Lessons

Lesson Info

Shoot: The Ceremony

we are going to get right into the ceremony here. And this is a really, really important segment, because the way we shoot our ceremonies is key to the storytelling. We have to do this right, and we have to do it clean. Otherwise, you're gonna run into some nightmare problems in the edit. We really want to avoid that. There's no do over is like in the first look when it comes to ceremonies, none at all. Right, So the first thing we're gonna do is do some pre ceremony. And what pre ceremony is in my eyes is guests arriving at the wedding programmes being handed out? Guest taking the receipts face time. We talked about face time a little bit about people smiling, laughing good generic footage that could be used pretty much anywhere in the film. Help move the story along. So we're gonna use We're gonna do some of that right now. And what I would need is all my guests to go outside. Do we have some guests? You have some guests outside. Okay, so we're gonna meander on over this way to the b...

ack of the room. We are gonna move around a lot during this segment, so I will try to keep things up. There we go. Tether. Try to keep things. I'm gonna be moving around. But I am going to try to explain things in detail as we move. And when we get to the part of setting up the audio and the camp blocking our cameras off for the ceremony, we are going to take some time and do that right, explaining exactly why we put our cameras in certain places and how we set them up for a ceremony. I don't know if you guys get a wide shot of this room real quick. We are shooting available light in here. Creativelive usually has their own daylight balanced lights up. We were not doing any lighting on this. Couple reasons why this is a great teachable moment. The lightning here is not very bright, but it's even. It's very nicely. It's very warm light. We have some sunlight that's coming through some stained glass windows. It's giving us a nice overall hue. We can use that to our advantage to keep the color of the way it is, or we can choose the change in via our Kelvin white balance temperature. I'm gonna choose the kind of maybe cool it down, Just a touch. But I want to keep the overall ambience of this room. The downside is I have to be at, like, 12 50 or 1600 on my five d mark to to expose this room with a shallow depth of field. Now that's good and band okay? I mean, I like, I don't mind the way the five d mark to looks at 12 50 1600. There's a little bit of noise, but I understand if I had a five d mark three would probably be a little bit better. We would get away a little bit more Hirai so capability, and that's fine. I'm sure some of the newer guys out there are starting to buy into them are threes. And in a situation like this, you'll be able to crank it up and keep a cleaner image for what we're doing today just for teach ability, purposes. And just to be able to show you how we're gonna shoot the ceremony, it'll be fine. We'll make it work. We don't want to shoot too shallow, but we do want to get some nice exposure. So we're gonna walk on over here, and I need a volunteer from our bridal party. Does anybody want one of the guys? Maybe you want to help to hand out some programs? People. We have some people. Never mind. Okay, awesome. So I'm gonna have you guys want to get the side of the door. It's just one of the situations I sort of run into more often than not. And this is gonna be one of the first times today that we actually let things happen as they happen. All right, so I'm gonna turn my camera on so I could get my exposure here and show you basically what I would do in this situation. What am I looking for here? Well, we talked about face time, and we want to see people's faces. This is a good opportunity for us to introduce our guests into into the film and to start like I said before, the bride loves to see her her guest. They love to see their friends and family. So this is an awesome opportunity to get those moments candidly while people are just getting to their seats. So in order to stay candid. I've got a longer telephoto lens on. I've got a cannon. 1 2 point. Oh, Lens. And I'm going to use that to try and just pick people off. Candidly. I'm gonna leave the camera rolling. So the tether you guys will be able to watch as I film and see everything that I'm doing at this point. So how many guests do we have out there, guys? About 15. Okay, that's pretty good. We would have to do it twice because I normally take a look like a good 10 15 minutes to do this if I have time. So I'm just going to kind of go with the flow here and see if I could get a couple shots. If I could get three or four good shots during this period, I'll be super happy and we'll move on to the next segment. All right, so about 12. 50 on the I. So, like I said, this room is a little bit dark in terms of Luminant. So I mean, I am a little cranked up, but it looks okay. I'm not too disappointed with that. I do want to get above my 30th of a second shutter speed, though. All right, so I'm at 50 right now. I'm gonna shallow it up a little, too. About the high. Nico, you're still not getting my signal. I'll talk him through it while you're doing that. Want to go ahead? Sure. Go right ahead. So, basically, I'm just gonna get above the 30th of a second. I want to be around 50. Like we talked about on day 1 50 to 125 is sort of my sweet spot. I really like that range for shutter speed. And I don't wanna be too shallow because there's gonna be motion happening here. There's gonna be people coming in. They're gonna be handing out these programs, and I'm gonna be moving very quickly to try to do sequencing. I want to sequence this out. I want to do a couple shots of the girls faces. I want to a couple shots, close ups of their hands. Maybe you want to do it extreme wide shot and get this whole scene right here is people are coming in, so I'm really gonna do whatever I can to try and make this a little story within the film, and I'm only gonna use maybe two or three shots out of this. I'm not going to use this as its own piece of you know, the film with music. This is a perfect transitional shot that Rob talking about before this basically introduces that this is ceremony time programs being handed out at the ceremony location from the props in the morning. First look once I'm satisfied and I've got some ample shots of people coming in and hopefully their guest will be smiling and laughing and enjoying themselves as they walk in. Hint, Hint. That's great. The heart. One of the things I run into a lot that's a challenges people when they know they're not being filmed, tend to be very stoic looking. They just sort of go on film. That doesn't really translate into anything dynamic or fun. So I mean, I'm not gonna go peek my head out on a real wedding and say, Hey, can everybody smile? Is you walk in the room not gonna do that. I'm just gonna bide my time. I'm gonna try and shoot and catch those one or two people that when they see the person handing out the programs goes, Hey, how you doing? That's what I'm looking for. That's that. That's that emotion. The hey, I'm so happy to see you. Look, that's what I'm going for here. And these guys will help out just by being good greeters, good hosts or hostesses. So the Lotus Help out by smiling. Hi. Hello. How are you? And is handing out the programs? I do not direct this at all. Okay, so I'm sitting here explaining what I'd like to see, but I'm not by any means gonna walk up to somebody on the day of the wedding and say, Hey, can you act like this? You know? So, yeah, sometimes you really just have to kind of wait almost, you know, sniper style. Just wait for that moment where you, you know, you might be waiting five minutes and you only get two or three smiles. But while the priest ceremonies going on, it's also important to note that Unit three is going and making the priest and is making up the groom. Yeah, audio is definitely being set up. There's multiple things happening here, but we're gonna break them down for you individually. so we can show you each once I'm happy with these shots and the guests are kind of taking their seats. I'm gonna move around this area and start trying to pick people off, greeting other people in that already seated. So there's this whole dynamic happening here of people getting into the positions and greeting others. And there's a lot of opportunities with the crowd. With a seated crowd situation like this, this people already ceded those people that are walking into the frame. There's people that are sitting down and greeting others. There's people who are finding their chairs and that's sending down and getting comfortable. And then there's wide shots that can back up into a whole. Watch out of the scene What I did before we came back on the air, a wise I actually went through with my camera and did some ceremony. Establish Er's did a couple sliders of the of the ceremony room when nobody was in here and I did a couple of shots of the pews and decorations on the pews, and that's typical. I didn't really want to do that on air. I'd rather focus on the more difficult stuff you guys can pretty much imagine what establishes air like, All right, all right. So let's get to it. Thank you, Nico. You the man. All right, so give me one second set of our exposure here. Like I said, I wanted to get it up to about 50th of a second. So I am gonna crank up my I s a little bit. I'm gonna bring my shutter up to 50 and drop down my attitude to about 28 to 8. Looks pretty good in here. I'm pretty happy with that. I don't wanna be to super shallow and two, It gives me some nice focus, So I'm gonna let this roll. I don't know if you can actually see it until I actually turned on. So let me do that. And I'm just gonna start shooting. So you guys can you can kind of talking, So they guess you're gonna lose people around. You can go ahead and start coming in. All right? So I'm looking for a nice little close up shot here, and I might hang on this for a few seconds until I get it. And normally there's a lot of talking going on during. That's funny, which is great. If there isn't talking rubble, probably add the wall in now. It's good. I'm leaving my wife bounce a little warm here, and that's fine. Good. And once I'm happy there, I got that Isis case. I'm gonna jump around to this side and we'll wait for them the loop around again. That was really quick. Normally it doesn't happen that fast. Usually more than 15 guests at a wedding. And if there, if there aren't there, usually they're usually not coming in single file like that. So again, close up here waiting for a handout. There we go. Nice. Get a face here. I'm getting some really nice sidelight from that window out in the hallway. I'm really making use of that good. And we talked about adding sound design in the edit. So later on, I'm not too worried about what's what's happening. Audio wise here because I'm going to add in some Walla effect over this later on. Let's let him loop around a couple more times. And so what I've done is this backed up to get the wide shot? I'm gonna back up even more, you know, 1 on. So it takes a little bit more effort to get a wide shot. Guys, you can continue its fine. Let's get around my camera there. Good. I'm gonna try to knock down my appetite a little bit. I'm a little too shallow. Let them walk into focus here. Good little loop around one more time, and then we'll be done. I feel like, man, we got a lot of programs. We go this time. Yeah. Good. I'm looking for that one second shot, Guys. Doesn't have to be anything intense. That's it. I'm happy. That's great. Give the guests that I speak round of applause for All right. So I'm super thrilled with that. So what we're gonna do at this point, I'm gonna have you guys go back out. You're gonna come back and just go to your seats, take your time. No rush, by the way. So what I'm gonna do at this point is keep my 1 35 on. I'm gonna move up to the front, and I'm just going to kind of anticipate the action of people coming in getting their seats. So if you guys want to go on out and come back in. I'm also watching the light in this room. I'm noticing that it's getting dark in this room and that's worrying me a little bit Onley because, I mean, I'm already at 12. 50 to and once the sun went away outside, it got really dark. So we do have some house lights on in here. We're just gonna make do with what we got. If I get desperate at a ceremony, if I'm in a situation where it is really dark, I will like the ceremony. I'm not afraid to do that. I do have my two r e six fifties. I could always pop him up, use the same sort of lighting diagram that I used for the toasts, which we haven't really shown you yet. We will definitely demonstrate for you in the next segment, but I really want to, you know, make ample light if I can. Okay, let's bring the guests in, let him come in and take their seats. Let's keep moving. I'm gonna change my white balance here. The room got a little, uh, little different to cool it down a little bit, and it's not cooperating with me so I'm just gonna roll. Good guests. Feel free to greet each other and say hello to each other. Getting Normie completely. That's nice. Good, Nice. Good. This is good face time. Just getting people good. Nice, Good. Just keep talking to each other guys and just mingle. That's good. I'm just bouncing around here, just trying to get some different shots. Okay? I'm going to stop for a second, all right? So, yeah. Now I have to start changing my white balance because it's getting really yellow in here. The other problem is these lights are very green. They're giving off a very green tent, so I might want to start thinking about changing my white bracket shift in here to move away from the green scale. We talked about this a little bit the other day. If I go into my menu and hopefully you guys will be able to see this on the screen, um, and I go into my white balance shift bracket menu option. Okay? Yeah, I didn't know they were seeing my screen. Okay. All right. So is it safe to assume we weren't seeing the screen for the rest of the stuff to Okay. All right. So I'm just gonna go into the camera. I'm gonna move away from the green and move more into the magenta area. Maybe just by one degree, age direction. So somewhere we'll see how a to m two looks, right. It's set. Go back into my shot. And that's a year. It's a little better. It's not as green as it was before. And white balance wise, I'm going all the way down to 28 to get your white. Okay, so that's pretty pretty significant. Jump from where we were before. So right now, I know I'm gonna have to do some color correcting. I'm definitely gonna have to some color correcting later on to correct some of the shots from earlier. But we're in a changing light situation, guys, and this is real life. This is what happens. It doesn't always work out to your favor and to your benefit. So you know, you gotta roll with the punches, but that's okay. Let's get into the ceremony. That's and when we talk about pretty ceremony, that's that's the extent of it. I'm really not going to crazy. We are getting some things set up shots ideally on a wedding. When there's time, I am going to try to send somebody over to the ceremony site before they start setting up all of this stuff. I like to get shots of the florist decorating the heck out of the ceremony, putting up the decorations, throwing down the rose petals, maybe hanging fixtures, whatever it is. I really like to get that. It's a nice set up stuff that you can inter cut with your preps to tell a story in a different location. So we don't have that here today. That's OK. It's just good to mention it. All right, So where's our crew? Over here is our team. Come on, guys, stand up. It's time to get you guys involved in the next step here. Is this tether working or no? Huh? It will be okay. He's working on it. All right. Okay. So this is what we're going to keep the same teams that we had before. And I know we kind of skipped right over Shane last time, so let's listen. Let's incorporation into one of the one of the teams, all right? Just take your pick. You know, decide however you want to do that. It's fine. And what we're gonna do is let's that's block our cameras first. Then we'll do audio. And obviously I would have done the audio first. But we're Let's just do this. I got your standing. We might as well tackle that. So this is my method for shooting the ceremony in a situation like this. Alright, Normally I would think about putting on the Steadicam and using that for when you know everybody's coming down the aisle for the processional. But because I want to illustrate all three cameras in the situation, I can't tether Steadicam. We're just gonna lock down three cameras for the ceremony. My philosophy of ceremony is keep it simple. Keep it clean and get this story. Don't try to get too fancy. You start to get fancy with ceremony, moving cameras all around during it. You're just gonna make yourself give yourself a headache in the edit and you might miss a lot of shots trying to make all that movement. Those of you who are shooting ceremonies talk to me about your approach briefly. Just giving a description. How do you guys approaches ceremony? Do you try to stay locked down or you're roaming around Dubai Show hands. I don't think we have. How many people are? How many people roam around during the ceremony? Do you find that gives you headaches? And the edit were Yes and no. Yeah. The method we're gonna teach you here is lock it down to stay there. Let it unfold. We're gonna create a kill shoot. We talked about this on day one. I want every part of this. I'll covered with at least three cameras. You know, not each part. I want the ill covered by three cameras. So when people were coming down, we've got a shot to cut to at all times, because remember, the shop that's gonna be up front facing this way is only going to pre focused, especially in this low light. For a very short amount of time, it's gonna be very shallow. I'm gonna put a camera angle on the side here, which is just gonna be a 35 millimeter lens is going to shoot this entire side area, okay? And I'm framing enough to get the nice windows in there, and I'm gonna pre focus that shot on a horizontal axis. Right down the middle of the ill. Okay, that covers the ill. And then I'm gonna have 1/3 camera here for a dual purpose and whoever man's, this camera's got a little bit more responsibility. Your job. We could have a 72 200 lens on your job is to maintain a 70 millimeters shot while people are going up the aisle. So you're sort of getting this back, I'll with the groom aligned on the left. And when it comes time for the bride to appear in the doorway, you're gonna rack to 200 right on the groom's face. Why don't we make that easier and just start with one? So now we'll just set them up. So let's do this. Let's take let's go start on that side. So, actually, what's gonna happen is this camera is not gonna be on this side for right now. This camera is going to become our back of the aisle camera. OK, 7200 on it. All right. Where's our groom? I'm gonna put you up here at the top of the Islas. If you were waiting for the ceremony to start and I didn't even do this But that's another great shot to do during the pre ceremony is get some shots of the groom hanging out waiting. So, Derek, your shot. You see your places give. You were right about here. So stand right where I was right there. Just look up the aisle. Waived all the guests. Say hello. Okay. All right. So now that I've got him in position, I kind of know what I'm looking for. Here. Now, 72 really is tight, even at 70 its type. But it's okay, because what I'm gonna do is just frame up is that this camera's not tether, is it is realized. No, it is not telling. Ok, do you want this one? Do we? Are you Are you ready for that? Are way to have a camera just come around back. Yeah. We could have one of the camera guys come over to shoot the back of the camera here. So who's gonna man this camera? Let's get one of the cruise over here. Come on. Just jump on it. That's fine. Okay. It's getting darker in here by the 2nd 0 my goodness. Okay, so we're gonna have to really crank this up, so all right, 1600 on the I s O is really pushing it for the five D mark to, in my opinion, but we're gonna have to do what we really don't have too much of a choice. So the shot I'm looking for here is we're going to focus on the groom's face, but we're gonna keep it wide, all right? And I have no choice but to be a to eight in this situation. It's too dark in this room to do anything else, all right, but that's my shot. Now what you're going to see here is, as people walk up into the into the aisle as I am, they're out of focus. It's a nicely framed shot, so the best man, maid of honor would go to their respective sides. Meantime, you just maintaining the shot on the groom's nice, steady shot. Another option would be if you got a little bit more crazy as you back up this way, put a wider lens on and kind of track with people as they go up the aisle. When I use the Steadicam during a ceremony, a lot of times I will do that I'll kind of fly with the Steadicam like this as people go up the aisle. It's a really nice shot. That's another thing to consider in low light would be a real challenge for me. Is Steadicam in here? A real challenge is no way I could get to 56 or F 18 year. This is no way without cranking up the ice. Oh, okay. So that's pretty much good for that. So you guys will man this camera. One thing I will say no. Your environment. Look around. What's the red flag here? Can anybody tell me what the red flag might be here with the situation? Do we have? Do we have a mic for the Yeah, There we go. Go ahead. I noticed this soon as you walk by, the tripod moves. So we have to be careful not to be too close or actually jiggle that camera. Precisely. That is the first thing I noticed in here is when you step close to this camera, the camera moves. That is going to be a major problem. If we've got three cameras that are supposed to be locked down and they're all doing that shaky stuff That's a real problem. So we've got to be sure that once we have our shots set, we're stepping back from the camera. Let it happen. Watch from afar trying to step close to the camera or stay here and be really mindful not to move your feet. Okay, The second even lean like this. It's going to affect the camera shot. All right? Oh, like I run in that situation all the time with Fab with prefab dance floors. Right. Second, somebody steps on it like this, and camera just dips, and that's all. You just ruin my shot, you know? So just be mindful of that, all of us, because we're all shooting on the same surface. Okay, so this shot is set up. What else do we have to make sure on this camera is set up correctly to capture the ceremony. Shout it out. What about audio? Turn? The mike on the mic is off. Let's make sure the mic is on. We want to make sure that our audio level is set to a reasonable volume. So we have sink reference so important for the ceremony. Otherwise, you're going to spend an hour trying to sink everything up manually. Just the pain. And but we don't want to do that. And the white balance. We do know we have to go a lot. Cooler 32 looks okay. Now, I don't want to totally change the ambience of this room. It is a little bit warmer. Look at the skin tone of the skin tones. Faces are warm. Okay, that's that's part of the environment. But we don't want it to look like that. Okay, That's really, really bad. So we wanted to look more natural, so I'm gonna dial it down to probably look, look at the change in his face from 25. Looks like Edward Cullen. It's really bad that I know that. I know the guys are gonna be me up in the chat rooms. All right, so about 29 looks pretty natural to me. All right, Cool. So let's back out of that again. Not magnifying there. Boom. There we go. Focus is gonna be tough in here. It's gonna be a challenge, but we'll do the best we can. All right, So that's that camera, that camera set up. Any questions about that angle on what it's gonna do during the ceremony? No. Good. Let's move on to the next one. So let's get apart. Let's set up now, While this is all happening in real time, Like my camera people are doing this simultaneously, we're not taking this much time to set up. We've gotten to the point where we can pretty much set up a ceremony in about five minutes. Right? So we're really giving you the uber detailed approach here. Okay, so what I need on this camera, but I need a camera. Yes, sir. Is is this camera here a problem with the photographer when you set up back here and there trying to get a shot or anything like that? What you want? Yeah, I can answer that question for you guys. A Zara's, The photographer goes, I'm glad you're back here. Not in the middle of the aisle. This'd is no problem for me. Because even for my foot, harder for who's at the front of the ill getting them walking in shots. All I have to do is stay on this side. Remember how we did that? You know, not crossing the Z access. I believe everyone just goes on one side. So no one is going to be in anyone else's shot, so don't have a problem with that at all. Okay? I need a camera body. That would help. That was already tethered to just one tether to Okay. No way. Have this one. Typically be Unit three. If you're kind of jotting down your notes and what we talked about yesterday, this is the third shooters camera. The one that's going to be appear is typically Unit two. And a lot of times like Rob mentioned, he'll be on the glide camera at this point, so but with how dark it is in the room, we're not gonna do the glide cam right now. But him, as unit one would most the time beyond the glide camp doing those sweeps coming from behind with him coming down the aisle. Take a look at this tripod right here. Notice how I have a 72 100 on the tripod, but no camera body. All right, this is a great way to pre set up your ceremony. If you know your counter people are going to be running around or you're gonna be running around. But you know you want to end up, actually end up being on the 7200. Later on, You could just mounted directly to the tripod ring on the on the lens itself. This way. Just come over here and just locking on. It's gonna make a liar out of me. Isn't another real good. There we go. So that cameras, you know, in place and ready to go second to the placement of this camera. Let's let's have two others have another crew. Come on over. Who's gonna operate this one? Just God, you go. You just don't. All right, So the idea behind this camera is this is our main action shot. All right? This is an important shot because it's getting the main action of everybody coming down the aisle. However, I am not concerned about getting every person coming down the aisle perfectly in focus the whole way. I will never try to rack focus the shop. I will never sit here and go. OK, got it. Good, because it ain't gonna work, especially in little light like this. So we're going pretty focus. All right? I'm gonna choose an area of the ill that I think is a good spot based on my frame. I'm thinking right about this area here. So let's let's see if we get the tether up so you can actually see what's happening here. That would be really nice. I'm gonna back out to 70 millimeters, and I'm actually going toe. I have to be mindful here because I'm sort of right in the way. Because if it were having, if we have a bridal party that's gonna come stand here, you know, this is gonna be issue. I also don't use tripods this big. My tripods are much smaller in this. I use very, very small ones. So why don't I make an executive decision here and go with a different lens? I think what I would want want to hear is maybe switch to an 85. Or actually, you know what? Even a 50 might work. It's a little bit wider of a shot, but I think for this is gonna work just fine. I'm gonna pre focus somewhere here on the center of the ill. So I'm choosing an area. I'm actually a 35 That's not a bad day, John. Come on in there, John. You could walk. You're actually my test subject now. Congratulations. That's good. Yeah, that's good. It's a good idea to put somebody in the eye on just kind of use them as a focal point. So zoom in. Gonna focus on John and zoom back out. Okay, Now, this camera won't move. I won't move it now. What happens in a little kid comes down the aisle, right? Look are framing. Look at our shot. It's way too high for a kid, right? I don't have to change your focus. Just tell down all right, Thea, Other option is you can get yourself a high hat, which is a small tripod about this Big Synovate just came out with one which is really cool and the legs on a really short But it's not like a gorilla pot. It's much more sturdy than that. And it's got a ball level or head and everything, and you could put it low here, pre focus it. It's out of your shot and it gets the kids coming down from that perspective. So if you have an extra camera, even if it's a t two I or a 60 d or something like that, throw it down on the ground just for that one shot. You know, it's it's much more natural to get a shot down from a kid's perspective, so that's pretty much it. White balance wise, we're a 28 which is exactly what the other camera is that it's a little bit Mawr Trudeau white here and we're at 1600 on the ice. So unfortunately, we're 1/30 of a second, and I'm not willing to crank it up any more than 1600 in this room, all right, And this this is a pretty indicative of fall outdoor weddings in the fall when it starts getting darker a little earlier in the day. So what ends up happening is you're outside and the sun is going down. Your light is continually changing, and you have to adapt. During the ceremony, we just did a wedding in a vineyard, and it was absolutely beautiful, except for the fact that it got darker by the second, and we literally were trying not to keep the camera from going above 25 25 on the S. So it was really hard. But you just have to do what you have to do. Sometimes So we're gonna leave that shot there. What's nice about this shot is you've got them coming in, and then you'll have him coming up the aisle, which is really cool. The other option would be If nobody minds is you can actually shoot it from this angle behind the groom. That's something else. You have this over shoulder shot of the groom as long as the efficient wouldn't mind. So that's just something else. It's an option you can keep in mind for right now. Any questions about this? Okay, let's get our third camera in place and will be ready to go. I think we're gonna do a side angle. This is an guys. This is the tripod we use. It's much smaller. I don't know. Can I run this over there? Is that possible? Okay, it is okay with the changeup. All right. So what I'm doing while they're working that out again, we talked about having this side angle here. Just there's a safe shot basically of the marching. Now, what's gonna happen when the bride appears in the doorway? Everybody's gonna stay. Exactly. Everybody's gonna stand up, so we have to try to frame that shot. So we're still getting what we need even when everybody stands up. If that means going higher on the shot and just kind of framing it up here higher or shooting between people with Rose. Okay, we want to try to. We want to try to get that Aziz, much as we can do we want while they're doing this, that we want to take any questions from the audience that see, we have a couple questions that hasn't come up yet about working with officiant. That won't let you in certain areas. There was one about. If you can see that, there's, you know, there's a speaker over there, so you know the efficient Smikle. Is it going to cause problems with your mikes? We don't use wireless mikes. Everything we use is wired. So I'm not worried about interference whatsoever, period. That's why I don't use wireless mikes. I don't trust them. I've had so many issues with especially some of these banquet halls that do like four or five weddings at a time. You know, you have deejays running around and other videographers, and they're all on the same band within, like, five frequencies. It's like that's way too much to think about. I wanna be able to Papa Mike on somebody and go so a let's see question from Cook Esquire When you say Lock down the shots. When do you suggest doing that? Before people start entering or as people sit down well, as people are sitting down, I usually dedicate one camera to roaming around, just getting shots of people settling in. Getting ready for the ceremony may be getting the groom into position. Thea Other cameras are way set up and waiting before that. Sarah. At least 10 minutes before that ceremony starts. I want cameras in place. I don't mess around when it comes. The timing. We try to get to a ceremony said at least 45 minutes before the ceremony starts. I want to be there because I have to not only set up cameras, I've gotta get audio go into which is what we're gonna do next. There was a couple questions about, I guess, clarifying the 1 The access the 1 80 access. That's a great point. I didn't really talk about that. The Z axis. There's a rule in broadcast in television or film making that you don't really want to. Ever. When you're shooting multiple subjects with multiple cameras, you don't want to cross the 1 80 z axis. So just imagine that no matter what you're shooting, there's an imaginary line that's running down the center of what it is you're filming. Okay, So if your subjects are facing each other this way, your cameras need to all be on this side. The 2nd 1 of those cameras over is over here. Now, when you if you try to shoot the groom's face from here and the bride coming down the aisle from here, they're gonna be looking and walking the same direction on the screen. You don't want that. So we always have a 1 80 rule. Whatever side that camera starts out on is a side that every bun will be on for the ceremony. And we talked to the photographers again. It's about communication. We talked with photographers where you're gonna be, what lenses we're gonna be using. Okay, so you're gonna be in the back with 200. Great. I'm gonna put a 72 100 on that camera, and that's where we're gonna be. So this way. We're all on the same side and we're on a crossing pads into each other shots. I'm not sure if you cover this when you were up there, but what would you do if you had eight bridesmaids? Yeah, I probably wouldn't be there in this situation, because we don't. We only have a maid of honor, Best man. I'm finding it. Okay to be there. I think generally what I would do in this situation if there were a ton of bridesmaids up there is probably put her up somewhere above the altar, back on the back. If I was allowed, if I wasn't allowed mono pod with just get tight, get close to the to the front row and just kind of make myself my foot. Print a smallest possible and just follow the action. All right, Another question. ISS see, what do you do for evening weddings? Many times they have low light for sitting on the aunts, but it's not great for photo video. Candlelight weddings are a perfect example of this. They want to have a beautiful candlelight wedding, but were in a bind with light. I will like. I'll add light, but I'm gonna explain to them that I'm not gonna shine too much light. I'm just gonna give myself enough light to fill in movies when they do candlelight scenes there, never using the candlelight for light there, never relying on the candles. It looks like the candles illuminating the faces. But that's not that's not what is actually happening. What's actually happening? Is there some sort of a Fresno light nearby? That state that's not daylight balances tungsten balanced, and they're using it, maybe with gels and filters to make it look like candlelight is illuminating their face. They will expose for the candlelight because that's gonna be the brightest spot. Flame will always be the brightest spot, and then they will fill in light to compensate the exposure for the flame. So I'm gonna take that same approach. When I'm from leading a ceremony like that, I'm going to put up on Lee enough light to compensate for the candlelight actually being the light source. All right, Another question from al cakes. How much do you prep a location? Would you know about lighting issues months before the shooting? Do you request stills of the location or take your best guess I look on the website. Okay. Level of a venue that will tell me a lot because a lot of times they have a ceremony room shot available if it's gonna be outside. Listen, I mean, I walk into venues all the time, and I have no idea what's gonna happen. We just sort of assessed the situation immediately. We walked in this room and it was like, Ok, there's enough light in here, and all of a sudden, now there's not enough light. If we had time for the sake of the teaching, I don't think we do, but I would probably put up lights in this room. I probably put up on rt 6 50 on either side of the room and shine it down on this area minimally with the dimmer, just to make sure I have enough Ambien like is it is getting darker in here, but we're gonna roll with it just for the sake of not having to stop the broadcast and do more work. I think we should move into audio now, get this camera set up. Let's get that set off. We'll get moving. All right, so we're all set here. I was gonna go right on the side in the 35 millimeter lens. So why am I using a 35 millimeter lens? Well, I want to get the whole shot. I want to get this whole area in here, but I also don't want to go. So why that I'm seeing my camera units, right? So I'm picking a lens that allows me to not have to back up way too much. But I am going to I want to get as much of the scene in there as possible for effect. All right, so let's try this, right? Yeah. I'm not seeing anything. Not getting anything, guys. Okay, You know what? I'm just gonna yank it, lets us do this. All right, So I'm exposing. I'm actually framing it up. So I get these the nice thing glass windows in there. And if I could have somebody just jumping the aisle so I can pre focus what I'm doing here? Yeah, if you want to come over here, that's cool. So finesses in the aisle. I'm just gonna use my magnifier tool, and I'm going to jump in and get right in on her ends and focus. Get yourself a bad that's dedicated for audio. How many of you guys have a bag that's dedicated for audio? It's really good. That's great to have, because it's so much easier to just run with that instead of trying to carry the bag that has all your lenses and camera here. So I have a dedicated bag for audio. It's gonna have everything I need in there. I was gonna open up. It's kind of a mess from before, but what I'm gonna do is get my groom miked up. Case in point. I'm never gonna mike my groom once he's standing up in front of a crowd. Okay, in this case, we brought him out a little bit earlier just because we're trying to set him up for the camera shots. But I would never try to do that. It's just a little bit too much. So I would do this behind the scenes and out of the public eye and get him miked up. So we're gonna go with the same set up that we had for the first look Times, too. So we're essentially going to put two mites on him, all right, brother saying because we did last time. Now you have the boot near. Now he's got the boot in here so I can use that boot near to my advantage and hide the mic just like that. Okay, putting record mode. Check check. 1212 Give me little test. See your name for me? Cool. Awesome. So let's get on with this. Picture is rolling. It is rolling. Let's put the hold switch on. We're gonna drop that back down in there, okay? You took that wire and like he did before, I'm gonna grab a second Mike, and we're gonna make him up with the 2nd and we're gonna go with a another role in our 05 Mike tram TR 50 microphone. Okay. Why are we putting two mikes on guys after that? Back up? If I lose, What's that? You feel like you're packing cool. And I always explain this in the consultation. I always tell them way in advance that we're gonna do this. This is never surprised. It's never going to be like, Hey, guess what? You're gonna be wired up all day. They know in advance. And And since they're fans of the films, and they know what it is we do. They're gonna anticipate this. They know that audio is important to me, and then I'm gonna do whatever I have to do to make that happen. So same thing I'm gonna record here. Give me a check. 12 perfect. Looks good. Great. And let's go ahead and put the whole switch on. And you dropped in your other pocket. Do the same thing. Thank you, sir. Okay. That's usually having happening way long before we block our cameras off and stuff like that. So we could bring up the lights. That would be great. You bring up the lights would be amazing. Okay, so now the officiant has to get a mic because we're not playing around with the fact that the stuff that he says is really key to our storyline. No problem. Would you say your name was again? I'm sorry, Greg. Greg. All right, everybody, meet Greg. New Greg. Okay, so all right. Task and er 07 Mark to That's the That's the choice. Sometimes I put a role in our Just depends. Right now, we're just trying to get things set up. Let's just get it set up. All right, turn this sucker on and I will always talk to the officiant in advance about this, okay? I'm never gonna walk up to him. Go. Hey, guess what I'm gonna put a mic upon. You were gonna always say, Hey, how you doing? My name is Robin with the videographer. Just want to know that, you know, we want to make sure we hear everything you say is what you say is really important. Is it okay that later on, right before the ceremony would put a mic on you and I've never been turned down. So some of the Catholic priests have had a couple of issues with, But, you know, that's why we also Mike up through the deejay soundboard to so we can always take a take a direct line. In this case, there's no mike here. There's no p a mike, so there's no reason to even do that in this situation. Okay, so we're just gonna throw this on you here on check, check. 12 Looks good. Say your name for me if you don't mind. Red marks. Great. Awesome. And the d r. 07 Mark to also has a hold switch. I only use recorders that have holds, which is on him because I'm so afraid of somebody just touching its and causing it to stop. So if you could just put that in your pocket on the inside, sleeping in there and he could talk the wire into if you have anything to get a switched over the other side, that happens a lot of him making a lot of noise, right? So that's good. So once I've got my groom and my officiate miked up, I'm pretty happy because in this situation there's no readers. If there were readers, if maybe one of the cousins was going to come up and give and read a Scripture reading or read a poem or something like that, I would know that in advance. And I would like that person up. Okay, that person would wear Mike. Or if there's a microphone from the deejay, I would just simply tap right into the soundboard and pull the sound right from the reason they are 44. So he's all set. We're ready to go as far as audio goes. In this case, right, we will demonstrate the R 44 for the reception. We're definitely gonna tap into the soundboard for the reception, but in this case, there's no mike, so we're not gonna do that. Okay, so let's get this other cameras set up. Finally. And, uh Hey, there we go. All right, So who's my crew for this camera? Jon and Erich. Great. So 2800 on the ice. Oh, I'm sorry. On the white balance. Right? And we pre focused. Let's pre focus again. Let's get somebody jumping that I'll real quick just to kind of make sure we've got it. Yeah. Go on in there, Ricky. See what we got up That John beat you to it. All right. So again, just refocusing on the area here. All right. 30th of a second to a 12. 50 on the I s l again really don't want to be 1/30 of a second. We go up to 1600 I'm gonna drop it down the 40th of a second. All right? Can I afford to go to 50th of a second? Probably. All right. Looks a little. It looks pretty good. Eso 50th of a second at 28 Really shallow but I have pre focused on the center again. I'm only using the shop for a couple of seconds at a time. So it's not like if it is a little slippage, there's a little slippage of focus, and it's not perfect. You know, we got to do what we gotta dio. So I'm actually gonna move it over to the touch just to kind of framing up. So it's more symmetrical, and I'm happy with that. All right, we got a ceremony blockage, so we're all set up walk ins. Okay, what we're gonna do, we're gonna take this ceremony right up to the point where the bribing with a bride is down here with the groom, and then we're gonna pause. We're gonna reset our cameras to where we would be for the actual ceremony itself. Okay, so we have a maid of honor and we have a bride, and they're both gonna walk down the aisle. Is mom and Dad and escort the bride down the aisle. Dad is, and the mom is gonna walk down by. Oh, great. So Mom's gonna come down. So we have two people coming down. What's that? Yeah, we will in a second. And, you know, we're just gonna capture this in real time. What? We've created a kill shoot. Have we not right? This entire I'll is covered. There's a shot on the groom. It's very vitally important that when it's time for the bride to walk down, you're gonna rack your shot to the groom's face as tight as you can and get that shot that's up to you. All right. This camera will always stay trained on the aisle. And when the bride comes up to the side here, you want to loosen up your pant. Uruapan, come over here and frame it up. Focus on the groom and get the handoff right there. OK? Feel free to kind of if you have to move a little bit here, whatever movement. See, Do you want him to be as smooth as possible? Right. So I wanna pre focus on the aisle and we're ready to rock n roll. Okay. Cool. Um, do you want to keep the camera there? Is that okay or do we want to move him out or we're gonna leave it? That's why we'll just go. Okay, So on the count of three, we're gonna start the ceremony. Do we have some music? We have music. All right, Cool. Let's go. On the count of 3123 go. And you can Also somebody writing up, roll your cameras, remember not to move and shake your camera. Just hands down at your side and Leicester changing something. And I'm not worried about the audio here, guys, because remember, we're not using any of the ceremony music. Okay, Back camera. Now is your chance to rack up on the groom's face. Go all the way down to 28 on the exposure. Here comes the bride. Get ready. Here we go. And good on them Bringing you to stand. That's good. Awesome. Get your shot getting shot. Racking up. Hands down. Nice. Hand it off. Good. Wow, these guys are good and the bridegroom will step up to the altar. Okay. And pause. Great camera people. Let's start in the back here. How was your shot? It worked out. You were able to rack up on the groom's face. We got it side angle. We had it the whole time. She was clearly had a clear line of sight. The whole time right. Good. Appear had we do good. You got it. How is your hand off when you turn? You felt like you think you should, but that's okay. That's a common mistake. And it does happen. And I probably should have warned you that, but at least at least we have the bride coming up the aisle. That's really important. If we don't have a handoff for the films for the storytelling, it's not gonna make a big difference. It's rare that actually really even used that there. If I can plan in advance where the handoff, actually, I could get a tight shot up here from actually handing the hands off. I will do that, but it's tough to do. And it usually requires 1/4 camera to do that, in my opinion, So Okay, so now that they're up there before we actually start, we have to move our cameras to get into position. This is how we normally do it. It's a mad dash. So what'll happen is we want to be inconspicuous. We don't want to, you know, alert alarm anybody with by our movements. But what we're gonna do is this camera is going to shift to that side. Okay? And this camera is going to move straight up to here. Actually, you know what? The situation. Let's move this camera back to hear this camera would go to the aisle. Okay, so it's almost like a 1 80 rotation this way. All right, so let's do that. Great. And this would happen pretty fast because we want to get in position. The one thing we will do. And we did that kind of really. We did that a little too fast. This camera wouldn't move until the other two were in place. Okay, so this camera would normally stay here If she said like it was, Kate was too tight. Should probably move out of the way. So she's not in the way of the of the ceremony locked down the shot. Hold it until these other guys are in position. And again. What are we doing? We're always looking at each other. Right? So once this camera was here and the other two are in position, we're looking like this when we get, you know, nods from each of those camera people. Then we know it's safe to move this camera over to the other side. Okay, so we also need a little bit of a lens change here, too. We want to get on long lenses for the ceremony. Right. So we need 72 hundreds. We already got one over there. We need one over here, so let's go ahead and change the lens real quick here. Great. And you can always adapt this to fit different circumstances. I mean, sometimes we would use a you know, it's very possible to use a 1 35 as well. Let's drop this. Let's pull this camera off because we have to go by the tripod Mount on this. Great. Awesome. We go lock it down and get all right. So what we have here 35 on this camera's way too wide. I think it's a nice actually. It's a nice wide shot. Let's keep it. I like it. Kind of gives us a nice Ah, it is frame here. All right, let's kind of move this. I might have to recompose a little bit, not level. So this leveling the shot is all I'm doing. I'm just getting a rise in line set to where I'm comfortable with it. And again guys, this is happening very fast. It's not like this is not indicative of what the real thing would be like. Just trying to show you how we set up our shots. All right? Getting a pre focus on the bridegroom here. There we go. OK, read your exposure. What do you guys have over here? All right, you're gonna drop down to to wait. I'm gonna bring your shutter up to okay? And my framing for the shot. We really want to be a tight as possible. So what we would probably do? Yeah, exactly. Since he's speaking from up there, let's focus on him first for the vows. He's gonna come down to stand with them. So, you know what I'd like him to do is when it comes time for the vows, hold us move down into the into here. The bridegroom would back up a little bit just because I kind of wanna have that intimacy. What's really nice is when that when the officiant is standing close to the broad ingram for the vows, you can get a three shot and get him. If he's talking to them, you can get all three of them in the shot, which is really nice. So would you be OK with that? Once they do the vows, you could just come down here. Great. Very good. So this camera here is now set up with a tight. You're gonna have a tight shot on the officiant and watch your horizon. You're really skewed. So what I'm gonna do is just loosen you up about there and we're gonna use our apps were slipping. Here, let me jump in here for one second. It's locker tilt down. Wow. Tells us it wouldn't look. There we go. There's the lock. All right, So now we're guys. Low light. We are in a really low light situation here, so we're just gonna roll this the best we can. Okay, so that's pretty much the framing that I want for this. And now, when it comes time for the valuable recomposed. So let's just get the shots set for each of these that I know. That one's good. We're all set. There is a wide shot. And this one over here. What? We have 32 point accounts. Make sure picture profile was back on neutral. That looks good to me. and this one's gonna maintain more of a medium shot for now. Okay, so he's got while we have a tight shot on the efficient over there, this camera, more or less is going to be the medium. So we have a wide medium and a close, and I'm really happy with that. OK, so, actually, you know, you might want to consider just focusing upon his face rather than cause we are to eight were really shallow. Here. Let's go with something like that. Good. All right. So, white balance wise call at your white balance over there. You got 28 were 28 over here as well. And what about you guys? We got 28. OK, Cool. I'm happy with that. So let's go ahead and start the ceremony. So know that again my crew's experience, they know their roles. They know what they're supposed to do. That would have happened in all of 45 seconds. Right? Because the camera people, this is work. Having good crew makes a huge difference. I do not have time to go around each of my cameras during the ceremony to check the exposures. Once my shot, it's set I might go. Let's see my thirds been a little off today when we come over here and make sure we're good, you know, when I might set the shot and listen, that's not micromanaging. That's ensuring your shots or good member. My name goes on this at the end, not my camera people's. So if they're having a bad day, it's up to me to make sure that I'm still getting what I need. Right? So I mean an artist or finicky. Sometimes it's like do really gonna manage me. I don't have a run a camera. It's like, Well, you know, I gotta make sure that it's there. It's part of being a leader is part of being in charge. OK, so I will do that if time permits. Otherwise, hands down. With aside for this, nobody is to touch their cameras. Remember that the carpet is your enemy in this situation. Okay, we have a maid of honor and best man who are in position. We have clean lines of sight. Well, I know one of the questions later on is going to be what happens if you've got 16 bridesmaids and it happens. You have to make an executive decision during ceremonies such as this. Whether you're going to be on the outside, we call this the outside. If I'm shooting into the altar like this, that's the outside. And this is what we call the inside. Obviously, where we're shooting more like this, this is a great angle, but good luck. Getting it at a church doesn't always happen on site ceremonies like this. We would probably be able to do that for light purposes. There's no light right here. This is really dark. So we actually made the right decision being on that side. So when they turn and face each other, we got more light coming from this from the side there. So now we're ready to pretty much start. Is there any question about how we got to this point and why we set up the cameras this way? Or if you have a better suggestion, shouted out anyone? Okay, let's let it happen. Take it away, Craig. Family. We're gathered here today. Witness a celebration of union Rebecca and Derek and marriage the other time. Together, they have come to realize that their personal dreams, hopes and goals are more attainable and more meaningful through the combined effort and mutual still support provided in love, commitment and family. And so they have decided to join their lives together as husband and wife. True marriage is more than joining the bonds of marriage of two persons. It is the union of two hearts and becoming one in the covenant of marriage. Love is unconditional and it thrives on the joy of each new day. May you go. May you always be able, Teoh, confide in each other, the last with each other to enjoy life together and to share moments of quiet and peace. When the day is done, may you bless it with a lifetime of happiness and a home of warmth and understanding. You're beckoned. Dirt have written their own vows from their own heart about the promises they want to make to one another and to express their love that they have for each other in front of their family and friends. Perfect. Good. Very beautiful. By the way, I wrote that. Oh, Okay. So I guess that would bring us right to the vows. Right. Okay, So what we're gonna do at this point is I'm gonna have the backing of just back up a little bit? No, Normally, obviously, we wouldn't be telling him to do this, but I just wanted to get a little bit more intimate in terms of having the the officiant next to them. So what you can do is take the piece of paper with you, and you're just gonna come down to this end. You could do that whenever you're ready. And what we're gonna do now is changing the composition of our shots. All right, so, by the way, I was watching the live switch. They had a live switch going back. It looks good. I mean, we're in really low light. And yes, you know, it's focus is a little tough in here, but we're teaching. I mean, this is not ideal for the situation. Obviously, I would have listened. I would have left this if it was a real wedding. What's that? Oh, you don't do that. I guess you've seen that video that's going around, right? Okay. Yeah, we don't We don't want to do that. All right, So what we're doing here now we have to make a decision, and there's a line of sight. I contact happening between I'm usually over there and my second is usually here in. My third person is usually there. So we have to make a decision. Are we going to go with a three shot that includes the officiant or we just gonna go with a two shot? My rule is if they're facing the priest or the officiant, it is a three shot. Okay? Because if you go with a two shot now, you're going to see back of head back of head. We don't want that three shot for now when you instruct them to turn and face each other and hold their hands. Okay, that's when we need to be tight over the shoulder to shot. Okay? And we might even stick with a three shot. So it's my call. So what I do is once he tells them as soon as he starts, is gonna tell them to turn and face each other, and he's gonna read MAWR, depending on what the shot looks like. I might be over there going to this guy. Two or three, two or three. And that just tells him, Go with three shots or two shots. Very simple. Yes, three shot is basically is having all three of them in there is having the officiant and the bride and groom to shot would be an over the shoulder dialogue shots of the bride and groom. Ultimately, I'd rather have that because it makes it much more generic for me to cut back and forth in the edit between somebody who's not talking and seeing the lips move. But sometimes I might want it in there. So again, I'm just gonna make it up on on the spot call if that's what we're gonna dio. All right, So what I'm gonna do at this point is to see what we got. We're obviously gonna back out from the from the 200 range. Okay? And let's go. I just Let's have faced each other. So just guys gonna turn and face each other. I'll spare you from having to tell him to do it. There you go. Good. Let's see what we got here. The three shots really wide because he's standing pretty far up, right? I wanted to be more intimate. That looks much better to me. So now I'm just gonna tweak it, and again, this happens fast guys were quick on the trigger with this were so fast to move and focus. And when there's a law on the ceremony, when the efficient gets to the part where he says and now Rebecca and Dirk will say their vows to one another, if that's the time for all three of us to move, we do it. That camera will usually stay static. But I know these two have to recompose their shot because the bridegroom turned to each other right now would be the time to do it when nothing is being said and there's nothing to really get. Okay. So as they're turning to face each other, we've got our shot. There you go. Perfect, guys. Good. Just like that that works. 48 to 8 1600 on the eyes. So white balance 28 when we got over here, exposure rise to a 1600. There. Beautiful. Good. I see what you were doing here. You're going to get the maid of honor in there. I don't. The other shot is identical to that, for the most part. So let's go ahead and stop this phone. Second and picture provided Neutral. Okay, Good. Just look a little bit more saturated and rich over here were just fine. I can always fix that later on. So Good. Nice job. Okay, so this this this angle was set to go and weaken. Generally leave this For those of you watching, you might have seen that this shot was really wide and exposed high. And I had it sort of like this. I don't if you guys can see it was more like this. If we get when we pop up Thea the ill camera. There we go. I had exposed really high like that. Why? It's what composed high. It composed Hyatt's cool composition. I don't know. I like it. And remember, I'm gonna put a to 35 the one anamorphic on this. So this isn't really all gonna be here. It's gonna be more like that, right? It's just a different composition. It's It's different to the Ayelech. Negative space for the vows. I might drop that down to right about there. Okay, um, we have ah, very wide lens on this camera. A lot of times will use a 72 200 on this, but we're in a pretty tight space, so I think I'd rather go with wide here and just let the two side angles be our intimate shot. Okay, Really mixes it up. I do not like during the vows when we see two different shots, Two different compositions on the side angles. It just doesn't look right to me. You know, I like to have consistency when cutting between those shots, and then this is your relief. This is your wide relief. It gets claustrophobic switching back and forth between two tight shots for a long time. Right? This gives you that wide relief comes out, brings the eye out of the ceremony. When we really do elaborate ceremonies, we might have a jib that while the whole time is just going up and down, up and down. And it's just getting a different angle. Where we might have a slider onto tripods is going. I'll have 1/4 person is going back and forth on the slide or just giving me this nice behind the heads of the guests. Okay, but simple, clean. Get your story. That's what we're going for right here in the beginning. That's what you should be doing. Do not try to get fancy in the beginning. Get your story. Get clean shots. Make the edit simple. Make it good. All right. We're ready to continue the ceremony. Everybody roll your cameras And whenever you're ready, guys, their present your bowels first, please. I promise to love you and care for you. And I will try in every way to be worthy of her love. I'll always be honest with you kind patient and forgiving I problems to try to be on time I take you to be my partner for life promise above all else to live in truth you to communicate fully and fearlessly I give you my hand in my heart sanctuary of warmth and peace Pledge my love devotion Faith in honor as I join my life to you my best friend Mentor Playmate Confident in my greatest child But most importantly for the love of my life And I and you make me happier than I could ever imagine And more love than I ever thought You've made me a better person As our love for one another is reflected in the way I live my life I promise to love and care for you and I will try in every way to be worthy of your love. I will always be honest with you kind, patient and forgiving promise to keep it. But most of all, I promised to be a true and loyal friend. You the string take you to Constant friend only I offer you my no good Right here. Pause. Great, Awesome! Okay, B j I noticed you were moving your camera. That's okay. Why? Frieze? Excellent. Why else was it OK? Nobody else was moving their cameras, were they OK, but that for a long time. So I was, like, just real quickly. Just going to say that one more time because he needs So Okay, so this reiterate basic. I can I can I can paraphrase to based I asked VJ I noticed him moving his camera during the ceremony and I came over here and I asked him why was that? OK, that you did that, and without missing a beat was like, Well, the three shot he wanted to rack out to a three shot. I was like, Brilliant. That's great. That's excellent. Why else was it? OK, And I explained that it's okay because nobody else was moving their camera. When he moved his camera, I looked around. Everybody else was solid, locked down like this, and that's fine. If you guys communicate and remember that, Were you guys looking at each other at all? Good. You want to maintain eye contact is you don't. I mean, you know what's happening here. I mean, that's good. You had the foresight to really know what kind of changes your shot and get something different. But just as far as keeping three lock down shots, guys did a great job. Another thing we're not. I mean, I'm really teaching you the basics here. There are other ways too complicated ceremony and get differing things. Ceremonies go on for about 1/2 an hour generally. OK, so it gives you other times. We don't need to be on this action the entire time. We can turn and get reactions to. My rule of thumb is if everybody's locked down and hands were down like this. And if somebody one of these side cameras see somebody crying like I'm always watching Mom like I'm always looking at Mom's. I know Mom's gonna cry. I know it's only a matter of time before either modify. See Dad crying? I've right on it. Right on it. So I'm always looking here. I'm looking at the maid of honor to I'm looking at her. Sometimes they get emotional. Sometimes the girls get emotional. Sometimes this cameras get a great line to pick up a line of Jersey girls. All right. And you can get you rack. And they stepped the field shot there, which is really cool. You'll never find the groomsmen crying. They might pass out from walk on their knees with their Lastly, we're gonna do the recessional. Normally, you would have switched and, you know, done the rings on the other side for times. Yeah, we're running a little short on time, so we're gonna We're going to go skip to the announcement announcement of them this husband and wife, first kiss and recession. Okay, the thing to remember here is we have to change your camera positions again. Or at least prepare ourselves for a kiss. Turn and walk out. I'm only concerned with the bridegroom walking out. No offense to the families, but I don't give a crap if I don't get them. All right. I'm shooting for short form films. here. I'm not shooting a coverage video video. So again, we have to side angles and I'll camera. I know that I'll cameras going to get them, all right, But I want all three to try. I want at least two to get the kiss. Okay? I want at least a wide shot and one of the side angles to get the kiss. OK, so probably at this point, my crew would know. Ari, I'll shots going to stay where it is until they get to. Well, what will happen is we'll kiss. The focus is from that camera is racked here. Okay, But then they're gonna walk out what's gonna happen? I focus. Right. So this camera person needs to know to rerack and pre focus here or here. Okay. With a 35 millimeter lens coming from this direction, pre focusing right here will have the bridegroom walking from out of focus into focus. Really? Nice shot. Okay, so that's what they're going to do. Your job is to maintain this focus until they kiss. Once they are done kissing and they turn to walk back out the second they take that first step, your re racking to your second focus point. Let them walk right into your focus right past your camera. Okay? I would even, you know, like this okay for right now. But it was really tight, and I was going to be in their way. I would just back way up, recomposed my shot focus up there and then changed my focus again. All right, so that's good where it is. I like I usually like the groom's angle for the kiss because seeing the guy react to when it's time to kiss is always more fun of a reaction. I think unless you really bubbly bride and then she's like, you know, So it really is dealer's choice. I think I'd rather go with the groom's reaction on this one. So what you're gonna dio is you're gonna pick up the side angle shot from here, okay? Yes, I know we're crossing the Z axis, but it doesn't matter at this point. This is a transitional shot to get us out of the ceremony and into the next shot. So what I'm looking for is sort of a wider shot, something like this. And I know this camera's not tethered. Basically, if we want to get one camera Guys over here. I kind of show you. Hello, son. Where were you about 20 minutes ago? Jeez, Louise. Okay, so basically, I'm looking for when everybody rises and flaps and they go walking out. That's what I'm looking for. You could even make this a very slow Panoz. They walk out in the direction that they're moving. Okay, Once this kiss happens right before this gets happens, you've already turned and got your your. Now you're hitting reactions here. I don't need you to do this, but you're basically just your nail on reactions. Because when people start clapping, you're gonna get, like, some reactionary shots of people clapping here and just before they walk out your pre racking Don't even try. Just I mean, if you want to know what that Give it a shot. Give it a shot. A shot? Why not? So, basically, watch your your changing light. And basically you want to try to get that pan as they're going out. Now, this camera, we'll get to you once. Agree this camera once the kiss happens and they break seal on their lips, you're doing the exact same thing. Is that camera. Okay, You're gonna jump over. You're gonna jump over here, go after 70 millimeters, focus somewhere on the isle, and so we just let them walk. Let them walk out of focus, let them walk right past you. You're gonna get great stuff cause people going to be turned this way and clapping and laughing. So that's good. And that's it. That's how we do the recessional. And we get the heck out of the ceremony. So a lot of lights. Awesome. Right here, looking this way. Incredible. Okay. All right. So let's Ah, let's get the cameras rolling. Everybody in the position. Recompose your shots. Make sure your focus is good. Man, I didn't have to touch a camera this whole ceremony. This is fantastic. You guys nailed it. Ricky, what was your question, man? Okay, once they kissed, we need him winning a mike here. I don't know if this is on. Hopefully it's on. Is this Michael? Yeah. Good. Yes. So once they could ill. Let's just say we're a different setting. Our guests are going to stand up. Yes. So do we in this particular situation. Are you gonna change your shot or you steal. Exactly. I'm not Maura. I'm more concerned with you shooting into that camera unit. Then I am the crowd standing up. So once they break seal on their lips, you're gonna have to be quick. Just move the tripod over here. Quick racket shot and just get them walking out through the crowd. That's why it's gonna be fast. This is going to test your skills. That's fine. Okay. Not essential to the story if you don't get it, it is good to have. Okay. All right, here we go. Let's have let's start out with the running room facing each other. Let's just having, like that good. Two shots on the bride and groom. Side cameras. Right, Everybody good. I am fanatical. Now I'm gonna make sure this is rolling. I am playing. You're good. Okay. Starting from top. Ready. Whenever you're ready. Good role. Their their time together. Come to realize that their personal dreams, hopes and goals more attainable and more meaningful through the combined effort. Usual support make man and family. And so they have decided to join their life together as husband and wife through marriages, more than joining the bonds of marriage of two person is the union of two hearts becoming one in the covenant of marriage. Love is unconditional, and it drives on the joy of each new day. May you always be able to confide in each other, laugh with each other, to enjoy life together and to share moments of quiet and peace when the day is done may be blessed with a lifetime of happiness, a home of warmth and understanding. Rebecca and Derek have written their own vows from their own heart about the promises they want to make to one another to express their love that they have for each other in front of their family and friends. Pause. Perfect. We got it. All right, we're moving to recessional mode. Okay. What do you guys doing? Exactly? What do you guys gonna dio, right? Where we gonna move over there? We're gonna do it. Your lens. You're gonna rack out to 70. Exactly what do you guys gonna dio? Beautiful. Let's do it. Take it from the end of the ceremony when you pronounce them husband, wife, rollem And then why I hereby pronounce you have been a wife. You may kiss your bride riding groom of maid of honor and best man. Come on up. Yea, and cut. We got it. Nice job, guys. All right. Thank you so much. We're still going to use it for the reception, but you guys are awesome. Thank you so much for hanging out here and be impatient with us. So you guys a great rob if you went head over here, I think we have, like, a minute. Yes, let's do that about a minute or so. Ok, yes. So that was the entire ceremony, and it's broken up. You're probably gonna want to re watch that a couple times to really get the feel of what angles get what? And I know they had in the tech loose some really great stuff going on where you can see the you can see a lot the cameras. So you really got a good feel for and then tomorrow we'll be right. So we had two of the three cameras were tethered. You're about to see we're watching a real live switch here. I mean, it's great. I was watching what these guys were getting. They were doing a great job, given the lighting situation. I mean, the fact that the light came out of the end actually looks better now. That did earlier on. So we have the pieces we need to edit tomorrow, Guys. Mike's fail all the time. Mike's fail. Did you see that? My officiant Mike went down. Okay, I would have been screwed. That's why we should tap in. And I probably would have made sure there was a mike up there knowing there's a deejay here, but we have time, so back yourself up.