memorable way that Jordan introduced Hillary, her mom. I understand why Jordan so certain that it wasn't going to be serious. You have to understand a bit about once. Socials e didn't expect to welcome tailor to our family. When I first met him, Jordan indicated that I didn't way are on the eve of Jordan and Taylor sweating. And I'm so happy I first thanks to Jack and Erica for the great people they are so happy to welcome. Thank you so much. A man I've come to love, respect, man with wear. Exactly the right match. Sharing so many interests allowing each other to have separate interests is low. Those of us you know, Jordan and me No, I would never get away. Never. Ever, ever. So it's true. What they say is cliches often are I'm not losing a daughter. I'm gaining another son. I hope this one e welcome all of you on behalf of Taylor and Jordan, and I say things to you into the congregation that large not going through the whole thank you way. You know, it means so much to Jordan myself. Just have our favorite people in the world all together, in one room, sharing a meal. It's not something that happens every day, and it's just really special. So we just want to thank everyone for being here also. Yeah, more parts. Okay, so just in that first part, we set the tone of this whole thing. All right? We know that they're on this big, beautiful lot, this big, beautiful piece of property. They're having a rehearsal the night before. We've established that for toasts that people got up and spoke and then the official and actually going over them the plan with the wedding day for the wedding day in the field, which is called the Knoll, which is really nice while you're seeing that it was that that became the anchor of the story. Okay, speeches and rehearsal that became the backbone. And you're gonna notice that when we get into editing, we're always looking for that backbone. The one thing that we keep going back to the anger, the story down figure, think of it as a spine, okay, literally is, you know, the backbone. And then everything else that we put in there is this flesh and organs and things that make it work. Okay, I really do kind of think of that one. I meditate on, and aside from what you saw there, we saw what people arriving, you know, we saw the car's pulling in, you know, we saw some set up. That's sort of what I'm going for. Just setting the mood for the whole day. And I'm just gonna show you a second or two of this next sequence, which you notice there was a noticeable transition to write that last shot. With the time lapse, the music changed. And, you know, there was this change in the sequence, and now we're on to a different part. And that's what this is about Wesleyan social that Leslie and their the hippies, like Jordan, lived in our house and considered streaking a competitive sport. Weddings. You're repeating after me, but you will be looking at her. Do not look at me. I'm not marrying. You're marrying her as Wesleyan. Hippie Way took pride in our happiness and our house, and I'm proud to say that Taylor's hip Penis has really grown on. There were the jocks like Taylor, who was in a fraternity and played on the team last time. You'll ever time. Let's see what happens. I am so happy and privileged to know you and have us friends. So just right there notice how reactions play a huge role in my films that breaks it up. Instead of just seeing riding room person giving a toast, bridegroom person giving a toast, I'm bouncing around all these different reactions in The Bride Loves that she's seeing her guests, and that's all in context because they're all literally watching that. And that was two cameras. Okay, that was just two cameras doing all that. So we had one person trained on the person giving the speech, and then one other camera was going back and forth from the bribing room to all these other people, all right, and that's what gives us a lot of different shots again. 34 2nd shots. Boom, boom, boom, boom, boom, boom, boom, boom on to the next thing. All right, that's what drives the whole thing. And then we have this backbone of the maid of honor who's going over her speech with kind of rehearsing it to her friend, one of the other bridesmaids, and just sort of that becomes the scene. The Wesleyan social scene is sort of like the story that we're establishing here. We haven't gotten to the wedding day yet. Really? We saw a little bit of the preps we saw a little bit, you know, from the both the bridegroom's perspective. But there is more of that later on. So I'm just gonna kind of jump through at this point. Can you guys kind of see where the sound is coming from? It's not all you know. First of all, we did those speeches on the veranda. We did use a boom mike for that. Only because there's no way I could Mike everybody up wouldn't happen. So we did have a shock and Mike on a boom pole. We told the bride we were gonna do that before we actually did it. So it wasn't a shock. She wasn't like, What was he doing? Like she knew. And she was like, OK, yeah. You know, I'd really like to hear this. It's OK that use that, Andi. Then basically, these parts of the preps is all the on camera. Mike, I haven't even used recorders it. I haven't even Mike anybody up, All right? So sound very important. You hear? The sound quality is very good. That is so key to telling the story. Imagine that this had bad sound. Wouldn't be the same film. What it? Right. So that's how important audio is the driving your story. I'm just going to kind of jump through here, and I'm going to get kind of into the wedding day a little bit. You see it again? This is sort of the end of the first transition. The end of the of the I'm sorry. The rehearsal. We go back to it later in the film, but you're going to notice a transition here. Notice the use of Nat sound as we make this transition from one second to take the ring that you're going to give to Jordan. And then you say I, Taylor Taylor give you Jordan. Usually this ring as a symbol, a symbol of my commitment to love, honor and respect, I think about I don't know. Okay. Got that. Okay, so then you slide the ring on the finger. It's a great pleasure to welcome all of you Teoh wedding today. I do want to recognize some special people here today. And the truth is, that is all of you. No, you are. The folks in our lives mean so much. And we're so grateful for your taking the time to be here today and making this such a memorable event for all of us. As Jordan and Taylor come now together before us, they bring with them families, stories, traditions. Out of which a new family will be four a Z, members of their families and their friends. You have supported them in the past, and their lives will be enriched by your continued support. Way will now declare your intentions. Okay. Did you notice the birds chirping in the background that wasn't there The wedding day? Okay. Dearly beloved. That's totally added in. It just brings the scene toe life a little bit. So it's not just music and pipe dialogue because the officiant wearing and Mike there But I wanted to come the life I want to bring you into it the whole scene, all of your senses engaged all of your senses. If I can make smell come out of the TV, I would you know, we even sometimes we'll do a surround mix. Look at the party. The dancing segments will pan are the music in All in all channels, 5.1. And it's cool, because when you're watching it on a surround sound system, it really brings them into the room. So they're seeing all the people dancing, but they're hearing the music all around them. So just try to think of that when you're putting your films together, it's okay to use a little sound effects that bring the story into reality until life. Because I don't want to just make a music video like I said before. Okay, so I'm gonna skip way ahead here and introduce you to a little bit of face time because we're gonna get into this very heavily today. Face time is shots of people smiling and laughing and enjoying each other. This is great generic footage you confined it and receiving lines after a ceremony. Cocktail hour, pre ceremony when everybody's kind of sitting down and getting ready for the ceremony and it really you can put it anywhere in the film and it gives you great transitions to use, and I use a sound effect called Wala. Everybody do this at the same time, while the Walla Walla Walla Walla Walla Walla Walla Walla. Okay, if you get 50 people in a room and they all do that, it sounds like it brings this room toe life, right. So try to listen for the Walla. As you see some of the face time, the action of loving will allow you to acknowledge the past even as you give thanks for the future that you will go forward with the sense of possibility and hope. Last night, a lot of people said some wonderful things about the two of you, and I hope you heard that they expressed their joy and their happiness just to be in your presence, make your marriage that place where people will seek you out and receive joy, refreshment and a lot of fun. You always find me here, world things that I have disappeared. You know, just you know, Jordan is one of the most, but it's there, and it's actually your It's not coming through these speakers very well, but it's there, it's and I actually have sound effects for outdoor wala indoor Walla movie theater foyer like So you have all these different sounds that kind of match the environment in your urine. If they're in a big grand hall, I'm gonna add a little reverb to it because it's gonna it's gonna echo. I like the sound. And here I was a little bit, you know, so sound design a huge part of my film. I'm always using it. And we do. You see, I'm gonna jump ahead to like the dancing segment. And second, you'll see how we bring that to life. Jordan doesn't respect part of Taylor. She's Justus, amazing laughter, dynamic and interesting a person as he is in a complete person. Thank you guys for allowing me and all of us into this rich, beautiful life that you're building together. Raise a glass and toast to who is sincerely the best couple that I know on the planet Taylor and Jordan. I added that why deejay played music right after the toast ended. Right? I don't want that in there, you know, And she gets on the mike. Let's do it off. I don't want to hear that. I want my films to be clean. So we add in the flaws I have all like a list of its a whole folder full of applause, sound effects and laughter to to enhance laughter when when it calls for it. So all these things, you know as we go about the day today I'm really kind of focusing on imagery and capturing good dialogue. And I'll add in all that all that other sound design later on. Parents play fast, and we're sure both just thrilled to see that you have blossomed into this gorgeous young lady that stands before us today. You're everything a father could dream of, and I just want to tell you how proud I am today picked a fabulous to go through life with, and you made me very, very So is there, too. So between my music, my wallah and my visual really brings into the scene and notice how I'm hitting the post with lyrics. It's a radio term hitting the post basically means I have this musical interlude while he's talking and the second he stops talking, the lyrics kick in and it carries the peace forward. All right, so when we get into scoring and music and simply that, you'll see how that comes together. So I'm just, you know, just from a visual standpoint, you see the look we're going for here. Dimensional lighting, never really flat lighting. We're really trying to make it look dimensional and outside. Using as much available light obviously is possible, but making it look good real quick and then we'll end. I just want to show you a little to the dancing, because there you'll get a sense of, ah, the cheering and stuff we put in. So that just gives you an idea that all right, the light wasn't totally great in there. It's just sort of a bar and rustic wedding. No, like theatrical lights or anything like that. Any questions about what you're seeing here? Just sort of like what we're looking for as we go throughout the day. Nothing. Any questions from our audience. I'm sure you have some. Always, always Yes. All right, Chuck, 1906 Do you choose the music used in the film? Where do you ever allow your client to offer suggestions? I never allow my clients to offer suggestions. I have to make a visual piece that works with what I have. The second they introduced their music choices. They're taking creative control out of my hands, using his movies. That doesn't work. You know what it is. It's like I can't take country music and make a wedding video. It just doesn't work. It's not my style. Number one. That twang doesn't fit into my into my editing. It's not something that I've had that before. For years I let my clients pick my music and it was always disastrous. And you know what happens is they don't like it as much and they don't know why. Ever since I took that control away from the clients and I start using my own music, nobody complains about music. As a matter of fact, they all go does the songs of greats. I've never heard him before. Where did you get him? I don't tell him. You know, we have a music library, you know? So I never let don't ever let music you're opening yourself up for disaster. Plus, it dates the pieces. Well, so they're gonna pick something that's popular at the moment. But, you know, five years from now, they're gonna look back like that. I'm never used Gangnam style. It's not gonna happen, all right? And I would never do something so even dated that much. Yeah. Does that extend to the father Daughter dances well, the way No. Well, basically, I I'm always using my own music for those parts cause I want to set a tone, that song that you just heard. That's the song they used for the parents dances. And it's an emotional song. And he was talking about how all the families there and we have a great family, and it just it set a nice tone there. Yeah, I don't ever let them choose anything for what? I want my music to reflect mood. However, the cleanup edits do include the parent dances and the original sound. Yeah, that's the original sound. So like when I give him the whole ceremony, If there was a quartet playing things like that that stays in use all natural