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Lesson Info

Shoot: Cocktail Hour/ Reception

All right. Well, here we are at the reception and guys, I mean, hats off to everybody involved with ceremony. That was crazy. But we nailed it, and we did it in a simple fashion. And I know there's a lot of cinematographers out there that tried to get a little bit, you know, Warren, you know, fancy with gyms and things like that. That's all great. But what I wanted to teach you guys today was story, story story. Let's focus on getting simple shots. And when we put that together in the edit tomorrow, you're going to see that it really does make for a nice clean at it. Okay, so that was really important that we did that. We nailed It was great. So what we're gonna focus on now, we're going to move very quickly through his parks. We have a lot to squeeze, and we have to squeeze in an entire reception in one segment, but we're gonna do this fast and quick and thorough. Okay, the first thing we're gonna do is cocktail hour. Alright. Cocktail hour. We have a group of people standing over her...

e by our bar, and I'm just trying to mimic a very small sample of what a cocktail hour would be. And what I'm looking for here is you guess that face time I'm looking for face time shots. I want to see people smiling, laughing, drinking, having a good time. Good generic footage to use. Right after we do face time, we're gonna get some table shots and reception room beauty shots just to have a couple the mix into the edit just to kind of show you how I approach looking at light, you know, through my lens and trying to get some beauty shots of the details of the reception. So let's get right into it. We're gonna move over here, and I think we have a bar set up. Don't we have a bar? We have some drinks. We have some. I don't know what this is, but they look good. Oh, yeah, that would help. So we're gonna turn on my tether here. Uh, right so we can see what we're doing. All right, So now I have my lights up in the room right now because I am. This room is dark, right? But I mean, during cocktail hour might bring a little portable light around to sort of bounce it off the ceiling, or just to kind of just add a little bit of light in. I don't need these to be super beautiful shots. I just want to get the point across that there's people enjoying a cocktail hour. So what I would love is to have our bartender serve up some drinks. And I'm sort of just going to shoot this candidly, As you guys were watching, I'm going to be shooting challenge at the field. Uh, yeah, I'm and just do whatever you go there, and I'm just gonna get some creative shots here, and you guys can talk it up and talk amongst yourselves. Give me a little noise there. And while Rob is doing this and he's going around, you know, this is that exact same thing that happens again, where you know it's that sniper style. You're really just going around taking a few minutes to get maybe two or three seconds worth of shots. Hopefully a couple more than just those two or three seconds, but it does take a little while. Notice. How is sequencing He's going around in the 1 80 Access is varying up some close up shots that, you know, show what's actually happening with drinks and then just some. A lot of face time where you've got smiles, people laughing and talking to each other. Good. I'm just gonna keep moving around guys bouncing around here and I would be moving around the entire content, our room, trying to find different people, new faces, faces I haven't seen yet. And during the day You guys aren't drinking enough. You need to be drinking more. Get him down. They're really into their conversation. That's great. I'm just gonna keep bouncing. I'm shooting kind of dimensionally with my lights and not really shooting short shots. Guys should shots. Good. Good. Real cooking. Must get a couple more would be done. Yeah. Good. That's sort of the idea. I might back up and get one wide shot of the whole room, and I might do this with a different lens. It just all depends on what I'm trying to do trying to avoid the TV there. But it's all right. I'm done every 50. Okay, good. That's facetime real quick. Real simple. I'm not trying toe take too much time on that. Just you guys get the idea what I'm looking for over the shoulder shots. Really Trying to make a dynamic. Okay, we're all said. You guys are dismissed. Thank you very much. You guys enjoy the rest of the cocktail ever. Okay, so we're gonna move right along any questions about face time and what it can do for the video. You guys understand how I'm going to use that in the film? They're great transitions between segments, and I just I just think the bride really likes to see her friends and family, and it's a nice way to kind of incorporate that in there. I would probably be a lot more elaborate during the wedding day with that. Probably get some slides going to do a fly in from the from the doors into the room, showing the whole room with the people in it. Big, wide shots. But just for the sake of time, just to give you an idea of what I would do there, Okay, we're gonna do lighting and audio for the reception. All right. So I'm just gonna drop this camera for one second. Think Thanks. Yeah. Just hand off here. Thanks, John. Okay, remember our lighting diagram. Does it? Does everybody remember what we did there? We had the lights on one side of the room, but opposite each other. And we did that because the way the lightest set up now will be decent for the introduction of stuff like that. It's a little miss. Same there on the bribing room. I know that. But they're not even supposed to be in the room yet. Okay? They're just hanging out for right now. So what? I'm concerned with us setting up my lights first and foremost for the introductions when everybody gets introduced into the ballroom and for the dances that are gonna happen here on the dance floor. Okay, It's a pretty small room. It's very easy to overpower this room with light. Our DJ's gonna provide us, um, theatrical lights, which is fine. So we'll be able to mix that in with our lighting set up. So we've got 200 to 650 watt lights, and right now I'm just gonna aim this toward the door. All right? Just so we have some nice light here to work with. I'm never going to shoot the introductions from right here. That's just such a traditional videographer thing to Dio. I'm never going to stand right in the middle of a dance for or right on the dance floor with no foreground shooting right into the door. I want to make it a little bit different. So I'm gonna kind of when I when we set up our cameras will see. But we're gonna kind of position our cameras Maurin in the crowd, OK, but giving ourselves a clean line of sight at the same time. Let's talk about lighting for this light real quick because we're really not. This isn't aimed the door. I'm sort of just aiming this in the direction of the dance floor for later on. Okay, so we do move our lights, we don't move them out of position. But we do aim and focus them differently based on different situations. So I'm gonna spot this one out a little bit. Just try to give my dance for a little bit of coverage. Now look at me. Watch Watch my body as I walk into the shot. I've got feel light here. I've got back late here. That's a nice dimensional shot. Now, when you shit. When you shoot straight on, it's flat. Okay, Look here, like, just right in my face. But you guys look great. All that sidelight looks amazing. So I'm gonna want to try to position myself sort of off to the side to make it dimensional. So that's basically what we do for lighting for the introductions in the parents dances in the first dance. Because it's all gonna happen right here. Okay. And I've got it all covered Audio. Let's get audio set up for a reception because now, during cocktail hour is the time to do that, we still have to do our reception table details on yourself to do our room details and all that kind of stuff. By this point, I probably would have done some establishing shots outside some nature seen centers that would have gotten sky, maybe a time lapse of the sun going down, something like that. Sometimes we'll we'll dedicate a camera just for that alone is Put a camera out there, Let it roll that through a time lapse. Hopefully, nobody will steal it. All right, so I'm gonna come over here to our deejay. Everybody, meet Cory. This is Cory Hello, Cory. All right, so I'm gonna grab my audio vacuum. Now, when I ask an approach of d J to help me out with with with audio were always very cordial. We wait till he sets up, we're not gonna, you know, you know, approaching when he's still wheeling his bags in and say, Hey, man, you might get an audio tapping like, Dude, let me set up first, you know, Agreed. Good, Awesome. So, in your opinion, what is the ideal time for a videographer to approach you for tapping eso when everything is in place, Kind of a set up their stuff? Stage of it, I guess. Best word for it. That's a great time, because there's still strategically putting it together. And when you're coming in and having a request of any kind, that's really the time. But they can work that in instead of kind of in the middle. Then it's they have to readjust and change, and it just doesn't work out for anybody or, if you see again, if their work, if they have lights, try to catch them in between the lights. They'll start with lights first, because it's the most complicated and then go to the music cause it's the easiest if you find that little sweet spot metals. But what about at the end, when you're all set up and not like, not right before you're ready to go line them up outside. But maybe, like toward the end of cocktail hour, when I see guys eating your all you know you stand their plates, That's a good time as well. Uh, you know, like anything you don't really. If you're ready to have your break, you kind of just want to have that same resigned weeks. Bodies. Yes, we spots the best. That's good to know. And I will. I will definitely take that into account when we do our next, So all right, great. So let's assume that we're at that point and you're not upset with me for bothering you while you're not at all having your break. Let's go ahead and set up. So what I'm gonna do, guys, I'm gonna whip out. The Roland are 44 because our four channel mixer it's a fantastic piece of machinery. A cost about $1000. I know it's expensive, but they are. There are similar units out there. That'll do relatively the same thing. I do not recommend the zoom H four n. I used it for a long time, and it's just not good for taking line signals from DJ's. It just overpowers way too easy. So I'm gonna ask Corey to give me an XLR output. So I'm always gonna provide him with the cable that what's required. Let me actually get my cable. That would be good. And I'm gonna ask him That's the tap directly into my sound system. Now, ideally, what I'm looking for is the mike. The music is secondary to me. If he could only give me a line out directly from his wireless mic. That's fine. Okay, I'll take that. If I can't get the music, I don't care. I'm more interested in the toasts in that sort of thing. So I don't know what any if you need a male or female and but actually get a female female. Okay, so in this case, directions to go straight to the to the mains. Okay, So it's nice and didn't often these things were difficult to get to. Yeah, he's actually got a nice open set up here I know sometimes DJs have this big bump. The the barrier is sort of like a cubicle kind of thing. Great. So now that he's done that power on my r 44 I'm gonna plug in the Channel one. I always put my tap in and Channel One just makes it nice and simple to remember. Okay, Channel one. I have this configured to wear all four of my inputs all four of my channels or separate mono signals. All right, you can. Stereo pair leased to you could make one into left and right stereo. You make three and four left and right stereo. I'm going to use multiple sources. So I'm just gonna go ahead and do that. I'm just gonna keep Channel One being my tapping. It will be solely on channel one, and they are 44. You'll see tomorrow when we open it up in the on the computer, it creates four individual wave files and those way files are each amano channel from this mixer. OK, so it's very good. All right, So what I would ask from him at this point, I'm gonna put it in record pause mode, and I'm gonna ask him for a mic check. So if you wouldn't mind work and give me a little bit of a mic check on your mic. Check. Check. Test 12 should be coming through there. And let's see, ideally, there we go. Great. Cool. Now, I do want to get my headphones. I don't want to do this without headphones. I do want to make sure that, you know, we are getting the signal that we do need, And I just gotta grab my, uh, headphone jack. I thought I had lying here on, and I know prepared. Okay? I don't see anybody out ahead to buy headphone. Jack. You have a headphone jack. Usually have one. I think I just lost one in the fray every year. That's perfect. That's awesome. That work. Thank you very much. All right, So this was here a few screws on, actually have the screw kind, so that works. All right. I'm just gonna listen back to what? He's given me here. Good. And give it a check. Okay? It sounds really bad. Um, I think it's just Let's see. Um, let's see if we can clean this up a little bit. Just a dirty signal. It's probably because it's going through the creative life. Not not to say that's bad. It's going through a lot of different sources. It's going through a lot of different machinery. So it's possible this is not a clean line because of that. Go ahead and talk for me. It's really it's really hot. It's really overpowered. So this is not a good, viable option for me. I'm not gonna want to use that. Getting a lot of game, getting a lot of game. It's still really noticed. Yeah, yeah, so that's a really bad on that happens. Sometimes You get bad feeds from DJ's. It's not going to sound good. So I'm gonna want to make up my maid of honor and best man directly. That's gonna be my play. Can I hear what comes out of your speakers? Yeah, it's impossible. Excuse me. Just your voice coming through the speakers. All right, that's gonna take this a little bit longer, Okay? Excusing this a try. It doesn't sound Bali. There's no hum or buzz coming from the speaker, which is good. I have checked too young. Good. Thanks. The headphones amusing. These air. Eight kgs. is a pretty high end headphones. There will have 3 $ there. I like to use a good head bone to get a reference because I don't want to trust ear buds from an IPhone to give me an accurate, accurate sound. Yeah, let's go ahead and do that. Because while they're figuring that out, um, generally the tap in is pretty clean, But let's go in my audio technician. If there were a problem like this, he would troubleshoot it with them, helping them out. So we have our maid of honor. I'm just gonna grab a I haven't case. Do you have a case for this? And guys, there's a lot of different mounting options for these. You don't You know, sometimes there's, like, little clips that now this is just what I have in the bag right now, So I'm gonna turn on again. They are rolling r 44. I'm so they are a five and what I want to do, I have a female assistant because when making up a woman you know you want, you want to try to be as respectful as possible. So what I would probably ask her to do is to take this microphone. Can you drop this down and indirect your dress so that this part of sticking out the front and then this part comes out the back? If you could do that, that's awesome. Great. And I'm just gonna check my source here. Make sure I'm getting a signal, which I am using back. You want to give her a hand? There we go. She knows what I'm looking for. All right, Cool. And then our best man, we're gonna do the same thing for him and guys. I mean, I know a lot of the Aguas other that won't do this. They will not Mike the maid of honor and best mix. They just don't want to be a nuisance. And I understand it is a little bit, you know, it is asking a lot, but think about your film, that signal that I'm getting in there. It's not good. And it would not serve for the toasts at all. So without that, I have nothing. So we really have to do this to ensure that we have sound. Okay, got it. Let's go ahead and do this. Alright. Awesome. So I'm just gonna go ahead and plug in my mike. I was gonna go here, and I'm gonna check it to make sure it's good. You can just talk for me, huh? You say your name and I'm gonna I'm gonna check it with my headphones. Uphold that for me. Once. It's like, this does happen much more fluid. I promise. Let's take this off. All right? So just to be safe, but it's gonna make sure this is good films and see your name again for me. Perfect. That's awesome. Okay, great. Celtic your headphones out. We don't need that anymore. And I'm gonna take this, and I'm just gonna clip this to the back of your dress, okay? And see, she's got this convenient little loop here. See if it'll actually stay there. Stay. So it's gonna help. You do have a bell. Awesome. Let's just put that on the back there. Perfect. Great. And then what I'll do with the wire generally is always gonna tuck it wherever I can get it in. So it's not. And the second Sarah's second, the toaster over this comes off and I always tell them that I'll say, Look, I'm sorry. Thank you. so much for doing this in a second that were done. It'll come right off you. Thank you so much for letting us do that. Okay, so you're all set. Watch your step. Okay? And where's the best man? That's what. We're not going to the best man. Okay? Yes. For time's sake, we're just gonna skip over that and we're gonna go right into the introduction. So how we doing on the speaker? Do we have So we do have sound great. Okay, So what we can do at this point is grab our sure 58 microphone. I like to share 58. It does give me a nice clean sound. It's a warm sound. For the most part, Is always you have a good signal coming out of the of the board. It's actually pretty good. Grab another XLR cable, and I'm in my travel bag years. I usually have a shoulder bag. It's like a top loading shoulder bag that I used for my audio it. So it just allows me to reach right in and grab everything. But we traveled across the country so things are a little bit configured a little bit differently for this And any questions right now from you guys about audio? Yeah, well, let's get the microphone. Actually, does anybody have a mic for Ah, for him? Okay. For having All right, What if we have, like, emcees and other people who are gonna be speaking, who we want to capture their audio? Yeah, if I'm tapped into the system, I'm never gonna use in EMC's audio for the film generally, unless he says something like, maybe if he says something where there's no music behind it, and I can use it, But generally, it doesn't happen. Usually when emcees talking, there's music behind it, at least in my experience. So I'm not too worried about that. If I've got a tap in from the d. J, I'm picking up everything that's coming out of this system. So music, his mic and the mic that he hands off to do the toasts. Is that Is that what you meant? Yeah, but if his systems not working, then then I don't have him. You know, it's just the nature of the beach. But, I mean, I can get, like, what I'm gonna do right now is the signal coming out of the speakers is clean, so I'm just gonna basically take a sure 58. Put it on a mic stand, Michael, Speaker, run this right into the R 44 on Channel to have him test the mike. And I'm just gonna leave it right here When placing a mic on a speaker. We always try to get in mid range between the tweeter and the wolf for okay, so you don't want to place it here. It's their sound's gonna be really Basie. You don't want to place it here. It's It's gonna be really tinny. So we try to get it about 3 to 6 inches off the speakers somewhere aimed right in the middle, because the sound coming off the speaker is gonna go like this. It's projecting outward and down, so it will sort of just out. So if you put the mike right about there, you'll get you'll get a clean line. Okay, since we've got the miked up directly, but it's gonna go with that, Okay? For now, I would run this, but I don't have a mic stand. We didn't carry my stand across country, so All right, that's pretty much that any other questions about how we make up into a system that I have a quick question. Uh, what's the general time frame on setting everything up? Just I mean, 20 minutes, 30 minutes. If all goes well, we can have it set up in five minutes. You know, that's assuming that we don't run into issues like we did, you know, with tax. Let me actually listen again, do it and see if it did anything changed, any of the it did. So you know what? I'm gonna test it again. I just want to see we're that put us. Did I give you back your Jack? I'm not sure if I did or not. Okay, You know what? Give me Give me a test here. Let's see. Oh, after that. Signals much louder. Oh, yeah. There we go. Oh, perfect. Okay, great. Now it's good. So go ahead and give me a mic check. Another. Great. Perfect. So I'm happy with that. So now I've got attack. I've got Mike's on the maid of honor and best man, and in theory, I would have a speaker. Mike Right there. Okay. So I'm gonna start that rolling immediately. The second I get it set up. I'm gonna start rolling. Leaving? There's no. There's nothing that's gonna hurt me by having that rolling. I'm just gonna cut it up later on, and it's gonna be fine. All right. Good. I ask you a couple quick questions from the Internet on the audio. Yes. Perfect. Okay. A good amount of people are wondering where's, um we're attaching the recorder. Where the maid of honor. Where is that going? Like they see the mike. What, is she holding the recorder? No, it's on her back chapter, but I took her back using an old cellphone case on What if there is nowhere to put? It was the other question. Then we question whether or not we can really make up. I'm not gonna Gaff tape her back. Okay. Okay. Great. So a couple of questions, etc. Did you do? And you have another one. Can you use the h four in with an s and 58 or just not off the board? Yeah, you could do that also, if you wanted to adapt a microphone, you know? Sure. 58. Basically, you get an XLR 2/ inch adapter, and that would plug or actually, no, you go XLR right into the H four n. Yeah, that's a possibility. You could definitely do that. Any kind of field recorder that has XLR inputs. I mean, this is basically the same thing. I'm just going into a four channel mixer instead of a two channel mixer. But you could do that. Great. Thank you. Alright, no problem. OK, good. So that's audio. I'm confident that we're gonna have good sources, so let's move on to the actual. Actually, I want to do some quick room details. So we have that and just show you guys how I kind of approach that. Thank you very much. Korea and your headphones jacket is around here somewhere. I'll get to it. Okay, So the first thing I'm gonna do is grab my slider and I'm gonna grab a tripod. Do we have an open tripod anywhere? I thought we had one that sees Not. Yeah, the steals. This one. That's fine. Just take this down for a second. And thanks for being so patient with our adaptations here trying our best. There we go. Take this off carefully. Put it down over here. Thanks. Don, The reason I'm grabbing a tripod is because I want to get some table shots on Guy want to do them creatively. I like to shoot into my lights because it's going to give me dimension. They're pretty shots. And I could do some really cool table slides here. And our cables are modestly decorated here, and that's fine. I just wanted Teoh illustrate how I would do this. Let's drop this down all the way. Sort of like that. And I'm gonna grab my slider. Thank you very much of E J. Awesome. And I've got a tripod plate on the bottom of this slider. So I'm gonna lock it down right on there like that block off my pan and let's grab a camera that's tethered this way. You guys can see these shots. You got a few area awesome. And this is something I'm doing while cocktail hours happening while my 30 shooting face time and my audio technicians doing audio and you know other things were happening. We're doing whatever we can to get some room details. I'll go through with the glide camel, shoot the whole room, and I do this before anybody gets in there the only people that might be in there like the wait staff, and they might still be dressing tables and stuff like that. But that's fine. That doesn't bother me at all. 50 actually, if I could have your 50 that would be fantastic. You know what? I'm just gonna shoot sort of into this area. Guys. Awesome. Thank you so much. Thanks. Okay. Wait. Whoa. All right. 1600. The eyes does way too hot. So I'm gonna try toe scale up this image here, and I got somebody spoke in the background there, so let's just tilt this down. It's a touch, something like that. Hopefully, they're seeing that in there, and I'm just gonna magnify somewhere on the table. Thank you for moving the salt pepper shakers. That is a good deal. Okay, so something like this and hopefully I can slide with the tether. Shouldn't be a problem. All right, you guys seen that up there is good. Okay. How does it look over there? Good. Just drop it down. It's a touch. Very good. So where my add on my I think I might like 60th of a second at, like, 28 maybe and just basic stuff here, guys, I'm not doing anything crazy. I might do a poll. All right, push in. Thanks. It's a little challenging to try to do this with the tether, but we'll get them. And if you guys get the feature film, if you buy the course, you'll see there's a ton of really good room shots in that film that I like. And so I'm doing this. I'm going to do a series of, like, close ups on the tables. I'm gonna do wide shots from the floor. I'm gonna do you know the whole room. I'm gonna try to clear everybody out at some point, get the whole room come through with the glide Camelot of the venues that we use are, you know, like a lot of things hanging from the ceilings and really beautiful venues. So we're trying to shoot them and really capture them in their glory. So that's pretty much it. If they have like, ah, custom papering on the tables like invitations or I'm sorry, menu cards that they had made up. They paid a lot of money for those. We should immortalize those, so I'm gonna get some really nice pans over the table, sort of with the slider. I'm not gonna get too much into it now. I'd rather focus on capturing the multi cam stuff. You guys kind of get the idea of this, but that's generally what I'll deal. I'll go through the whole room and shoot like that. So let's get right into introductions because I really want to nail down and spend some time on this and dances and things like that because we're doing a three camera shoot here on again. We've got to kind of create that kill shoot that we're covering this whole thing because I given the cleanup at its where we give him the introductions, first dance, parents, dances and toasts. I want that to kind of be a kind of a clean three camera shoot if we can. On def, you're not offering that. That's great, Then you don't have to worry too much about getting clean shots all the time. But I like to kind of capture this as it happens, because in the film, when all let's see of a large bridal party and they're all being introduced into the room, I will split them up and put him in different places. The kind of time shift and tell and show them all in different plate. And so it's not all one block in the film. All right, so this is what I'm gonna I'm gonna start off doing where you're gonna position our cameras with the lights the way they are. We are covering the dance. Were pretty well with lights. One camera is going to be kind of embedded into the crowd, sort of shooting toward the main action. We're gonna try to maintain the 1 80 rule. All right, We're gonna try not toe across the room if we can, if we can help it. But I do want to cover most of this area. So I'm thinking maybe we could put one camera back here getting the whole room, say, with a 50 millimeter lens, this is I got 50 on right now and just looking through the lens. If I pre focus on the dance floor, it's a pretty nice shot. It's got the whole room is getting the overall scene of the action. Then I'll probably take another camera, maybe within 85 or slightly longer lens and move that person over into the crowd, either on a mono pod or a tripod, depending on the amount of space. If there's 260 people when they're all into a crowded into a packed area, I'm going to use the mono pod and just let this guy kind of pre focused or just follow the action slightly right here. All right? And then if we had ideal conditions here, and I could tell that the glide cam I would use the glide can hear and sort of sweep down in sweeping motions as everybody comes in the room. But we're not gonna do that because I'd rather lock down to be able to show three cameras tether. So let's pair you guys up into your groups again. We're gonna put you would get your cameras set up, and then we'll start the action. So if you guys cuz camera Unit one here, that's too high. We have to come down. Good. Keep going. You're going? I don't know, but there. Okay, So who wants the man? This This camera here. Go ahead. Jump in. All right. And this camera actually take this off. My mono pod actually know what? You keep it on the Monta pod because I'll be able to ST Mawr what we're doing. All right. Good. And then who wants to ground another camera? There should be another camera somewhere. There is right over there, right back there. Let's grab that. We're gonna put it over here. Another option is to have a slider cam. You know what? Let's let's do that. Let's take that camera down and let's put it on the slider. Slider should be over. We had it over here somewhere. Let's do that. Here's a slide or somebody grabbed that. And what will do? This will be kind of cool. Why she put that down here on the floor, shooting up into the light this way and so it For every person that comes in the room, you can kind of slide. We're gonna catty corner it right over here. Good. And when somebody comes in here and takes a seat, you'll just adjust your shot. So you're more like this way. Okay, so you're shooting up there, So let's take that other Cameron, Let's put it on there. Okay, so we're gonna move that one. Good. Awesome. All right. Cool. and this is again. This is just for the introductions. We're gonna have to read. We're gonna move our cameras, but our lights are not gonna move for the dances. We're gonna just adapt to that situation. Good. Awesome. What kind of lens you get in there, my friend. All right, that's a little bit too long. We obviously we're gonna put on a Let's put on a 24. Grab a 24 millimeter lens here. Yep, I got it. There you go. Awesome. Cool. And you're the idea for you guys. Ricky, is You guys gonna pre focus right about here? Okay. Passes. Great. These guys are hands on and doing some work. It's cool. Alright, awesome. John is gonna be your focus. Now what I'm gonna do, I'm gonna have this camera floating because what I would normally be doing is sweeping the back with the glide cam. And then when the bribing room come in, I'd kind of follow them into the room, keeping my equal distance and getting a nice room shot as they walk in. All right? Okay. So let's just go ahead and start it. If you want to. Korea, you just give us a music. Just keep it. Keep it kind of low and just we're gonna if you want to just introduce them into the room. That's fine. You could just say maid of honor. Best man. You know what to say, their names or anything like that. So what I'm gonna do is I'm gonna stick out of position somewhere here. Let's bring our guest in two. Let's let's have a seat. Are they ready to come in? I think they're coming. Okay, good. All right, let's talk exposure. What do you got over here? Okay. Looks pretty good. We'll wait till the guest coming. Um, kind of recomposed based on where everybody is. Let's see the 1600 seem right. Can we use any way we could knock that down? It's gonna 50 and it's gonna leave it like that. That works. Go. Come on in, folks. Have a seat. Great. Welcome back. Welcome back. Welcome back. Sometimes doing guests are coming in the room. I might kind of track behind him with a glide. Can get a wide shot of all the guests pushing into the room. All right, Awesome. Okay, So we're gonna line you guys up you guys, They're just gonna come. Maid of honor and best man will come in separately in front of the bride and groom in the writing room, all coming together. All right, cool. So again, this is not ah to scale wedding, obviously. But we're just trying to give you a sense of what we do in these situations. All right, Great. That word. So we've got a wider shot here. We got a 50 millimeter back here conjugating the whole scene, and this obviously would be a lot fuller with a full wedding. So we have a little bit more foreground people. As a matter fact, you guys want to swing around and come stand over on this side. That would be kinda cool. That's what we got in the foreground. There would be really great. Okay. And you guys, you know, I'm gonna let you guys do this. Go for who wants to do them on upon. All right. So what you guys are gonna try to Dio is as guests, they're coming in. I want you to kind of get behind this this crew right here, this table because from this angle right here, when they stand up for the bride you're gonna have is really dynamic shot through the crowd. Okay? And he's gonna have his lights going, and it's going, I think I think it might look pretty cool. So you're just gonna want a rack focus here. Somewhere on the dance for us is kind of a pre focus right about here, actually. All standard where they need me to be to. Is that good? Yep. This way. A little bit more. Sure. Good. Excellent. How about you guys got focus? Call? Now, what you too can do is as the actions coming in. If you want to try to just follow him, it's fine. Remember, we're looking for a two second shot, so you can get him in focus for two seconds. I'm happy because we have a safe shot there, and we got a slider shot here. Really dynamic. Okay, we'll be rolling way. Awesome. Alright, bring them in. And now. All right. Great. Awesome. Cut cameras. Goal. So at this point, they go right into the first. And so we're gonna bring the bride Ingram out on the dance floor. We're gonna start the first dance. We're gonna run through this stuff really quickly. Okay, guys, I need your agree on the 50 right where you are. Okay? I'm gonna keep you right there. What kind of god? Let's get a 1 35 on you guys and you guys stay on the slider. Except I'm gonna have you move to this side. Actually, no state, no, Never mind Scratched your your funny? All right, So what I'm trying to do here is create I don't want to shoot with my lights in my back. So you guys are in a good spot shooting up into that light. You could even move up a little more if you wanted to, because I really want to feature them prominently. I'm gonna take my lights. I'm gonna re aim them. So I am hitting our bridegroom effectively. And I might give it a little bit more juice. Not too much. I don't want overpower him. And we would do that really slowly to be bringing up slowly this way. It's not, but I know a lot of like, John. You can crack down on this a little bit. That's good. Just like that. Good. So your job you guys move over here to this position. What? I want to see you. Actually, I'll show you what I want to see. And then you guys can mimic it when these guys air dancing. I'm really looking. And I might end up in your shot for just a second. What? I'm looking for guys. Go ahead and just start dancing. Let me to see what we got on this camera. I'm gonna shoot really shallow. I wanna bump it down to two. And I'm just gonna try to follow them shooting into my light. Let me get a couple of actual shots here. If you guys could see that behind me. Can you see behind me? Yes. Good. No. Why don't we give them some music and rob you? Dio That's good. I was basically just showing these guys what? I'm looking way let you do that so we can do this. Okay, let's press record on these other ones here. All right? Good. So just guys, you start dancing. You guys could start shooting. You didn't do your thing. Go. So I'm shooting into my lights for that flare. I really love that flare there with 1 35 lens on a tight, intimate on them. It's really nice. And no, I'm not focused the whole time, but that's fine. I'm looking for dynamic shots, and I'm realizing I'm probably in this shot over here, so I'm gonna get the heck out of the way. We move around a lot because we're tethered for the broadcast. We do try. You know, we were kind of more locked down than we normally would be. And that's basically the first dance. We have one camera tight, one camera medium and then a wide shot. Whether it's a glide cam or the slider that's on the floor, good. Everybody feel like they got a couple of good shots. Awesome. Let's move on to the parents dance. Actually, don't even need Teoh. It's the same thing. Honestly, it really is no difference. Parents and they're gonna come out. They're gonna do the same thing. The one thing I would try to capture, though, is when Mom, when the bride's that comes over to get her brought her dad or brides that comes over, get the pride. That's a great shot to get. Normally, the wide shot is a great The wide shot would be a great way to get that this way, you could have actually cut that into the film. It's in the feature film that we actually just showed, so you'll be able to do that. And then the wide shot you guys can probably dual cam that to get it. The point is, all three cameras were going pretty much the whole time. We don't generally stop filming during this, but we have one type one medium one wide. And that's basically what we dio parents. Dances would generally be the same thing. Let's jump into toast. Let's bring up our maid of honor. Who's going to do our toasts? This requires a little bit of aiming the lights a little differently. Member are lighting diagram. We wanted to get light on the bride and groom so we can fill them in and provide back late for our person giving the toast. So we're gonna have our maid of honor Come right out here. You're gonna be standing out. She's like, Oh, no, you're gonna be staying right about here. How you're gonna turn and face the bridegroom and I'm just gonna set our lights while you're doing that. Now, if I look at her right now. I mean, it looked OK. A little bit dark. I want to see a little bit more hair light. Honor. I want to get a little more intensity on the front light. So I'm just gonna boost this light a tiny bit. Sort of like that. And yet, John, if you want a filler in just a little bit more good. So now both of my lights are on the same side of the room with their cross shooting. This life behind me is providing nice hair light on our beautiful maid of honor. And it's providing nice fill on her saying thing for the bride and groom The bridegroom's hair late Is that waiting to be aimed down? I think a little bit more. So let's just aim that down a little bit. And you know what? It's spotted. So let's flooded out, I think because way flooded it. We spotted it for calculator. There we go. Good, awesome. Much better. So now we have some nice light on the bride and groom. And John, if you want to dim that down, just a touch also. So now camera placement. Exactly. They're already doing exactly what I want them to do. And that's what my crew would be doing. 50 millimeter lens is going to be the side angle for the bride and groom. I've got a 1 35 right here for the toaster. We're gonna be back to back trying to keep out of the way. All right, Now, this is a small room, so bear with us. But basically my idea here is I don't want to be standing in front of any guests, and right here we're gonna be blocking view. So once they get this camera set up, let's see what you got. Because we want this to be a static shot. And Vanessa knows exactly what I'm looking for. Two. So she's gonna go ahead and focus up using the magnifier, and she's had 53 5 Looks pretty good. I'm liking it. So that's our reaction shot. My shot here is going to be the actual toe shot. If you guys can see that, it's back there on the screen, okay? And is a little bit of flare coming from the light behind. So maybe I might consider you know what? Let's do this because I've got a 1 35 on. I could position myself behind the guests. Be out of the way a little bit more. Bam! There it is. I'm happy with that shot right there. Okay, so now I also have 1/ camera that's going to be roaming the room. Essentially. All right, John, can you check your mic and make sure it's still rolling? Just so we have it for the edit tomorrow, I just want to really make sure we got it. So we're just gonna forego the third camera for right now? Let's just get moving so we can get through this. And you guys can kind of see how this comes together. Tomorrow I'm gonna magnify on our maid of honor so I can see that my focus is good. I'm 1/40 of a 2nd 12 50 on the ice of 22 I'm really shallow, so I'm gonna drop it down to 30 and go to five. So we're ready for the toast. And let's see, How is our reaction shot over there looking pretty good view. A big Can you give me a little more intensity on that light back there? Would you be Oh, you just call Natasha fame. I know this is just gonna turn feeling the intensity to give a little bit more on the bridegroom's face right there. Okay, again, this is all happening very fast. Okay? Normally, we would have more time to set this out. There we go. That's good, babe. How's your exposure there with the changing light? Looking good? Let me say let's make sure we got no. Actually, you're gonna go back your perfect They're good. So this cameras at 35 that's that's good. I don't care if they're both not in focus. I would just choose one of the other. So which one of them isn't focused? Cause there's no way they're both focused. Perfect. Having the bride and focus is fine. Even though the groom is in the is sort of in the middle ground of the image, it is a little bit soft. It's okay. You're still gonna be able to read his reaction. I don't want them both to be in focus. They'd have to be like F 11 for both of them to be in focus. So Okay, let's get started with the toast. Let's that are made of honor. Have the floor everybody roll your cameras and action, but this is gonna be much harder than I thought it would be. My name is Sarah and Rebecca and I have been inseparable since birth. When people ask me who my best friend is, I say it's Rebecca, but I don't call her my best friend. I call her my sister. Rebecca has always been there for me in the way it pictures sister to be. She's been with me through amazing times and even more so during the sad times. No one I know has a heart like hers. And I didn't think any man would be deserving of her love. Until dirt came along the night of their first date, Rebecca came home with the biggest, most goofy smile on her face. I have never seen her smile like that since then. That smile has never faded. Dirk, I can't take. I can't thank you enough for being the most wonderful man to my best friend. Her Every thought is about you. You truly light up her life. I could wish you love laughter and happily ever after. But I know that between the two of you you have those things covered. So what I wish for you to 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 would support you through every step of the beautiful marriage in life that I know that you'll have together. Here's to the new Mr and Mrs Mortensen and applause Keep the applause going for another second. Shocks. Awesome, Great, Good Cut. You guys get the idea? Do you understand what we're trying to do here? It's really not that difficult. Just lights on the other side shooting to your lights, Get that really dynamically. Don't ever shoot with light of your back and move around a little bit if you notice. I just sort of I had one shot from back here, which is a little bit wider. I moved in a little tighter and with 1 35 I was able to crop in a little closer to her face. And because I'm gonna put that anamorphic 2 35 the one widescreen on there, it's gonna bring me even more tighter into the shot. So that's good to have. I also picked off some reactions of the guests as they were sitting there watching just by moving the camera around three second shots. Boom, boom, boom! And I'll be able to cut those into the film, so that is a reception. That's a reception We were going to some party dancing footage way don't have time for party dancing footage, however, if you go back to our fusion workshop. Actually, the 4th 3rd segment on the second day has party dancing way shot the exact same way. So check that out and they're honestly, it's all the same. Same lights just picking off shots like a sniper. It's similar to the face time. We're just kind of going around and shooting with 1 35 A lot of times with the dance for way have varying lens is sort of like we had the wide, medium tight for the first dance. We do the same thing for the party dancing. Everybody's on. Monta pods were not going to try to move around with tripods on the dance floor. Sometimes will break out the Steadicam to put a glide camera on, put a 50 on and fly through the crowd wide open it's really makes for a nice effect. So wow, that was intense. We got a lot of material. I mean, it was we tried to fit as much of it and as we could. I hope that this got across, you know, to the audience. I hope everybody sort of got the gist of how we shared the best thing would be to do also re watch this reception part and pull up the keynote toe. Look at the lighting diagram. Because if you pull up the keynote side by side while watching this video and you're looking at the light of lading diagram, you're really going to see this all comes together. So thank you guys. So So, so much for joining us today. And I think we're gonna pass it back. Teoh, Canada. Tomorrow. Come on. Come on. Go stand there. Well, I know I've said it many times before, but this has really been amazing day. We've gotten to see what it be like to actually do an entire wedding, which you don't really get to do that very often. So this has been truly amazing. I would like to get, like, the biggest round of applause for Robin, Vanessa, because you guys were so thorough. Everything away toe