Lessons

Lesson Info

Shoot: Bride and Groom Preparation

So we talked about the feature film. Let's start. Let's start filming a wedding. We're gonna give you some tips for shooting today. We talked about this a little bit, you know, yesterday. But just keep this in mind when we're going throughout the day. Shaky footage is really unusable. Once in a while, you little bumping in a shot. It's fine. It's not really gonna be noticeable. I really do try to edit as clean as possible, though I know I noticed, like a couple shaky shots during that. Sometimes you gotta remember we're not holding the wedding day for the film. We're filming the wedding day, so it's not always gonna be perfect. But we do strive for greatness when we are shooting and trying to be a steady I'm not gonna zoom. I'm never gonna zoom to that. You're never gonna see me zooming. I'm never gonna really shoot handheld. That's a totally different feel. Totally a different look. It's not what I'm going for. Going to use my magnifier a lot on my camera to focus today and will be te...

thered the camera and you guys can see what I'm shooting. You will definitely see that I'm not gonna rack focus too much. I'm not a big fan of like switching my foreground of my background on Lee because it tends to introduce Shake into the camera. It's really, you know, if I was locked down on a rig and I had somebody pulling focus, maybe I might use it occasionally. Like for, you know, just trying to shift focus for attention. Like Okay, I'm going to go from background to foreground because it tells a story. So, for example, beautiful scenery shifting to the people walking into the ceremony. That's when I'll use Iraq. Focus. But I see guys, I see a lot of cinematographers, a rack focus, every shop, every shot switching to different focus. It's too much for the I. So we want to try to avoid that if we can. Not going to change my exposure while filming today is gonna be a little bit of an exception, and I will preface this because of the tethering because of the live broadcast. In order for me to maintain that they have a signal, I have to leave my camera rolling a lot of times, So I'm gonna tell you while I'm filming here. I would normally stop and then restart. Stop, Restart. But in essence, I must leave the camera rolling so they could get a signal from me the whole time. I just want to put that out there. So when you're watching me shoot later and you're gonna notice that use a lot of points of contact. I'm always trying to brace myself with camera if I there's a wall nearby holding up against the wall and shoot. But I'm always trying to keep the camera in here. I'm never really holding it out here. Today, I will have a monitor. Attacks of the camera. I do not ever shoot with a monitor attached to the camera. But today there I have to use one just fine. Um, Lens choices. We touched on this a little bit. Notice my lunch choices today as I'm filming, but I'm gonna be calling them out. I'm gonna have an assistant with me. He's gonna help me. I'm gonna be like Give me 50. Give you 1 35 to 100. You know, constantly switching lenses. Take notice of how how often I really do change my lenses. All right. So broad. Ingram preps. These with lenses I generally will use for a bride and bridegroom Prep 5100 and 1 35 Okay, I'm generally switching between those. The 100 is a macro. So if I'm doing detail shots amusing, macro and we'll do a colleague of ring shot in a shoe shop. You kind of see how I do those establish er's and details we're going to sequencing shots of, you know, the short clips of the makeup in certain. This is all sequencing stuff we kind of talked about, but hair and make up you're going to see how I'm really looking around in 3 60 for that using the 50 the 1 35 and the 100 transition shots. Once our bridegroom are dressed, we're gonna have to get them to the next location, which is gonna be the same room. But we're gonna pretend they're going to a whole different location. Okay, so I'm gonna choose a shot that kind of sets the scene instead of just jumping to an establishment the outside of the next location. I'm going to try to get them like a shot of the bride leaving, getting in the car or shot of the room putting his jacket on him and he's walking out the door and, like a sequence, three shots of them walking away. It just ties it all together. It brings things together rather than just jumping. So we would need a vehicle of some kind, not a car Ah, filmmaking vehicle that try to get our subjects to the next location. All right, this is also very generic footage. Transition shots can be. Did you notice in that one? We just had the Boca shot, and I just kind of use that as a transition between two shots. That's a nice way of just getting from one place to another or from one scene to another. So it makes good generic footage as well. A lot of scenes centres. I do shoot a lot of scenes centres. I won't do those on camera today because it requires me to go outside. But I am going to do establishing shots of the building. I'm gonna do some seen centers inside, but I want to focus on story and stuff for you guys here today. First, look, we're gonna actually do a first look. We're gonna let it unfold in real time, and they're gonna reenacted twice. Lenses I typically will use for 1st 1st look are the 7200 with 150 the 24 sometimes in 85. And you're going to see how I'm sequencing in this entire room toe to capture the first look on the first try as it actually happens. I want that genuine reaction, and then I'll tell our room. Okay, this time we're gonna do the same thing when you see your just act like you're seeing it for the first time, and usually you get a hokey reaction. But by that time, I'm really kind of looking for wide shots. I'm looking for things that don't focus on faces and you'll see how we do that. We unroll that you're gonna actually help me do that. I put a lot of planning into the first look already. I've already conned of his room and planned out my first look. So I know exactly what I'm gonna dio. I will normally spend about 10 to 20 minutes a day of the wedding planning my first look before I even touched my cameras and walking around going Okay, I want this shot, This shot, All right, one up. There would be a good meal slider from down low. And I know I'm gonna get the reaction when they both turns on thinking it out in my head and editing it in my head before I even touch a camera. So plan, plan, plan that's so important. Give yourself time for set up. If you're in a situation where you're controlling that first look, you need to be have already communicated with photographer like Look, I know you got We both have jobs to do, but I really need this time to set up the first look. So what I'll do is I will actually leave my preps early and sacrifice and beauty shots of the bride when she's in her address to go plan my first look. It's more important to the story than a couple beauty shots of the bride in her dress, because a lot of times, by that point, Vanessa or the photographers are just she's posing the bride. It's like a bridal session, and I can get some beautiful like slider shots and stuff from that, but it's more important to get to the next location set up that first look, That's where I want to be. So I'll have my crew meet me there. And you know, we'll start planning that we're communicating with the bribing room. We're letting them know what we're gonna do when the bride is still in the chair. When she's still getting her find a nice moment of lull where things aren't crazy. I'll just explain to say, Hey, look, later on the first look, you know, you guys going to see each other, you know, we talked about setting it up. So what my plan is, what I'm thinking is we're gonna have him here and you're just walking behind him. I just kind of give her a little pre lewd because she's gonna be nervous. She's gonna have this anticipatory energy and anxiety. So when she gets to the first look location, I don't wanna be like, OK, so this is what we're gonna do, you know you're gonna did. And she's just gonna be like, we just get this over with. So I don't want that. I want to just give her a little bit of leeway. Just a little heads up notice, and then when the groom. When I see the groom to set him up for the first look, I'll walk him through it. And I I've gotten very comfortable with working with them in this. So I'm communicating with the photographer. That's very important. A lot of times, photographers will like you for setting up the first look if they don't have to think about it. And if you're doing something very creative, a lot of the times, they don't mind that I've had guys give me a hard time, but then you just do what you have to do. You just kind of do it. And my motto is, Shoot now, apologize later. I'd rather get my shots. You know, I don't really have too much trouble with photographers, But if I do, you know, honestly, doing a good job for my client trumps having a good relationship with this photographer. I'm sorry. It's just I'd rather do a good film. It means more to me. So I want to let it unfold and we're gonna re enacted. The bride will know this in advance. That's our first look. Pre ceremony. We're gonna go into the other room after the break and we're gonna actually do pre ceremony. We have wedding guests that are going to actually come in. There are gonna be fully dressed. We're gonna do, like a thing where they're all kind of like finding their way into the ceremony. All right, we're gonna shoot that 1 35 Why a 1 35 24 I wanted to be kind of intimate. I don't want to be up in their face, but I want close up shots and a 1 35 is going to give me the ability to kind of pick them off from from afar. And my 24 or 35 will give me those nice wide shots as contrast to cut between. So those are the two lenses I generally use. I will do seen centers of the ceremony establishing shots. There is a sub story there. When the guests are arriving, it's building up anticipation. Okay, there's this sort of like as guests are arriving, you know? You know the ceremonies coming and we've already foreshadowed the ceremony A lot of the times in the film when we show this the groom waiting is a perfect example. The groom Lake the back room, Just kind of hanging out. Like, Can we just get this going, you know, like that's cool stuff. I like to shoot that. That sort of thing, him standing up there is especially good when he has, like, that blank look on his face. So, you know, I'm always looking for the anticipation. So while the groom is waiting, this'll also gives us time to get our audio set up. And during this part, we will actually go into it and set up our audio. And this is a great This is important. Guys, this is my grid. This is my plan for the ceremony. Audio the groom to Mike's. He's gonna have you know, too. One of these are two of these three love. Mike's on him for the vows. The officiant is gonna be wearing also one of the role Innaro fives and have a wireless mic. I'm sorry. A wired mike attached to it. That's for the homily and for the vows. Really important to my ceremony. Okay, Ambien reference sound is gonna come from my video, Mike. So when the cloud collapse after in the crowd claps after the ceremony, that's generally going to come from my mike's Unless the pipe organist, you know, starts playing, and then I Then I will put in my own sound. And then all of the audio will come through the rolling R 44. We do have a deejay here is gonna be providing p A sound for the ceremony Will be able to tap directly into a system as well. You're going to see how I implement all my audio tools and get great sound really quickly. Hold eggs are not gonna go back to keynote. Yeah, I just wanted to kind of outline it for you. So you know what to expect. It's gonna be from telling you once I put this thing down, we're going all out. It's going fast and furious, man. Be ready. Especially this session, Right? Exactly. So ceremony seventy, two hundred 1 35 fifties and 35. That's generally what I will use for the ceremony to three. Camera shoot. We're gonna let it happen in front. We don't interfere. Obviously, we wouldn't want to do that. We're gonna create a kill shoot in the aisle. We're gonna make sure that the eyeless covered as everybody's coming down the aisle, and we're gonna have a strategy. When we block our cameras, I'm gonna talk to the efficient. I have not met him yet. Talk to me like dude. Where do you want the bridegroom? Where you gonna put them? Where people gonna be standing is the bride and groom were standing up there where they're gonna be standing. Is the bridal party going to be standing up there? That makes a big difference. Is whether I'm gonna be on the inside, shooting out toward the crowd or if I'm going to be on the outside shooting toward the bridegroom. I need to know where that bridal party is gonna be. All right. So I'm gonna try to anticipate problems and head them off in the past beforehand by communicating with everyone so important. Post ceremony. Same thing as a pre ceremony face time. We're just gonna be doing face time of people picking them off with a long lens. We're going to plan for the walk out. I don't Generally thing we're gonna do a walk out, but you'll get the sense on. We're going to try to re sequence these sort of things in real time as far as the post ceremony goes, cocktail hour room details. We're gonna pull our guests out of the room. We're gonna light the room and we're going to shoot the the details table setups, the room itself, glide camp sliders, the whole nine yards. We're going to really show off the beauty of the room. This is where having multiple camera cameras will pay off because I could have two guys working in the same room at the same time, knocking it out quick because we only have that cocktail hour to get all this done. The third person will be setting up audio at that time. Face time of the cocktail hour. Once the audio is generally set up, we send somebody out to cocktail hour to do face time, looking for eight shots, man. Eight shots of people getting drinks, holding the drinks over the shoulder shots just kind of like smiling and laughing. Really great stuff. Bar shots. Happy People know people eating guys don't from people eating. Nobody wants to see people with a fork in their mouth. It's just not good, all right? I don't fill in the chafing trees and all that crap. Who gives a crap. It's food. I'm more interested in people smiling and laughing that sort of thing. I do use a light for the cocktail hour. I won't put up like, you know, huge light, but I will take a battery operated Fred Cellini 300 watt Fred Cellini on a dimmer, and I have it on a pole makeshift poll. It's a total just it's completely rigged. It's It's just backdrop backdrop pulled, literally gasping like so I. But I use it to kind of go around and just splash a little light here and there. So the lights really bad for cocktail hour? Sometimes they're in basements and dingy and dark. I'll bounce it off the ceiling and get a little bit of like going in there so good to have today. It shouldn't be too much of a problem. So that's good. Generic footage, room beauty shots. We talked about that lighting and audio for receptions. We are going to use a to light method. I'm gonna show you a diagram in a minute, and my plan is to make things look dimensional. When I'm shooting the person giving a speech, I want the light to be 3/4 lighting. I want to have a nice lady. I don't want to be straight on. And when the bride and groom are sitting there, I want them to be pin lit. I wanna have nice, you know, fill on their faces. But I wanted to be dimensional. So in a second, you'll see my diagram. For that, we're going to set a perception audio. During this time, you're going to see how we do that. We tap into the deejay Mike speakers, and then we might like the speech givers. I think I am going to do that today. And we're gonna ensure quality on camera audio by making sure you guys turn down the audio setting on your camera for the reception because it's going to get loud. We know once the dancing happens, so we want to make sure this is my lighting diagram. This is my plan. Whenever I walk into a room and not every room Miss Square and as tables on one side. But generally speaking on more interested in this table and where the deejay in the band are gonna be, because that's all I'm gonna do my speeches. I never let the deejay put the guy or the girl right behind the brining room for the speeches. Never. And I will fight them tooth and nail because that looks like crap in the video. I'm sorry, but writing room, kind of trying to turn around to look at them. There's no interaction between them at all. Just very flat lighting in the same way the whole time. Exactly. So I'm gonna put that person about 3/4 of the way between the deejay in the band Or did you in the bridegroom's tape head table? I want them looking at the bribing room. That's a motion you'll notice in that video I showed you, the bridegroom were standing. I don't know what the Major D was thinking. They had him up on the second floor balcony in the back. That's where they were eating dinner, you know? And so when we did the speeches in the front, I said, Listen, I'm gonna bring him down here on the floor and they're gonna stand watching speeches and, you know, they're like, Well, why? Just because it looks better, it looks better. And I'm not trying to be standoffish at this point, but it's hectic, and I want to make sure that it looks good. So I'm going to do whatever it takes again. Be assertive. Don't be afraid to do that, so I have two lights in the room. There's 6 50 watt Ari lights Fresnel lights, and there's two. I put one behind the bribing rooms table, and that light is going to shine on speaker. And then I also have a second light that's going to shine on the bridegroom. And that's exactly how I placed them on the same side of the room, on the same side of the writing room table, but opposite each other. So the lights are shooting into each other, so the way they look when they shine is like that they will cross in the middle. And what that does is this light appear behind The bridegroom's table is filling in nice 3/4 light on the speaker and providing back late for my bride and groom, right? Where is this light is providing backlight for my speaker and fill for my brining room. Now where would you put your cameras? Anybody? Exactly where you put the camera? That's where I would have the camera going into your lights Tracks. Why? Why do we shoot into our lights? It looks awesome. It looks dimensional. You don't ever want to shoot your light of your back. That's why on camera lighting looks like poo poo with your vacuum. Just put a light on the camera. You don't want to do that. So we always shoot into our lives for dimension. And I like a little flare like a little flare coming in just gives it a really nice cinematic feel. It's really nice. So one cameras facing, we re literally go like a V formation with back to back. Stay inconspicuous and I apologize for the crudity and the scale. I don't have time to paint this model. The future thing. It's not the scale, Okay, but basically two cameras like this one on the broader room, one on the person giving the speech. And then we have 1/3 camera that's basically roaming the room and getting reactions. Okay, we are usually tripods for the two cameras that are stationary for the bridegroom, the speaker and then this Third cameras on a mono pod running around different levels. Sequencing 3 60 trying to get will focus. Maura, unlike the families, you know, the bride's mom, brides that that sort of thing. Did you ever question So what's going on when the bride, I mean, when the best manner maid of honor their walking around, they're doing their thing like it's a little tricky way? Do instruct them. Hey, just trying to stay still if you can. I mean, I don't care if you move a little bit like this, but just don't Don't be like so. Anyway, I was trying to talk into the room like this because once they do that, I'm like all crap and you have to rack focus. There's no other way and what I'll do at that point, I usually will have a wider lens nearby, and if they pull that crap, I know that my second has the shot of the bride and groom. Static and all sacrifice five or six sections of the toast. You know, I saw the audio, obviously, but I'll sacrifice five or six seconds to change. My legs were quick to a 35 and it's follow him wide, you know, also, this person here will also get you'll notice in that film I showed you some of the shots were through like the trees and threw it the crowd of the person giving the speech. This person knows one of the roles. It's to not only get reactions but the turn at some point and get the speaker as well. So if I look at him and go, he knows I need to change my lens and he's gonna turn. He's gonna get the speaker from afar while I change my lens, pop up about communication and knowing roles. In this way, we all we maintain our shot structure, which is fantastic. So that's my leading diagram. Gonna whip through this because we got to get to shooting reception. Audio speech givers get rolling Aro fives. If I put him on their bodies, we tap into the deejay in the band with the R 44. That's for the toast in the M. C, the ambient and reference sound on our cameras for the Ambien crowd that's tapped in through the what We have one on the camera and then one channel of the R 44 hours of recording ambient sound and then and being a reference out on her video micro. Okay, that's pretty much it. This is in the slides. If you guys want to refer to it, that's what we're gonna dio, right? I'm not even gonna get into multi cam in the reception cause you're going to see this in action. I'm talking about the introductions of the dances. You're going to see how we do it. I want to get into shooting so we can get So while we get our bride ready and get her in her makeup chair and the makeup artists ready in the makeup chair. Why don't we take a couple questions from online Will be all the kind of transition risk turning around. We're doing a lot of transition was going toe. Anybody can do it. The creativelive Druken dio fun. All right, so there are a several questions about music. Okay. And if we could ask those live love snap, do you get special permission for the music that you use? Do you have songs? Music prior to creating your videos? How do you look for the right music? And how much do they spend? Spend on music? Great questions and all someone up and really quickly, as far as music licensing goes, everything uses licensed. Okay, I do not take a chance with unlicensed music. That's a no no for May. OK, I don't wanna put something up online and risk having it pulled down a feature film that the bride is gonna watch only for herself, cause I don't put feature films up online. I might use, like some dance music that maybe is not license. But at that point, it's not being put up online for public consumption. I use music licensing services like song Freedom primarily. I use the music bed dot com. Use triple scoop music wherever I can find music that I need on my paper song on some of those services. Generally, a song will run you 40 to $60 per song per use except for song freedom. This is why I like song. Freedom is that you pay one price and you can use the song perpetually, which is nice. You could use it as many times as you want. I really am trying to keep it honest as far as that goes, and it gives me an excuse to say to the bride, Sorry, can't use your music. I've got to use license music, so I really kind of it kind of clothes that problem. But yeah, I'm generally speaking. I get my music from the services solely. So what I'm doing is, while they're setting the room, I can kind of talk to you guys and just give you a little explanation about how I'm sitting at my camera. Yesterday, we talked about picture profiles and putting the camera into a neutral setting. I want the image to be flat so I can go ahead and save detail where I can, and I want the image to look. Um, like it has high dynamic range. I don't want the image to be too crunchy, especially in here. We have a lot of dimensional light. We're working up against the window. If you want to turn to get a shot of Rebecca, let's introduce our bride, Rebecca, who is going to be helping us out today. Say hello, Rebecca, to the creative live audience. She's going to our beautiful bride today, and we have her in the makeup chair. This is Ashley, our makeup artist. He's gonna be helping us out today, and we're just going to start shooting. What what we've done here is Rebecca has most of her makeup done. And I usually don't start shooting the makeup until it's mostly done. And then, yeah, all brides want to, you know, be in their wedding film. Totally made up and looking nice. No bride wants to see herself, you know, puffy eyes, no makeup, really. Try to be try to be conscious of that when we start. So at this point, actually going to start doing her finishing touch ups and what I'll generally do during this point is all start shooting candidly. And then I will pose them a little bit if I if I have time and if they're willing to do that. So what I'm gonna do is to set my camera appear on that. I s So let's see, I'm looking at the natural light here s 06 which I really like. I've got 100 on my shutter in 25 on my aperture. A little shallow, but I'm gonna be doing some intimate shots, so it's okay. So maybe I'll bump it up to eight and drop my shutter down to 80. That looks pretty good. Okay. What I'm seeing on my monitor may not be representative of what you're seeing at home. We're gonna do the best we can. As far as white balance goes, I am up against the windows. I'm gonna warm up my shot a little bit at 41 now. And, like, totally 43 that looks pretty good s a lot of times. I know. Sometimes makeup artists don't exactly put the bride in the best light in the world. I'm sure a lot of us have experienced it. You walk into a hotel room and they've got them under the most yellow and green light possible. That is something that we don't usually film at all. We will wait until the bride is completely done with her makeup and say, Okay, let's go to some fake makeup shots over here because, you know, for photography I will shoot a little bit of that because I can put that in black and white that you're not gonna put that black and one in your film. Rob has never put anything in black and white, so we will just say, Hey, you know what? We're gonna go shoot the details. Well, you're doing your makeup and then we'll come back when you're done, and then we'll do some fake makeup shots and we usually bring him exactly like this, who put them right by the light. We use the makeup artistas well, and then we do a couple of things that Rob is going to show you with the sequencing. The reason we like the natural light or putting them by the window is obviously for the natural light. But we also like being able to do silhouette as well. So we will very often also ask all the lights to be turned down so we can get the silhouette at the same time. How we doing over there? All right, we're stalling. So the same exact thing actually happens on the groom's side as well. On the groom's side, Second shooter's always know, even though is not the makeup toe. Always have the guys get dressed by the window, and we kind of do similar things will do that same sort of silhouette with the groom getting all of his stuff ready, and then we'll also do some nice dimensional light. Like I know Rob would love the shoot just like this through here so you can get the light side in the dark side of her face. So we are getting all set up there and tethered, so you can actually have you guys see. Another thing to remember is that he is also working with the photographer. When it's me, that's pretty easy to do because I know exactly what he needs. But if you are, thank God. That was a good filler, baby. You guys again when I got here on my camera. Now that we're tethered, I've 80 on my shoulder to eight on my appetite or 6 40 I s O, my white balance is set to about 4300 and I was gonna get basic shots here at first and notice. I'm using the dimensional light to really, Once I start rolling here, you'll be ableto miss seeing. There we go, and I'm gonna bounce around a sequence this out. I'm gonna leave my camera rolling. Normally, I would not do this, but because of the tether, I want to make sure that the guys inside are able to get my image. And I'm just doing some basic but the most pointless in keeping the camera steady. I'm really not moving the camera around Too much is a great opportunity for a silhouette shot here, So I'm gonna drop my I shut her down. We'll try to crop out the cars in the area. And during this feel free to direct the makeup artist. A lot of times, the makeup artist will kind of be like, Wait, what do I do? And the whole that still just tellingly, keep shaking the brush. Keep going, Keep going. And a lot of times it's also nice to have an assistant so that they can almost direct while rob films are You Turn the camera off, Baby was gonna have you welcome for once. All right, all right. So it's hard for me to say I can't see my info while I'm shooting, but I am changing my exposure here. I know I told you not to do that, but just for the sake of the broadcast and want to get things done quickly. What I'm doing here is I'm looking for I like looking at the makeup artist when I'm when I'm shooting, because it's kind of she's really intently working on the bride and bride has of making half done. She's not gonna really want her face featured too prominently. So I'm really trying to focus on this story without really focusing too much on the bride. Rather. Okay, Now I'm happy what I've got with my 50. And what I'm gonna do is this back in to get a wide shot real quick, just to kind of set the scene here. And then I've got a couple slider shots in mind I want to do, and then I really want to move into Ah, different lens choice. So what I'm gonna do here is just drop my aperture. Why am I dropping my aperture here, guys? Because I'm a little wider, right? So I'm dropping my appetite. I can't really tell what it is because I can't see, But I'm getting Let me let me stop the camera for one second So I can tell you what my amateur is gonna be here. I don't really want to know. So 56 that I backed up a little bit, Right? 50 on the shoulder. 566 40 I s o. And that does look blue on that screen, doesn't it? It looks little different. My monitor let me warming up. Just a touch. It's gonna 4800 on the S O. And that's exactly how he does it on the fly. Guys, he's not using a light meter. He doesn't usually check the color Instagram there he looks just straight. Adjust in line. Notice how I'm using my magnifier to I'm really getting in there and check my focus. When I'm happy with my focus, I will back out. Start rolling Now notice the make up artist is moved to the back. I want consistency. I want continuity in my shot. So I'm gonna wait till she moves to the front. And that's where I want my shot. Actually, would you mind using the makeup brush a little bit? Just kind of doing more on the face. I just want to get another shot of that. Continuity is big. You want you want to be able to put all of these shots together, So if you're gonna, you know, do a wide shot and then close up and make it look like it was all around the same time to make sure they're doing the exact same thing? Exactly. I'm gonna leave my camera rolling gonna pop off the camera and I have a slider idea that I want to do. So I'm gonna put my thesis a slider. We're going to use the Synovate. Okay, let's get tricky, guys. Because I can't let go with the mono pod as they do this. So this will be a first were coming over here, So Yeah, There you go. So I have a shot here that I want to do. I'm gonna basically kill this light. That's good job. And I would like to move objects around. I'm really not afraid to, like, take over somebody's house, You know, I'll do it with respect. Obviously, I'm not gonna go moving big objects, but if I do want to move something to get a shot, I will go ahead, move something. That's kind of fine. So what I'm gonna do here is lock on here again. I'm usually much faster, but because of the tether is gonna be a little bit hindering. But it's okay. Great. Actually, you could just keep going. That's fine. So what I'm gonna do here is Refocus. I'm gonna I'm gonna shallow up a little bit here because I want my phone my foreground to be a lot of focus, and I'm gonna refocus my shot. And now that I'm rolling, you see how that foreground just looks so gorgeous in that shop. There really makes it. If the foreground wasn't there, you wouldn't see that subtle movement as much. I'm really happy with this. So what we're going to do next is we're going to let the bride get into her address. And while that's happening, we're going to get the maid of honor out here. So if we could get the maid of honor out, one of the things that Rob really loves to do is get the maid of honor practicing her speech. It's just one of those things that's a great tool toe. Have to help the story and move it along. Nothing like wildly interesting is happening during the bride's prep, which sometimes it's like that. Sometimes you were like nervous and nobody's speaking and no one smiling even is really a great thing. Help tell the story. So we're going to grab the maid of honor. Really, Guys, I would change my lens. We are moving very quickly here. I mean, I would like to try probably put a 1 35 on to get some tighter shots. But I do like what I have with me with the 50. Looks pretty good. I got some tights of both angles off the makeup artist and Rebecca getting her makeup done, so I'm pretty happy with that. But what? I'm going for the meat of honorees and I will switch up my lens at some point. Hello? How are you? I'm Rob. Sarah, this is Sarah, Everybody. She's going to your maid of honor today. You're gorgeous. Maid of honor. Thank you. You were giving a speech. I OK, Do you have it with you? Way to get the word of honor speech. We're gonna bring a pen and paper if we could get one. Also, anything we can. Anything when you do. So what I will do in this situation is I will employ the bridal party to help me gather some story. And I know she's gonna give a speech later on. So I want to have her sit down and kind of go over the speech a little bit. And I dont give me some really nice cutaway footage to use and some really nice integration, integration between the her preparing and actually giving this speech. So again, this is manufactured story. I know I'm making it up and I'm doing this and I'm instructing them. But a lot of times, what else do you have during Bride's prepping? You have brought getting her makeup done. Get dressed, right? Not a whole lot story there. I want more. I mean, sometimes in the flowers arrived, Bryan gets all excited, but that's usually crazy. I mean, somebody's coming in with a big box against a backlit door, and then you got a bride with a different exposure to trying to get that to happen in real time is hit or miss, you may be able to get it. If I've got a maid of honor who's willing to sit down and give me some story, I'm going to take advantage of that. So what I'd like to do is and we don't We have a little table that she can use. I think you want to have her Just do what you need something to write on. Do we have a go? You do have a pan. Perfect. Okay, great. So what I'm gonna do is. I'm gonna have her actually sit down first before I do any of my other shots, because I want to get her into this position. But first thing I'm gonna do is this. Have her sit down and read me her speech. I'm not worried about shots of the you know her writing it yet. I just want to get the audio nail down. Now. I don't have a mic on this camera because of the tether. So what I have to do is improvise, and I'm gonna have to use the on camera. Mike, I know I said not to do that, but I am limited here, so I'm just gonna go to my manual setting. I'm gonna use the on camera, Mike, and I'm just gonna dial down my meteor. So it's John is gonna help me out doing that. Okay, great. All right. So what we're gonna do is I'm gonna have you kind of sit back in the chair. You can kind of just get yourself comfortable. That's it. Just like that. Awesome. Great. And what I'm gonna do is I'm actually coming in a little close to you, and you're gonna read through your speech. But when you read it, I kind of want to just kind of read it yourself like you're rehearsing it. You're not reading it for the camera, not going. So and you're not reading it to me as if I'm a guest. Just read it to yourself like you're going over it. And what's cool is you can actually stop and start where you need to make changes and things like that. If you feel like you need Teoh, okay, So before she starts, I'm gonna make sure my exposure is good. Obviously, I'm going to get close to her again. I'm not too worried about the video at this point. I'm more concerned about the audio right here. I really want to make sure I get this nice and clean. So let me get into my shot here, and I'm going to record a few a few seconds of silence to before we start, because that's going to give me room tone to work with. And when I do my sound removal later on, I'll use that as a sample for my sound removal. All right, so let's go ahead and start rolling here. Yeah, you can go many Miss Sarah and Rebecca and I've been inseparable since birth. When people ask me, my best friend is I say it's Rebecca, but I don't call. I call her my sister Rebecca has always been there for me in the way I picture sister to be. She's been with me through amazing times and even more so during sad times. No one knows her heart like That's OK. Use the river. You just said that sentence against No one I know has a heart like hers. And I didn't think any man would be deserving for love. Until the night of their first date. Rebecca came home with the biggest, most goofy smile on her face. I had never seen her smile like that, and since then that smile has never faded. I can't thank you enough for being the most wonderful man for my best friend. For every thought is about you, you truly light up for life. I wish or I could wish you love laughter happily ever after. But I know that's between the two of you. You have those things covered, So what I do wish for you is this. Life is a life that's beyond filled with success. A family that would make even the Brady Bunch jealous And the love of your friends and family around you that will support you through every step of the beautiful marriage in life that I know you'll have together. Here's to the new Mr and Mrs Morning. Perfect. Good. So there I was, just capturing audio. That's really all. I mean, the shot is there, and it's a usable shot. I can use it if I need to. That monitor the color on that monitor is not true. I'll tell you that right now, it looks a little saturated and red. That's not what I'm seeing here. So now I'm gonna just have to do it again, OK? But this time she's actually gonna write it as she goes through. So what I would love for you to do is have it, like, down in your lap, the speech itself. And then you just gonna lean on the on the end of the chair there and just kind of write it out. So you're copying it sort of word for word, okay. And you're not reading at this time. You're just sort of doing that. And I'm gonna shoot you. Go ahead whenever you're ready. So here I'm looking for short shots. I'm a sequence this out just for all of you were watching. What's something that Rob could fully in later? The sound right here that you might not hear any of our guests are audience members that yeah, the pen writing on the paper. That's a sound that either he could grab now or he could fully in later. Rob's kind of going around just that 3 60 again, remember, kind of going around and all all different angles and lonely change up his lenses as well. But he's getting silhouette here. He's getting the motion on the maid of honor's face in close ups on the hands, and you probably already have gotten an overall scene as well. And again, I usually stop and start the camera for individual shots. But I'm not doing that for the sake of the broadcast. Nice. And then there is a really awesome I shot over there. I totally just keep going on. You're doing great. It looks awesome. What I would like to do is, at this point, I probably would grab 1 35 Johnny could describe the 1 35 I'll take that for one second. You wanna hold that hunt and stop recording for one second as I do? There's a great shot here. I do want to get a jump to my wide shot and I do have an assistant with me and hands me my lenses at the bride's prep most times. And it does help speed me up so I don't walk away, go get another lens and come back leaving the maid of honor wondering where I'm going. I'm gonna start rolling against you'll be able to see what I'm doing here and here. You can kind of see the words on the paper, which I really like, and I would stop and restart and then change my focus to the top of the pan. I like that. That's good. And I'm gonna come over here, John, a couple close ups from here. And that's a great ladies. Your depth of field to tell a story to you. I'm very shallow here because I want to get intimate. I could even look back over your John only go through this the brush and robs looking, always looking for different foreground, different angles again. I'm doing this on the fly, guys. I'm really kind of more thinking about the teaching here than on the actual shooting. That's a great shot using foreground, Really, Member Rob talked about bringing you into the seen the depth of field does that, and using foreground does. It is, while really just drawing your eye into what's important. And normally I'd have a secure toe on for this. I'm giving myself another point of contact. It's a little tough right now. Let's go. I'm gonna stop recording and I'm gonna change that lens again, back to the and I'm gonna drop back for a wide shot here. There's a cool You know what? Let's do it on a slide slide here. Something just pulled this off. Take it. Go grab my slider over here and I'm really I'm moving much faster than this. The wedding day. I'm really moving quickly. She would never be sitting there that long. Usually usually not this out like two or three minutes. So, basically, let's see if you have any for ground spore ground. Look at that instant foreground. They were a little bit shooting, but that is pulled a cell. Cicada said. Bam will appreciate that. He knows what I'm talking about. So let's go back to this again. Oh, something strike, though, helps when the camera's on Rob. Very good. So I'm now. I'm just looking for a wide shot here. This is really pretty. Yet you're doing great, hon. That looks great. Just like that again. I'm a 56 now on my app drum. Not really shallow wide Some far away. Look at the foreground. Look at the point. Set a plan. It's plenty out of focus, right? It doesn't need to be a to eight if or last If I If I really knock it down, it's almost two out of focus, You know, not get down to 56 Your images will be so much sharper. You will thank yourself so much more later on when you pull this up on a screen and you see how actually sharp it is. Okay, I start rolling again. You saw just then robs using that magnification tool to a zoom in an focus. Really? Well, there. All right. You are less all right again. I'm just using what we got here in the environment you see where I'm what I'm doing here? I'm getting all these B roll shots. You're gonna hear her talking. But you're going to see all these B roll shots. Instant story and it's dynamic. It's powerful and it really works. That's fantastic. Now the last thing I would do is actually have her read it through once again. And I'll tell you why. Because then I'll be able to cut two different angles of her reading it and then have this B roll and that really ties the story together way have about 15 minutes left for the segment, so I think we got some really good stuff. Way should probably way have enough. We have enough to work with this. Okay, I think at this point maybe will bring the Grumman and do some quick shots with the groom getting dressed. In the meantime, I don't know if we're ready to take some questions just from our guys here or some questions online, or we can bring in. The Bridwell may bring the bread and what you are, but let's do it. Let's do this. She's here, and I'm sure everyone wants to see her dress so she's going to come in and we're going to use this side over here the mirror size so that we can do some of the getting dressed. Honey, thank you very much. Awesome. And then I think we have a mom of the bride as well. That maid of honor to help us out. Come on in. And this is something that Rob usually does. He doesn't stay in with the bride while she's gonna address. I think your button Here's your zip. So what we'll do is to let her kind of get the dress on, and then we'll reenact the whole zipping motion. But you kind of want to do anyway, because usually they're fucking rounding. Kids can put on a dress dressing going behind and just work on the back of the dress there. Now, normally, I wouldn't be directing this. This is gonna happen as is, and I'm gonna jump around feverishly trying to do what I can to get some cool shots here, so yeah, that's it. Nice. Good. I'm gonna start rolling. And again, I'm just working with what I got here in the moment I You guys can talk to each other to That's totally fine. Totally fine. You don't have to be quiet. Good. Come on over here, John. Good. I'm gonna have you unzipped into it again. Are you guys good? Notice how fast I'm working. Good. Let's do it again. Have you unzipped that? Do it again. Great. There are some always looking to the light dimensionally. Good. Awesome. One over here, John. You can just keep working on the back of the dress. You don't have to be doing anything specific. I just want to get a wider shot of you guys doing that. And again, I'd be changing lenses a little bit more too. But just for time's sake, you could just keep doing what you're doing. I am gonna stop my camera for one second. So liken dial down. I won't increase my eye. So 1000 so I could get a little bit higher on the shoulder and then Rebecca turn and look out the window. Almost. Yeah, well, she's while she's doing address. So you keep your back towards her. There you go. Focusing by I hear guys moving very quickly. Just trying to keep pace. Nice. Good. I'm gonna move in a little closer here. and I'm gonna have you. Let's see, Step a little closer and temperature fee under the dress and getting a little closer door and just couldn't work on the top of the yet. Just kinda like you're fixing the shoulder up a little bit. Good. She's like a porcelain doll, This one. No goodness. And one more time for me just for let's bring Mom in. Let's bring Mom in. And yet, Mom, you can just go and step right in there and fix your daughter's dress. Ah, it's good. Cool. And now, at this point, I'm really gonna try to look for something dynamic and creative. Lets you guys can just keep doing what you're doing is perfect. I'm just gonna back way up here for a second. Yeah, there we go. John, if you could just nice wide shot here. I'm gonna stop rolling, and I am gonna drop down. My aperture is a little bit 50. I'm gonna use my magnifier again. Mom, go in front of her and kind of fix her from the front. That be nice. There we go. Good. I'm happy in my focus. Just crop out my camera guys here And when this is done, I'd ask her to just step out. And that's how suddenly he does it on the day of the wedding too. Go ahead, Mom. You can keep fixing here. You don't. You could just keep going. You don't have to stop. Good. Now, because of that's great, ladies, Because of time seeking, I would also probably knowing this room and how great this room is. I'd probably go up in the balcony. I go up there to a slider from up top. I'd go out the doors and maybe do a slider from out there. I'm really trying to mix it up. I'm not gonna just keep doing mono pod, mono pod, mono pod with 50. All right, I'm definitely gonna try to move into a different lens, but we want to move on to the groom to show you a little bit about how I work with the groom. So we're gonna dismiss our ladies for now. Thank you so much. You guys were great way. Have a room. We're gonna have him come in and we'll just do it right here in the same area. And I know we're doing everything in the kind of the same spot. But we just want to keep things easy for the crew here, but just give you a sense. Everybody, this is Derek. Say hi, Dirk Way. Have somebody who can help you. Do we have another guy's? Another guy around the best man. Let's bring our best man in here too. Alright, Dark. I'm gonna have you come over here by the window. I think I'm gonna move this chair for you, Rob. Yeah, that's why great. And again guys were directing this for the broadcast. But generally, we would not be directing this. This is sort of happening as we go. Let's go, man. I'm wrong, Gerard. Nice to me is just Jared. Everybody's my wife, Vanessa. Okay, so what you guys are gonna do, I'm gonna have you come by the window, So I want you guys really close to the wall there. That's great. Good. And I'm gonna have you flip sides when we switch sides. They're awesome. Great. And we put your jacket down for one second. We're going to start with that. You could take your jacket off, actually, and we'll start with the We'll start with the vest. So what I'm here doing here, Guys, I'm going a little shallower. Were up close a little bit more about and I'm really gonna just let them get closing. Let them work with the best man helping him to get dressed. Good guys can take that often. Do that one more time for me. Good. I'm noting. I'm looking for a sequence here. I'm looking for them helping each other from different angles. Good. I love it. You gotta button move a little bit closer to the window. That's it. And turned your body to the window a little bit more. That's it. Also there. And you can, But in the bottom again. Okay. And just keep doing that. You're doing great. You could see again Robbins just moving all the way around, getting all different stuff. And it's not abnormal for him to actually ask that did it again. Take your jacket off again, You know, but a little closer to each other, that's a good. And then you could help him out right there. Perfect. Most guys aren't usually like that being that close to each other, but, you know, looks good. Love this and again. Run just wide angles. He's also getting a few silhouettes in there. Cufflinks way. Do have complex. Yeah, let's put those on. Yeah, you know, don't worry about it. Let's let's get your tie on. Let's do that When I like to do for the tie is you haven't put it down for one second, straight it over the arm of the chair. What I'm gonna do is have you grab it when I say go, let's go over there and a little shallower here and dying rabbits, you can tell them with that tie there. That's good. No, it's a good shot. Take the tie off again. Let's go. Have you put it on again, Right? Tell you what. Good God you guys can see again. Robert. Still pretty shallow here, So it's using the depth of field to bring you into the situation. Ah, lot of times he will. You do the preps a little bit more shallow just because that perhaps it's a very it's anticipatory. Everyone's emotions a really high. It's really more intimate, like you brush them off. Good, Nice reaction. Good, Very good. So that's in a nutshell. How I would do that and again I'd be looking for other creative shots. I'd probably back way up, get a wide shot to a slider or two. But again, for the sake of time, you kind of get the sense and tomorrow and put this together. We're gonna use a very small amount of this. Not gonna be focusing too much on. Perhaps I'm not very prep heavy in my films. Anyway, let's get a couple shots to establish that they did get ready and that we were there. But I don't make it a central focus. You know, 10 shots of the bride getting hair and makeup done. It's just not necessary. Just a couple of a couple of shots. Any questions here from you guys? Yeah. You know, like, uh, so I know because of the filming, everything. You know, stopping the camera, but normally in the shot usually does like to 2nd 3 second for second. But when you're shooting, how long were you shooting for? Like, seconds. And then you cut it. Your 5 to 7557 It just I'm really moving much faster than I'm doing right here. Right there. You kind of saw a little bit. Works I've got the tether in my pocket. I'm able to kind of run around a bit more, but I'm moving very quickly on I'm aiming for each sequence of meaning for like 10 to 15 good shots, solid shots. And they gave me great material cause these guys are animated, they're doing their thing. And sometimes they're laughing and talking and giving the audio and things like that. So you know every groups prep is different. They're not all great, either. Sometimes you have to say, Hey, guys, talk to each other, you know? What are you doing? Don't sit there and just stared each other, you know, so sometimes a little bit of personality helps him out. Are you ever using two bodies, or are you ever having a shoot sack or any type of lens bag with you? I might wear shoe talk once in a while if I don't have my assistant with me sometimes. If if I know the groom's perhaps going to really story heavy, I will send my assistant with my second cinematographer. This way he has the benefit of having an assistant there while he can concentrate on the story, and she can grab lenses. In that case, I throw shoots, but I only ever used one body. This is exactly my set up for the preps, except instead of the monitor, we'd have a mic that's the same self. Maybe is a kudo. If it's, you know, if I really feel like I need it that day, Any other questions questions online on Perhaps Yet we have so many, so many great questions online, Um, and we'll see about just getting the guys on us. So the 1st 1 that everybody is asking is about the interaction between the photographer and rob again, like, how do you coordinate that? Well, for Rob and I, it's pretty simple. We actually sort of work in a circle, so I'll see where Rob is starting which side he's starting on first. Then I'll wait for him to move because he works in this kind of 80 circle. So if he starts here, I'll wait for him to move to here, and then I'll start where he Waas and then we both just kind of move in a circle when it's a photographer that I don't know we're talking about. That is not used to working with me. They usually like the way I work because I'm just stand in one spot. I've seen videographers plop a tripod down to stand there the whole time like this. The photographers like, do you mind moving so I can get, like, a wide shot of this whole thing? But I'm moving so fast, only here and then I'm here and they're always mindful of where the photographers I'm never gonna be like they say you're the photographer shooting. I'm never gonna be like like this or I'm never gonna run across their field of view. You know, always go behind and always make sure I'm staying out of their way. I really try to be as respectful as possible. The real question is when somebody's flashing an amazing light, I want to take the camera and smash it on the ground. It drives me insane. When there's beautiful light, there's a photographer on pop, pop, pop, pop up. It's so stupid and in That doesn't sound like that. But he does say, Hey, can I get a few just without the flash, right? I'll say, Hey, Mandy, Um and then if they're real persistent, all kind of challenges skill set and go. You mean natural. That's really beautiful in here. You know, you ever shoot like without a flash, you know, and that's a passive aggressive way of saying it, but they usually get the message. At that point, I'm not trying to be a jerk. It's just that if you're really affecting my film, I'm going to say something, and I'm trying to be respectful of them, so they should try to be respectful of me as well. So that has come up. A swell is who is more important. And how do you know I am? How do you How do you address that? If the photographer were to say I'm not, I'm not able to get my shots because of what you're doing. That has happened. You know, it's it's different in each scenario. But a lot of times were in front of the bride and groom. So they say that will be, you know, Wrobel respectable. Okay, well, then, do you mind if I have 20 minutes at the end of your photo session? Which a lot of times for photographers is like, Oh, my gosh, you're robbing me. But at the same time us in that from the bride. I can't say no. So either they give you those extra minutes of, you know, whatever part of the day or they'll learn to work with you. It's very rare that has ever come to that. It's very rare that I've ever had a photographer challenge me in front of a bride. And I'm never gonna be unprofessional. I'm never gonna be like, Listen, dude, I've got I only have one photographer ever do that to me, And I was just like, Okay, it's gonna remove myself from the situation. For now, I didn't want to blow up in front of the bride, so it was sort of like when I got him alone. It was so like, Hey, dude, listen, we're just here to help the bride out. We're here to do a good job for the bride. What can we do to work together? And once they realized it was realized, I'm not a traditional videographer. They're usually pretty cool. They understand. And we'll get into this with a ceremony. The Glens Choices. The best way to stay out of a photographer's way is to use similar lenses. If he's in the aisle with 7200. I'll be in the Isle of 7200. Why? Because we will be in the same place right next to each other is perfect. I don't get in front of him. He doesn't get in front of May. So we really tried to communicate that way. Communication is everything.