Lessons

Lesson Info

Shoot: The First Look and Portraits

Here's the plan that I have in mind. We have this big, beautiful room, the same room that we're just shooting him before. But we're gonna use it in a different way. We're gonna shoot in a different direction. So what I have is I have dirt here, standing here. Are groom ready to see his bride for the first time? Okay, Now, in my mind, I have this vision of what I want the first look to be and I'm making it very simple for the broadcast. We try to think outside the box a lot for first looks in this case, we're gonna keep it simple. Derek is going to be standing here. He's gonna be facing away from where the bride is going to be coming in. She'll be coming in from behind him. She's gonna walk through those doors which are way over there, and she's gonna just walk up to him. She's gonna take him by the hand back here. They're not gonna see each other right away. I'm gonna have them talk to each other a little bit, and I'm gonna put a mic on them because that interaction is really good stuf...

f to have for the film, so I'll let them kind of talk to each other for the second. The hold hands and then I'll have him turn and we'll have the big moment. Now. The key to that is getting it on film. All right, Is getting it all to happen as it happens cleanly without having to go through to money reenactments. I will reign at this first look twice on. I do try to do that. And again, we talked about practicing the bride and groom, letting them know that and communicating with photographer because I want to get other angles that I won't be able to get on the first time around. So the first thing I'm gonna do is Michael Berg room. So we're going what we're here to do and I've got my role in our 05 handy recorder. This thing is fantastic. And I have a tram tr 50 microphone and actually need a clip. Can you go in, grab me an alligator clip allergies. Think in the back. You'll see the tram case right over there on the over there. Sorry, babe. Thanks. And in the rush, guys, I just want I just want to acknowledge the creative live crew to make this happen with my three cameras and then they're three or four cameras is really amazing achievement. And I just want to thank them for their cooperation. They've been just fantastic in helping bring the cinematography workshop to you. All right, so what I'm gonna do is every time that I mike somebody up, I definitely want to check my levels first. So, Roland R 05 Okay. And what I'm gonna do is this Go into my menu. I'm gonna format my memory card. He always wanted I always like to start cleaning the beginning of the day. I don't want to have another weddings audio on their because it's much easier. Tell visually what a video clip is from. It's kind of hard to tell. An audio clip is from if you have an audio clip from another wedding. So I like to just back out to the menu, and I'm going to just put it in record preview mode now. I've been burned before. Be careful. These recorders, you gotta hit record twice in order to get to record. I've hit record before and seeing the little red light blinking and thought, OK, it's good. I don't know. It's rolling until I see the counter moving. All right, so I want to press it again, and I don't care what I'm getting at this point. I just want to get it rolling, and I want to put the hold switch on. All right, hold this way. If the groom touches his pockets or touches his jacket or takes the mic off, he's not going to stop it from recording, which is really important. Okay, so I'm gonna take our alligator clip. Thank you very much. Big was gonna drop that here. So this is our first foray in this workshop into miking people up. I'm fanatical about making people up. I'm very anal when it comes to making sure that it's done correctly and that the mike it's hidden. I don't tape Mike's to a body behind clothing. I notice some guys out there that do that. I don't have time to do that. The wedding that usually it za stressful thing to try to do. So I just put him on the outside and try to obscure them if I can. If it's in the shots in the shot. I mean, I'm not going to go to crazy trying to remove it. Luckily, they're wearing black, so blends right. You know, if they are wearing a light colored suit, I will try to hide it behind a boot near maybe just trying to get it out of the way as much as possible. So check check 12 while that's really low. Just gonna drop my and put up a little bit. And I have my headphones here so I can listen to what I'm getting. Check Check. 1212 Having headphones is great. If you're checking the quality of the audio just because there's always gonna be noise around you and have the time, you don't even show here it. So he's checking out only for the quality of audio a lot of time. So check for the Indian towns as well. To make sure you know, there's no air conditioning blasting or heat on. You should get a bum like all right, And that happens to you. So it's funny. The art of miking is definitely interesting. You can see my mike here. It usually takes a good three minutes to get a 3 to 5 minutes, Really? To get a mic on and Rob is just going to show you kind of how we clip. There we go. Tonto. Mike, you're going to want to check. Check, Check. 2121212 So we talked about setting up the mike before I've got my mike gain set the high. I've got my limiter turned on in my low cut turned on on the back of this recorder, and I'm checking the mic and it sounds good in my headphones. I'm very confident on what it's gonna give me. My mike is rolling. The recorder is rolling. I put the hold switch on, and now I'm ready to Might get my groom so I could take off my headphones. All right, there is what you're gonna do. You just gonna You jackets already, But you're already tall set, so I'm just slip this in your pocket, OK? Do you have anything in your pocket here? Okay. No drugs. Nothing is gonna stick me. So this might actually need to be flipped around. The alligator clip needs to be flipped, so and I dont dark if you want to just turn to face the camera a little bit more so that ball Rob makes you get out of that little windscreen on. Not that we really needed in here, but it's fine. So I usually place the mic somewhere mid lapel. Took the wire back behind the Robbie Fund. Right? There you go. Great. And then you're just gonna take that, tuck it in, put it right into your inside pocket. There. This way, it's It's out of the way. And I'm not groping you like a TSA agent. Got perfect. Good. Awesome. Great. Now, at this point, he may or may not have his boot neuron. You know, sometimes the Flores is a result. Let's get the boot, neuron. If the boot near were on, I would just tuck it behind Putin here to try to hide it. But for this case, it's fine. Why am I making him up? Because I want to hear what they're gonna say when she comes up behind him. I'm going to say he talked to each other. Don't look yet, just talk to each other, and sometimes the things that gets said or just hysterical, like I can't wait for this day to be over. It is usually some pretty good stuff, you know. All right, So you gonna turn and face the camera head on just like that? Okay? I need my first crew. Who wants to volunteer to run the main action camera? We got our Ricky. Come on over here. Let's go. Let's what we're looking for here now are planned for this first look, It's the have come from the back doors and she's gonna That's good right there. Awesome. So I have the door framed up. If you look at this camera here, if you guys want take this camera on the tech booth, I have him framed up to the door, is kind of over his right shoulder. And when she comes through those doors, I've already instructed her to take a step to the right and then walked toward his right shoulder. So the idea is, I wanted to come up into the frame behind him in focus My aperture Is that for Oh, I'm really thinking that I could go a little bit less shallow here because I I want them to be Chris. But when she walks up, I'm gonna But my eyes so up to 1000 and four teeth of a second's not giving me, really When I want, I want to go to 50. There we go, 50 at I'm pretty happy with that. I'm gonna magnify on their face just to make sure that my focus is set Looks pretty good. Now, it's very important here that when he turns, he doesn't turn like this, Okay, cause that's gonna put him out of frame, and then they're gonna be facing each other this way. And it's not the shot I want. So I'm gonna instructor when you turn to see her, When you gonna wait for my cue, Don't turn until I tell you to Just kind of important when you turned your basically gonna turn over your right shoulder like that and you're gonna move your body So you just gonna turn in place, like, kind of stepping where you are and just turns here like that. And then once you do see her just kind of stay in that one spot, have a moment. That's it. That's how Instruct him. Just let them know. Don't move around too much. Just kind of turned, But have your moment, you know? And then once they see each other, I will be quiet for a good 30 seconds to a minute. I will let that moment linger until it feels awkward on. Then I go. Okay, that's enough. Cut. You know, let's let's move on to the next thing. So we really want to make this happen in real time. So we've got his shot. All right, But what happens when he turns? Now? I want her reaction, okay? Not hiss when he turns. I want to be focused on her. It's your job that when I say turn, he turns the second you see her react, wrap your focus. Okay, so practice rocking your focus right now on May. Rack to me. Got me 50 it shouldn't be that hard. T judge your focus. Now that's a 1 35 lens 135 millimeter lens. The compression is pretty intense in that letter. So you're going to lose a little bit on the aperture is going to seem like a shallower than it actually is because of the compression. So you got me great rack back to him. Practice that two or three more times This is what my guys will do. We'll take the time, will put somebody in these two positions and just practice that because that rack is really important for this reaction shot over here. And if I walk up to my my camera person after the first look and say did you get it? And she goes, I made him do it again, All right? Just even if it's just him turning this to get that reactions really important to me. I want to nail it on the first time. It doesn't always happen. OK, but a little practice back and forth in your good. Okay, so your rack back on dirt. Perfect. Great. Awesome. You feel comfortable with it? Feel comfortable? Ricky? Yeah. Alright. Awesome. Okay, so now we need his reaction. OK? It's really important that when he turns, we've got it. I've got this great shot set up. We get the Boca from the Christmas tree here, which is beautiful. The only problem is this guy's like, six foot seven, right? So my camera, it's framed out right now where it's like getting his head cut off. Okay, So I it's really important in shots that when you cut back and forth between two similar angles that there's consistency, ones not up here and ones not down here. I level out. I should be cutting across the third top of the image. Top there to the image. That's what I'm trying to frame up. OK, so if you look at this camera again, his eyes really are going right across the top third. That's what I want. Okay, so I'm gonna match that with this camera. So let's come over here. This is my reaction camera. Now you can tell. I put a little thought into the first look at how it's gonna go. That's part of the planet. And just to give you a rough overview Thanks, guys, To give you a rough overview when she comes up. This is cool. This is the main shop. But I've got the shot in mind to have got a wide shot from down here of just for walking by. I've got a camera up in the balcony There were set up next, which is just a shot looking down. So it's really cool when she walks into frame. He's standing there, but she walks up right behind him right. And then, after I get this reenactment shot of the low of her walking past, I'm gonna grab my mount a pod real quick and ask him the grab hands again. Right here. So, how this nice close above them, holding hands right here as they talk to each other and I'll be able to cut this all together. Okay, we're going to do that again. We're gonna man those cameras. Everyone goes online like, Oh, my gosh. Rob just ran around circles, and I've no idea what happened we're getting at one time. So camera one that we just put this unit on. That is usually, I believe, Unit three. If you're looking back from your notes from yesterday said there on the groom, the 2nd 1 is going to come over here. This is the groom's reaction when he turns around. So let's get some guys over here. 10 John, come on over here. Looking to Don and Eric. What? We have both you guys over here on this camera. This camera is Unit two. This is unit to correct. And you know, this is for when Dirk turns around and sees Rebecca for the first time. This is a camera that gets that reaction. Right? Let me correct you. Actually, that is actually Camera unit three. That's what you did. OK, you're also should know better than to correct my wife. Don't even try pointless. I'm just gonna move this over, but I want to frame the tree up in the shot a little bit more getting Usually we're doing first looks outside, so I have a lot more depth to play with it here. You know, it's pretty If you want to take this camera Tech, both guys, it's a really nice shot. I mean, I've got the Boca from the Christmas tree. I've got him framed up on the right side of the image. And what's nice is look at the aperture on this shot. It's not that shallow. It's at 35 Okay. And the only reason I'm at 35 and I'm 1/30 of a second because it's kind of dark from this angle. I know many eyes. So when I can bump that up to 12. 50 and then maybe I'll gain 40 on the shutter. Yeah. I could get 43 5 comfortably in here. I'm happy with that. It's not ideal. But you know what? We got to get things moving. The brides waiting. She wants to see the groom. Okay, I'm cool with that. I'm just going to a test. Hey, Dirk, Let's let's rehearse this turnaround to your right. Let me see how you turn. Okay, Now, right away. Red Flag. OK, now that you really do anything wrong, But what happens is my shot is pretty tight. So when he turned, he kind of pivoted like this. What I need you to do is many turn. Just kind of turn in the same spot. Boom. So you're not really moving your body one way or the other? Okay, so let's go back to your original spot. And I always do that once. Just so I know where is gonna end up really? Kind of helps me Teoh figure things out, and I'm just waiting for the live you to come back on here. Looks like a live you popped off. Um, come on, baby, baby. Okay. When you guys come to address that, All right, so we've got these two cameras set up. All we're going to hear is reframe the shot. Okay, so we know that when he turns boom, we've got it. OK, now I'm gonna go said I need volunteers to go up to the top camera. Who do we have left? Okay, you have three of you guys. I'm gonna send you guys all up there, okay? Actually, why don't we do this? She And if you want to stay down here all how you will work with me on the low shot and the reenactments, why don't we do that? So I said the two of you ups up to the top. You know how to get upstairs. Just ask Somebody out there will show you how to get there. So we'll wait a second until they get up there, and hopefully we got this camera set up. Okay, We will win it. That's fine. All right. So what I would do during this time is just really play it out. I'm just going to kind of take a second. I'm gonna walk through myself just so I can kind of see where make sure my eye lines are good. Yep. Pretty good. Are you guys seeing me right over his shoulder? Yeah. Shoot over a little bit. to catch her in it. Okay, so he needs to come over a little bit, so that's perfect, Ricky. What I would do here is as the camera person on that camera will be your job to correct him. OK, so go ahead and instruct him to move where you want him to be. Straight. Did I break it? Okay. And let me know when I'm correctly framed up behind him. Coming into the shot, you could see how much planning goes into the first. Look, it really I do take 10 to 20 minutes to set it up because I want to make sure that we nailed this. And if you're not, if you don't want to go this crazy with it, you don't have three cameras. And you just trying now a first look. A good way to do it. A minimalist approach to a first look would be Just have him like this. One camera there, One camera here, have her walk up, and you could do it with mono pod. You don't have to really lock down on tripods if you don't want to and be this intricate. I'm a perfectionist when it comes to this stuff, but you could just haven't come up meat and react having across shoot and then maybe reenacted once, maybe with a Steadicam or something like that. But whatever you're into, I mean, you can adapt this format, you know, to what you do, and this is a very standard first. Look, guys, I like to use elevators. I like to use old vehicles. Like something that means something for the bridegroom, Like maybe a special spot to them and that we're able to access that spot on the wedding day. Things like that. I want to be special. This were just for the broadcast. This kind of giving you an idea? How we doing over there? Ricky, You're good. So when I walk up here Perfect, Dirk, turn again to see how you turn. That's what I want you to write. Awesome. Perfect. You turned right back around your your awesome. That's great. Okay, we do have Arthur guys up in the balcony here and what they're getting, and I believe they're tethered up there. They're getting a wide angle of the whole things. They're going to get this aerial view of the bride walking up with this and they'll stay focused on under. Come up there right now and help him out if you want for the reason why we do that. So what this is is you know, Rob is usually shooting with third cameras. Thief shots go quick, so you need to have something interesting to go to. So you've got the shot here. That anticipatory kind of emotion on their face. We've got this camera that's ready for the turnaround, but this is not gonna be an attractive shot of the back of Dirk's head until he turns around. So we need another angle. And that's where this comes to play up there where we have in the balcony. Nice overhead view. You're going to see the motion of her beautiful dress, you know, kind of coming behind as she goes to tap him on the shoulder. So I think you can see Rob up there. Now, you guys get up there. Okay, So All right, so they got you focus around him. Good. All right. So first thing I notice is the white balance on those cameras off. So we gotta change that. And Ricky, tell me what that was got down there. John What do you got over there? 4400 Outside against pretty much what I dialed in here. Right, 42. Let's go. 44. Good. And you are? We are getting a little flare. Let's move the camera over a little bit. This way. Okay. So we're just kind of what we're doing now is perfecting this overhead shot. I really want this to be dynamic, and that looks pretty good. Cool. I just want a different angle. I'm only going to use this shop for like, a couple of seconds. You know, it's not gonna be anything crazy. And to five, there were 32 5 800 on the S, so I don't wanna be that shallow. So I'm gonna drop this down about 40 and increase my ice over 12. 50. I know I'm really cranking up the I s o. In here, guys, but honestly, I want focus. Focus means more to me than than the noise. Right now it's pretty good. And we saw a little bit of lens flare, but I'm just gonna leave it. It's fine. Nothing too crazy. This is just for illustration purposes anyway, so all right, so if you look at this shot, guys. And if you take this camera, you may already be on it. I can't see, but anyway, it's just a nice wide shot, dynamic angle. I might tweak it a little bit more of his feet so you can get the banished. They're here. What you kind of like, actually, and let's see if we can't. You know what? Now that lens flares really? In the way, Let's move this over limit. And yes, I am being a perfectionist about this. Now we gonna post in the way. Let's try that. There we go. Yeah. And again, I'm moving much faster than this. The day of the wedding right here. We're you know, we're battling with some other things. Okay, Cool. So since Vanessa's right there, Vanessa, walk up behind me to see, look a little closer to home, and that's pretty good right there. But I'm running the risk of having the bride out of the frame by accident. So you know what? I'm gonna change my mind. I'm gonna recompose the shot. So now I can see Maurer of the bride walking up and I like the shot. It's cool. It's different and it's symmetrical. You get the carpet is sort of symmetrical in the frame, that which I really like. OK, so this cameras now all set up. Do you guys see what I just did there? Basically, I went around and I checked all the cameras to make sure it's what I want. I do that on the wedding day. I trust my camera people. But ultimately, this is my name on this video. I want to make sure that it looks as good as it possibly can. And I want to make sure there's no problems, because the last thing I wanna do is have the bridegroom have to re enact When I told them we're only gonna do it twice to make him do it three times. Okay, I want to be true to my word. All right, so I'm gonna come down and we're gonna get this thing going right? All right. So what do we what we're going to do while Rob walks down? Is all of you guys on cameras? Rob is going to give you a signal. So when he says to record, you're gonna hit the record button and make sure it's recording that happens. You know, little things These little mistakes actually happened, so make sure the red dot is at the top right of the camera. We will all record at the same time. And we will instruct Rebecca as she walks. It will instruct the bride and groom during the first part of the first look. Hey, Rebecca. Just walking slowly walk up behind him. Greek crab, this hand Don't turn around. Just talk to each other. So we will walk them through that. But then when he sees her for the first time will shut up Because we want that part to be a nice raw emotion. We want that Teoh really unfold without our interference at all. So you ready when you walk to him and he'll he'll actually just move out. So So what's gonna happen is I was just talking to the bride. I was just kind of instructing her on what I want her to do, because it's very important that when she walks in to see him and she's all excited, I can't wait to soon. What? We gonna do something? Listen to me one second. What you want to do is when you come in. You know, she's gonna make a 90 degree turn, and I wanted to come into the frame. So I'm instructing her to come to this point, turn and just walk right to him right along his right along his right shoulder and get to this point, and then I will give them further instructions in there. Okay, That's a simple is. It's gonna be Ricky What? Your white balance. But he got all right, we're all set to go. So we're gonna let this Sunday, We're gonna let this unfold in real time, and then we're gonna re enacted twice. So you ready to see your room? You've been living with him for a while, so All right, so this point, I would just give a one last check. No, just wait for my cue. I'll tell you when, and everything looks good. You guys all set Camera one, set number two, set. Go ahead and roll. Let me know when you're rolling. And what I actually do is I'll ask my crew to give me a speed and action. Let me know that they're rolling. Yeah. Yes. Guys. Okay. Areas. Okay. Looks good. Are we rolling? Where's your now. Very important guys. Camera people, hands down. Your shots are set. There's no reason to move your shop unless something terrible happens. And what I mean by terrible is she comes in and she's all the way over here. If this happens, if the bride comes in and the shot is this if she didn't listen to me, and she does this hollered out, hold it, and I will move her back and do it again because, I mean, I don't want him to see your yet until they're right in place. Okay, so we're gonna run through this once, and let's see. Let's see how we do. Hands down the cameras. Everybody rolling. Stand by. And whenever you're ready, let's go see your girl. Here she is. He's gonna make a right angle. Looking good. Ricky, sweetie, you're gonna go right up behind him and you stop right there. Perfect. I want you to take his hand. Reach back there, Talk to each other, guys. Alright. On the count of three, Dirk, you're gonna turn just like we rehearsed. You ready? On the count of three. 123 and turn. And I know you guys can't hear what they're saying Because they're not Mike for you guys online, but it's just we let them just talk here and let them interact with, um, you know, be themselves and have that really emotion of the moment. That's why we're being quiet for a second. Mother Rose way here with We'll be able to hear what they say later on. That was good. Camera people wasn't successful. Yes. Yes. Good. Ricky. Good. Alright, Awesome. I'm happy. I really was watching through camera two over here. Everything looked phenomenal. You guys were great. So I'll let them. I'll let them have their little moment. It'll take a minute or two, and then I will say Okay, We're just gonna react twice like we talked about is okay. You guys feeling good? Okay. We'll get you some drinks soon. Derek will turn right back around to where he was before, and I'm gonna bring our lovely bride back outside. Okay, cool. All right, so at this point, we're going to our first reenactment. So on Lee, a couple things have to change here. Okay. I don't want to go too crazy changing up all the cameras. Right. But I wouldn't would like to get a couple of different angles for the second go around is making sure that nothing else is in the way. The first. My main shot here. What I'm really looking for is when she's walking past up to him, I'm gonna have a camera low on the floor there with a 24 millimeter lens getting this whole scene, okay? And she's gonna be pretty small in the frame, just walking past, okay? And that's it. That's the whole shot. And then I'm just gonna pick up my Monta pa. That's gonna have another camera on it. We'll switch lenses real fast. Remember when they grabbed hands when they did that? I want to get a close up of that to cut in there. All right, so that's my goal. So this camera, we're gonna take it off, and we're gonna put it. Actually, we're gonna use Where's the We're going to that camera off. So let's take that camera off and pop that off. Yes, we're gonna use the slide. We're gonna move this camera out. So at this point, my crew, because we've talked about what we're gonna do for the first look beforehand, I'll say, OK, next shot. They know this. Cameras gotta move. They know sliders got to go down here with they know that cameras had to come off out of the way. So let's do that. You guys could move this one out of the way. Rick, You could bring that on over when you're ready. Great. Got a slider down here? There. Will that reach 24 millimeters lens? Fantastic. And if you could have me a 50 millimeter lens ready to go that great. That would be my assistant in that role. Helping me out. Do you have the wireless tether there? Who has the wireless tether? You guys are wireless. Which one's the wireless? That I thought it was this one balcony. Okay, now all the seeds of Heather. You know what? Let's put that one back. Let's use the one that was over here. Since you know that's fine. We'll just use the wired. Not a problem, Not a problem. This is called being adaptable. Be flexible. If something doesn't go your way, don't freak out about it. And I know my cruise at home laughing right now. I just want to rob your real good to keeping your composure while Rob sets up this camera that he's gonna set up on the slider. I just wanted to mention the one thing that Rob asks the photographer if there is a first look is for the control of that first look, and I bet a lot of you have questions as well. What is if it harder for do? Do they have a problem with that? Do they fight with you on that personally? And with most of our experience, I find that the photographer likes it most of time. The photographer is the one who's posing, so it's kind of nice to have a break for a second and not have to coordinate everything. The day, the wedding. So what? I always tell my crew when I'm working with Rob so that we're not in any of his shots, either. You'll notice all of his shots were on one side of the bride and groom. Nobody was on the other side of the bride and groom. So when, um, sorry gonna get out of your way. So what I do is I tell my second photographer you're going to go over there with the unit to and they'll stand right next to Rob used exact same one. My personally usually go wherever Rob is going, and I will shoot from those angles. And if I have 1/3 they go to where Unit three is. So it's nice because I'm getting all the same angles as Rob is. So I'm getting all these same good angles and at the same time, nobody's getting in each other's way. So Rob, you have the Synovate. This is a Synovate Atlas Flt slider. It's a phenomenal slider. I love this slider. It's so small on lightweight and portable really is great for quick changes like this. I don't wanna be dealing with a really big, heavy rig when I'm doing this. This this particular shot. We're trying to get the tether working over here, and once we do, you'll be able to see what I'm doing here. But what I was looking for here is a shot by walking past. But I've got this stuff on the ground. I've got, like, some wires and stuff, and I don't really want to keep those in the frame. The unfortunate thing about that is the unfortunate thing about that is I do want some foreground. A slider shot is really only effective when you see movement of the camera. If I'm pointed up in the air and sliding, you're not really seeing any movement of the camera. You might see a slight movement, but dynamic, it's not really that engaging. So to counter that, I'm just gonna find some foreground here, and we'll go back to our trusty points out of place. Okay? I really make use of my environment. I am not shy if we go into, like, a university to do photos and this plants, but I'd like to see the plants in a different spot. If I don't think I'm gonna get in trouble, I'll move. Do you want them in front of wire? That's what little space in between. Okay. All right, cool. And we got a teller going here. All right, all right. All right. Rob, we have a quick question. Yes. Yeah. So, Rob, on this angle over here When she came in on that first shot, it was perfect at first. But then we ran into a situation where his shoulder was a little like right here on her mouth. Okay. How do we play that out? We're gonna re enacted right now. So to shift your shot, reset it to where you think you want it, and we'll get it again. Not a big deal. Yeah, the reenactment. In reality, if that would have happened, like my crew knows that would happen. Uh, don't stop them. Because it's the real moment. You know? I'll deal with that for a second. And was, she's really obscure. Cut to a different shot. Remember? I had the shot over here and I got the shot up there. And then if she my crew would adjust in that situation, they would say, Okay, let's move over a touch rerack my shot. And I'm good, you know? So don't like I told you not to, but my crew is experienced enough. They know as long as the other shots remember this thing when you're looking around and nobody's touching their camera, she would know, like, Okay, there's nobody talks in the camera. I could move my shot re racking would be We'd be set. Okay. I'm guys. When I when I do this, I'm thinking about the widescreen format that I use. I use a to 35 to 1 anamorphic, widescreen, all my films. So I see a wire poking up here. But when I look into my viewfinder, it's being obscured by the by the letter box frame, and I'm going to crop this even more so. I'm really shooting wider than I want to, because I know that when I crop it, I still want to see the whole fireplace. And I know that this will give me a really nice dynamic shot. So what I would do is I would ask somebody Leo, desk one of my crew members, probably to come stand where the bride would be. So just stay right there in turn and I'd get a focus. And again this would have been done ahead of time. So I'm gonna be pretty non shallow here. Being down on the ground like this is sort of part of my job, and it sends always filthy. It's good to be not shallow here because undoubtedly the bride is not going to walk in the most perfect straight line. She's not going to go in the exact same spot that you told her to go into. So good, good to give yourself a little bit of leeway there. Great. I also know that the slide is gonna move from left to right as she's walking. That's screen direction. Why am I going from left to right? Well, her motion is from left to right. Okay, there's a whole theory about screen direction where positivity moves from left to right and showing in like, you know, forward moat Movement into the future is a screen direction that moves left to right in filmmaking. Screen door on the right toe left tends to be regressive. It tends to be more of a negative feeling, and these are. These are very subconscious, very subliminal things when dealing with with screen direction. But I am taking this into account, um, thinking filmmaking here when she's walking toward him. I like the fact that the cameras kind of tracking with her. If I move the shot the other way, it's almost like it's count. It's it's working against her. It's almost like it's actually moving against her, giving a negative feeling. I'm getting really deep there, but I do think about these things when I'm shooting. I really want things to look psychologically satisfying and That's what I'm going for now. I just took a long time, said that reenactment. I would not do that on the wedding day. That would have been planned out in advance. The camera would have already been on the ground set up ready to go. And the second that they were done, I would have brought her back, walk up to him again. So let's record this. So maybe the same exact thing that you did. So when you go up to him to stay a little bit more off to the right, just a touch and you walk right up to him. That's it. Here we go, guys. Yep. So All right. Every role going out rolling. All right, stand by. Head on. Wait till she gets almost right in the frame. Perfect. Stop right there. Don't turn. You do alright. What I'm gonna do. Everybody saw. All right? I'm actually gonna take this camera. I'm gonna pop on a 50 millimeter lens, John, you very much. And you know what? I'm just gonna do this without you. Know what, John? You just hold it together for me. That'd be great. My mama pot, if you don't mind But do you know where that one too? You the man. Thank you. Awesome. So what I'm looking for here again? This would go much faster because we're not dealing with wires there. The wedding. I would've literally popped off, grab my lens, gotten on the launchpad, ran over here. And this is gonna be problem. All right, so this actually cool angle from right here. So what I'm gonna do is when I say go, you just gonna grab his hand like you did before. Just hold it and not gonna turn yet. You stay right where you are. All right. So here, I need to be able to see that monitor. You can step over here. Good. OK, so when you're shallow here, it's a close up shot. I wanted to look a little bit more intimate. I'm doing this by I, Okay. And I kind of feel grab his hand ready, get rolling here. And if you guys want to roll your cameras go yet you can roll your cameras up there. I'm probably in your shot up there. I'm not beautiful. Stand by and I'm trying to focus here and guide groups here. Nice play with his fingers a little bit. Good. Stay right there. Now I'm the backup camera one. You guys gonna stay where you are? Number three, I should say I'm gonna get the shot from right here. I'm already here. I might as well do it right. They got the second. He hasn't turned in senior yet. Now, I know you've already seen each other, but when you do just trying like you did. Okay? I'm just waiting for the tether here on. OK, there we go. Good again. I'm keeping my focus a little bit shallow or my sorry. My field. Use my magnification tool to get in there. And when I say go, you're gonna turn. See her again on the count. 312 and three. Go. Beautiful. Great. Okay, good. Stop rolling. Perfect. That's the second reenactment. Now, from the time they first saw each other to that point would have been literally about 45 seconds. It had been fast. I don't want to take too much time upon reenactments, but we're teaching. Yeah, what we're going to do right now is Rob is going to get on the canvas. What? You go ahead and do that I'm going to take some questions because I know you guys are itching with questions out there. So I'm gonna take infield questions while Rob goes and gets the like, canvas ready. Does one more reenactment with the glide cam. He's going to come from behind her and do a couple of shots where he's in front of her and they're walking towards Rob with the glide canvas. He's walking backwards and following them and then also getting the behind shot as well. So we're going to do some questions. I know they're probably peppered with questions on the Internet, absolutely excusing one of the main questions is about audio and with your camera clicking. I love that question. Rob and I fight about this all the time. The question about audio is, Can you hear my shutter click? And the answer is, yes, you can. So ah, lot of times, usually in the morning. If the bride is reading it card the groom gave her. I need to get that reaction to and I tell Rob that you know, I have to get that emotional reaction to so that kind of stuff is the reason that he will have the bride read over that card just for the audio so that he can put that over while I'm clicking and kind of get rid of that for this. It's not so bad because the group is miked, so the bank is not gonna as much pick up my shutter click. So, but that is something to be worried about. If some magical moment happened and the photographer is clicking, you can't tell them not to take pictures cause they need that magical moment, too. So try to get some other salmon there to be able to edit it out later. How do you work in a congested room? There's a lot of extra people in the room. How do you go about getting the shot? How we're doing it now because this is a very congested room, so wider angle lenses are always a plus. We don't want to get too wide, though, because it's not very flattering for the people that you're photographing. And again, we're in the crowded room. Maybe there's three photographers N three videographers. I have the photographer stand next to the video art IFOR's to eliminate some of that congestion. So again, the question about the slider do from Gen. Barnes. Do you ever use the slider on a tripod, or only on the floor and tables? I will use a slider on tripod from time time or two tripods and give it more stability just depends on where I am. If sometimes when you do with on site ceremonies, it's nice that had it in the back. So you're kind of panning over your sliding over people's heads of the ceremony. That's a really nice shot, and I definitely do that. You'll see. When we did the room details and beauty shots of the room, I will put the slider up on a tripod and use it to get my table shots. So what, we're going to Dio you can see Rob has like him on. We're gonna really quickly, very quickly do this last part of the rack reenactment of the first look so that we can get to the photo session and just doing some stuff. Photo session is great. Just for that, he rolled cutback Teoh at any time. So what I'm gonna do, what we do at this point is clear. Everybody out because I don't have a 35 millimeter lens on. We'll be tracking with the bride, but I need everybody on the side that I'm not shooting on. So I would just ask everybody to go that way. And I would bring in my bride back out again, and I don't eat dirt. You could just stay where you are. You have to turn the other way. You're fine. Just like you are so un. Come with me and I'm not gonna go out here. You want people to see me for a second, but you'll be able to hear me. So I'm just gonna bring you out, and I'm gonna have you walk into the room. Coming from you know what? I'll tell you what. That's perfect right there. Let me just get my focus. Come on out. Right toward the door. Here would be great. Perfect. Okay, so you know I'm not tethered, so you're not gonna be able to see this. But tomorrow when we do the editing, you'll see this shot. What I'm doing is I'm gonna track with the bride. I don't wanna be too shallow, but I do want some sort of depth of field with the shot. I don't want to look like a video camera. Okay? I don't want to be I don't ever fly it F 22. Okay? I don't want everything in focus. I mean, you do have to maintain equal distance when using a tractor like this from a subject, but I'm gonna just do the best I can to keep our in focus. And five, which I think is a relatively nice step the field for this for this situation. So what I'm gonna do is gonna do the same thing. But you're not gonna look. It may look a look past me as you're walking, so we'll come up, will make the right turn, and then we'll move toward him. So I kind of look over there toward him. Ready to go. Good. Stop right there. Whoops. All right. I'm gonna move these out of the way. There's always something standing in my way when I'm trying to fly. It's like I can tell you many times I tripped and made an ass out of myself. Okay, So you just gonna walk toward him when I say go? So I'm 60 at 50 12 50 on the ice. So it's a little bit hot, but it's OK. Go. You're all set. Good. That's it. First looks done. That's it. That's my third reenactment right there. I'm not gonna go too crazy trying to do three sixties on them and all that. By this point, photographers like. Okay, that's enough. Let's go. Let's move on to something else. Okay, let's go s That's any questions about the first looking general. Then that was probably twice are almost three times as long as it would normally take. Yeah, I think we probably have some questions online. While they're getting set to have any questions of anybody down here, there's no we're good here. So, uh, so can you tell everyone again? When exactly does this happen? Generally speaking, the first look, I am usually responsible for planning out the wedding day with the bride. I schedule first looks two hours before the ceremony takes place. It gives enough time about 20 minutes for the first look. An hour for the bridal party, family photos and the bridegroom alone. Okay. From our rainy does Rob estimate the letter box on the LCD or you something like Gaff tape to simulate it on the back of the camera or is letterbox. Justin Post. It's just post, and I will sort of gauge it as I'm shooting. I will. I kind of figured 20% on top, 20% of the bottom somewhere around this pretty safe zone. And I'm really only thinking about that for wide shots when I'm doing intimate close up shots. I know that when I apply the widescreen, it's gonna zoom me in a little bit, which is kind of cool, which is fine. I'm keeping that in mind. I'm not as concerned is when I'm trying to show a scene from a wide shot. I think there is going to get to the photo session. Now. This is the part where I'm going to pose very traditionally. So I believe that you're going to have one camera, the camera current stick with longer lens, Right? So what I'm gonna do is I need a volunteer from our crew. I need one of you guys that go ahead and grab one of the cameras and put it onto the mono pod. And at this point for photo session, the way I shoot is one person's usually on glide cam and the other person is doing close ups with the mono pod and doing slider work. I'm gonna let them. I'm going to let them do that for now. What? I'm gonna do the glide cameras to show you how I would work in this situation. And then I will jump into their position and show you how I would shoot close ups and things like that. At this point, I let the photographer take control. I am not going to sit there and try to direct the photo session after. I just took 15 minutes to do a do a first look. All right? It is awkward to directors. Absolutely. And I really am very lenient about that. I'm not gonna be. I'm going to get what I need. I'm gonna show you how I do that. But if there's time toward the end of a photo session and we plan the day correctly, I will have my own 10 to 15 minutes at the end of work. Sometimes happen all the time, but it does happen. So point, we're just gonna let Vanessa take takeover. Yeah, So I'm gonna have you guys actually not too far from there. Just take one step this way on DWI are posing very traditionally here. So I apologize if you take one step towards me There. Good. Even a little bit more. Just with this one foot on the side? Yep. Stuff under her dress. Good. Turn towards her. You're gonna button up your jacket and we're going. You have just just one button. It's fine. You're gonna put one arm around her. Good. Normally we would have of okay at this time if we don't have one. That's okay. This hand is actually gonna hold hers just like that. You love that. And you guys are gonna look at me for one going back up, and I love it. I'm just going to get my exposure. I tend to ah, adopt Rob's way of getting an exposure. So I just look at the back of my camera, uh, for my white balance and also for my exposure, so they look good. Nice. You guys are gonna look right at me. Perfect. This is serious, Traditional. I have got a Christmas tree and Christmas blocks behind them. This is, like, pretty serious Step on what? I'm doing it because I know she's posing. Traditionally and I'm wishing that she had the moving around and doing all kinds of self. I'm doing half circles around my bridegroom just trying out there and focus on my 0/60 of a second. And I'm just sort of doing these nice, slow movements. And I'm hoping that my photographer is going to say, Hey, guys, look at each other and interact with the Children and that tends to be like that Quick. Three pictures. Every photographer says. You know, if you're gonna shoot, traditionally, look at me, look at each other and kiss. So that's organ. Do so. Look at me. Look at each other. Guys love it and kiss perfect. And at this point, let's hold that kids do that warmer time cause Rob walks into my picture and that happens. I'm gonna grab my 85. And you know, this is very indicative of what attritional photographer would do, you know, same exact pose, not even moving and just going close up and wide. So what? I know Rob would probably do at this point as well. He's doing the glide cam, but somebody else would have a long lens on, and that long lenses you know, their hands are great right now they're intertwined with each other. Sebesta Great. Close up for Rob to be able to get and because he knows I'm going to make them look at each other. A nice close up, maybe on the bride's face to the groom's face as they turn and look towards each other is also agreed. And what? I'm looking for us. I'm doing these shots. I'm looking for Sun Flare. I'm looking for really nice, pretty beautiful beauty shots in here. You know, we're a little limited, but it's it's That's when im that's what I'm aiming for here. I'm gonna do whatever I can to try to get as many nice shots in a short amount of time that I could get. So, uh, Derek, I'm gonna have you take a little smidge of step just towards me. So there again. Nice. Nice and close to each other. You can look at me good. Look at each other nice and kissed. Perfect. And by the way, this is traditional shooting. I'm not saying this is bad shooting by any means. You know? It works. It works. So one thing. Yeah. Keep looking at each other. One thing Rob but I like to do is just Hey, just stay there and talk to each other guys. And if Rob is working with the traditional photographer, it's not a bad thing to do you like, Oh, I love that. That's great. Keeping their keep talking. I'll interject once in a while, just very kindly. Wait till he's going to change my battery, give me a different lens and seize that opportunity. Say, Hey, guys, keep doing what you were doing that was perfect and let them do that and I'll shoot it while he's doing his thing. And then there's never a problem. I'm going to do one, not extradition picture. Just look towards each other like that, guys, and then almost touch foreheads. Get nice and close. But Rebecca, you're gonna look towards me. There you go. You kind of look down that way with your chin a little bit more love that good. And then just your eyes up to me. Perfect. And for those of you are probably wanting to see these pictures that I'm taking. Don't worry. Tomorrow I will probably putting together a movie poster for you. So you will see some of these pictures that I am taking. Hey, guys, can I just have you guys turn and just hold hands and walk toward me? That's it. Nice. And just walk, look at each other and walk toward May or walk past me Actually got good, thank you very much. So that's seize that opportunity for 10 seconds. And I got a great shot and it didn't interfere with her. What? What anybody was doing. We're gonna do the exact same thing. But this time, Rob is going to go on to a camera with a longer lens so that you can see those kind of close up beauty shots that whole get during this time. So, you know, I'm gonna keep you guys right there, because I like it there. Better take a little time, step towards me on what you're going to do is really do that traditional thing. We're gonna turn towards each other, love it. You can put again normally have OK, But you know what? When you just grab the side of your just very cute kind of like that Good, even. Well, but more Ben and then just hide your fingers here. So I don't see them. Good. And you do the exact same thing. You're gonna be looking at me first. Uh, Rebecca, turn your body. This is a little bit nice. Sorry. Good skin by exposure again. The not in the best light in the entire world. But that works so good. You guys are gonna look at me. Look at each other. Nice. Stay like that. I go forehead to forehead. Beautiful. I love that. There's beautiful light behind them. Some nice ambient light. Good. And then give her a kiss. Nice. And then drive. If you want to talk through, you keep doing what you're doing. I must tell you candidly, here because the idea is to show what I would do anything while you're working. So? So if you guys wanna tech Booth, you can just grab Rob's camera and I'm going to continue to talk through, you know, the bride and groom of what they're going to do while you can see what Rob is doing there on the camera. So you know what? If I could take a little step towards e right there, just like that, just hold hands in the back. Good. Love it been arable. A little bit more. You're gonna look actually towards Rob. That's gorgeous. Yep. And just stay nice and still now, she just instructed the bride to look at me. I don't want that. All right, so I'm gonna move out. Good. Nice stuff. Syrian. Look right here at me. Good. Come look over your shoulder. That way they're just smiling at your beautiful bride. Love that. Good? That kind of looked down at the back. Your dress? Gorgeous. Love that. And then look up at me from there. Such a gorgeous, gorgeous like they're just come behind her. Give her, like a big bear hug. There you go. Just big squeeze. Get your head on one side of the other. Hers. There you go. Nice. And kind of just snuggle together, getting nice and close. Beautiful. Since I simply can't resist, I have to do some fun activities. So, basically, now, that was a nice way of asking the photographer if you could just please step out from one second, guys, just keep doing what you're doing. That was really nice. Good, nice. Good. And I realized this is not tethered. I'm getting like, just, um, just getting some different negative space shots and just trying to keep it not so shallow here at this point that these wide shots good. Well, I like the fact that they're working with their hands. They're movin. I'm gonna drop my depth of field down. A like to to That's it. Guys, I love just play with her hands a little bit. Good. You know what? You guys can see this. You'll see it tomorrow when we do the editing. All right, let's give a little kiss on the cheek. Nice look about him. You forgive her. Look. Yes. Nice. Uh, gorgeous. You guys are good. I love the deformed time looking up and the way Rob is directing right now. That is how If you are working with a photographer and they do that you have that little moments of control or a couple minutes at the end of the photo session. That's exactly what he'd be doing. Them probably a little bit more walking away, walking back to get the motion. They just see how we work. And I would probably spend a lot more time on the city. Can too. So I have a lot of glide cam shots and have a lot of easy. Next mix of the two would be some slider shots. And remember, there's two of us shooting at the same time here. Okay, You want to get a couple seconds, let somebody else shoot and just maybe let me take a turn. Why don't we do a couple of walking shots? We can set the glide cam appear. I'm sorry. The spider. Yeah, that's great. I'll give this to somebody who also shoot anybody who hasn't done the photo booth of what Rob would be doing if he had a little bit of control at the end of the photo session. If you'd like to do a lot of stuff with movement. So what you guys are going to do is just take a couple steps backwards. We want to make sure that you give enough room for the movement. So what you guys were going to do, you're gonna walk towards us very slowly, Look anywhere but at us, though, so look to the right to the left. I like to tell people to do circles with their head like, look up, down, around kind of goofy, little bit. Stay just like that, though. I'm going to grab my 50 millimeter lens if someone has my 50. Wait, a lot of those. Okay, this this shot get the tether over here without people. I don't if that's possible. So the wires holdout. All right, you guys go anywhere. I would love to be able to show you on example of pre focusing here. I know what's what's gonna happen here for me to get the light in this room the way I want it, I gotta be it like f four. The problem is, if they're moving towards me, doesn't give me a whole lot of play in the focus, right? It's only a pre focus sort of on this area here because I'm seeing all of this and I love it. I'm pretending that lights out there. So basically, when they walk into the frame here, it's just Damn, that's their focus. And I'm pulling, you know, that whole time. All right, you guys. Right now, while you're standing there, just look at me and then look away from each other good, and then look towards each other nice. And then give her a kiss on the forehead. Gorgeous. Awesome guys, okay. I'm just waiting for the all right. So, again, when you guys walked towards us, what you're going to do is just a nice slow stroll looking at each other big smiles. And really, you can animate it up a little bit, you know? Ham it up. Have some fun. Just whether you guys holding hands like that. Perfect. There we go. OK, All right. Hold on one second. My eyesight was really crying. I'm gonna drop that down. So about six, when this pops on the screen, you'll be able to see what I'm doing here. But I'm basically at 65 with 6 40 on the ice, so I like to have a little bit more shutter play, So I'm gonna bring up my I s O to about 800 I'll give me 80 on the shutter, which I really, really like. I'm happy with that. And I'm gonna magnify on the floor here and focus the floor because that's where they're gonna walk into. And I'm pretending that big lights out there that's trying to shoot the whole scene. I would normally probably do it. Frame it up like this. You see, the crew and everything. So I'm just gonna just for the sake of this, I'm just gonna leave it here and I'll start rolling now. You should be. You might be able to see it now. Oh, yeah, I know. You're good. You're tough. They can see it in Texas. All right, great. So on Capitol, you guys even look at each other and I'm gonna walk. Go ahead. Nice. Good. Very basic shot. Very simple. A little bit of a poll on the slider with a wide angle lens 24 millimeter lens trying to get the whole scene in there. You know, we're always looking for big. I like big, epic shots. I'm a big, epic shot kind of guy, like looking for really, really extreme wides and putting my subjects in there. I just think there's something so cool about that. When you cut from extreme wide when extreme type, it just slams the I am. It's just really, really fun to do. We're going to just do the same thing. Have them walk, but as well Let me get my Let me start rolling here for the cameras. Just how you are is fine. A lot of times probably uses walking away shots. That's sort of a transition shot. We didn't get Teoh due to many transitions shots, but this would be a really great one having them walk away. And you guys just gonna walk out and just walk out that door? Yeah, The side one, Rob. Does that work for you? Oh, yeah, that's good. OK, yeah, It was good. Still looking at each other. Good. Okay, now, honestly. Well, I'm shooting a photo session. I'm frantic. I'm back here on there. I'm here. I'm there. I'm switching lenses. I'm switching cameras again. The tether just kind of keeps us a little more grounded, but I am moving very quickly on dime. Really? Like I exit like I showed you before taking those little 10 seconds of time. Teoh interjected, Do something. I want to do in between what the photographers doing. I do that a lot, almost to the point where it's like I got to be careful not to step too far, but it makes my films better by doing that. And I certainly don't want to annoy a photographer, step on his toes. But, you know, during a photo session you got to be assertive. Otherwise, you're not gonna get what you want. You're gonna end up sitting there with people in your shot running across. And it's so frustrating the edit when you think you have good stuff and then you get home and realize this is people everywhere. It's not the beautiful shot that I thought it waas. So I really think time to to go through and and make sure I'm getting what I want. So when I was driving home that day after the wedding, I want to feel like I got it. It's a gay man. I really feel like about nine or 10 really solid shots from a photo session. And I know my second is doing an amazing job because he's very good at the close ups and looking at light in Boca. He's so good at like at beautiful a couple shots of motion. And like just the slight camera movements and pan ups and beautiful like he's great. He sees a light amazingly so. I know I can trust him to do that while I'm doing the wides, the slides and that sort of thing. So it's a team effort. It really is a team like Rob said before, you know your other shooters use their street. Obviously work on their weaknesses, but for the majority user strength. So I think we're gonna get into questions. We have our studio audience here. We have questions here. Look, we'll grab them a mike and see if we can get these questions. I know. I'm sure the Internet is just peppered. Short questions. You're so on TV. Well, they've been seeing the logo buy underwear. Oh, great. Awesome. All right, so we've got questions over here. No, I don't think I don't think I don't think I don't think we had a question, but I think we were all kind of in awe how? Rob was flying around and you two were working together and how great that was. Yeah. I mean, it really is. I love when I allow people to come on the jobs with me, um, justice to observe and learn. And this sort of audition for that fourth shooter position. That's what they say. They're like, Wow, I can't believe how much you accomplished in a short amount of time. That's what we're going for. We really are trying to squeeze maximize time we have. This was like a luxury to have this much time for a photo session. A lot of times, as you all may know, you really don't. I always get a whole lot of time. We try to schedule with it as much as possible. But some days the bridegroom don't want to see each other before the ceremony. And then you know, you get out of the ceremony is a full Catholic mass, and they did a receiving line, and then you only have an hour. Plus, you know, including travel and some of our jersey brides. When I go like two locations for photos, that's like you're leaving yourselves 15 minutes and photographs so it doesn't get a whole lot of time. That's why it's so important to focus on this story for me anyway, my style. This may not be your style, maybe somebody else's style. My style is very story heavy dialogue, because I mean, I don't always walk away with a wedding with every beauty shop that I that I wanted to get, so I'd rather have that story to fall back on. All right, so let's go ahead over to the Internet, and we can grab some questions from there. Okay, we've had a lot of questions. About what If they really don't want to do the first look before the wedding, would you do it after to reenact it? Just focus more church. Would you do? Yeah. One thing we do this story scheduling, actually Rob and I, especially when we sit during a consultation, will go over this during the consultation. So sometimes that's a red flag for us. If they, you know, just don't time their day well, but we don't force the first look. What we do is we say, what time is your ceremony? What time is your reception? And if it sounds like there's enough time, great, We don't even say anything. If they're doing their ceremony at their reception hall location, Um, I say them very subtly. Oh, great. Are you going to see each other before to take pictures or all during cocktail hour and what's going through their mind? They don't want to miss their cocktail hour. So I basically tell them like, Hey, you need to see each other before or you're gonna miss your entire cocktail hour and most the time. They end up opting to see each other beforehand. We don't want we don't want to take them away from their content lower. Spend so much money on it and it's the best food of the night. In my opinion, I don't want to miss it. And during that time, usually starting the same day edit or lighting the room and we're giving face time. I don't want to forget that stuff either. So it's a balance, but we don't push anything on anybody. If somebody says I mean, you know, I'd rather not do that. Okay? No problem. Fine. We'll focus on something else. Is the story right? Be flexible. You got to be flexible and that that's kind of what I wanted to get to with if it's not part of the story, If they didn't do it for real, would you know I would never do because they don't. If they didn't do a first look, I wouldn't inactive first. Look, that's just OK. So a lot of people have been asking you, Rob, what do you actually wear? Just exactly like this? Perfect. Here on the ground, You know, you're crawling around what do you wear? I wear black pants and a black but no shirt. Most of the time. If it's a super super hot day, I'll wear a black T shirts for the photo session, and it depends on where I'm. If I'm at the Plaza in New York City, I'm not wearing a T shirt. If I'm at a really nice venue, I'm not gonna dress down. I always, you know, we try to wear, you know, button down collard shirts at all times. We don't wear polo shirts. We want to keep it trying, trying to be a little more formal. But on a really hot day outside, it's really tough to thing. I'm already starting to sweat. It just It sucks. It just It's horrible. It's like being wrapped up in Lily got Hot Dog. It's horrible. Yeah, it really is. So I close is good. Yeah, I always bring an extra shirt, too, so yeah, but we're I'll never forget. There's one wedding recently where I really want to get a shot from up in a tree. And the tree was moss covered. It was this mosque cover and where it was rainy, out out in the Woods of Pennsylvania and it was dreary and drippy and I climb this trade and I got up there and went How the hell am I gonna get down? And I realize I'm gonna have to, like, hang drop So I hang and all the moss just peels off the tree and comes down and just uncovers me in Moss. And I'm like, great side to go out throughout the rest of the day. Just like dirty clothes is always so okay. Is there a less expensive way to get a flying shot if you don't have a glad camp? And the second part was, what if the technique of flying with the Glad Cam and keep everything and what is the technique of? Okay, all is lying with black and keeping everything in focus? Sure, all into the first part of that question. First, the glad Cam itself conservative grabbing the 84,000 things. You don't have to have the whole rig. I prefer to have it because I feel like I get an extra level of stability and control because I'm using two hands to actually hold in steer. But you can actually take this part alone and use that as the glide can. That's the beauty of the glide came over, the Steadicam said. It came as a great, their wicked expensive, and they make a model that's comparable in price. But the Steadicam has a lot of Velcro on it. It doesn't have these buckles. So when you take that thing off of the wedding, this is what you hear, you know, and try doing that in a quiet church. You know, it sounds worse than that. So you don't want that. And I like this because the buckles and everything like that. But you could just use this and they make smaller versions glide. Can this one's about 500 bucks? The debate rented lens protego dot com You could always Wrentham cheap, but this one is a little bit more expensive model. They make the HD 4000 Pro. I'm not sure anybody prints on the 4000 Pro 3 80 little bit less expensive option. Then there's the 1000 which is a little bit smaller, So thes air. Nice. They're lightweight. I prefer a heavier rig. The thing that makes the steady cams wonderful is that they're heavy and the heavier your study cam is the more stable and solid your shot's gonna be. There are actual courses out there that you can take to get certified as a Steadicam instructor. It's about 600 bucks, but they'll spend two days with you teaching you how to how to become a Steadicam flyer. And my second shooter did it, and he's an amazing flyer now. It took me about a year and 1/2 to get really proficient with that. It takes a lot of practice. They do have less expensive versions, even that, like the Merlin and stuff Tiffin makes emerge the Maryland. But it's very hard to operate. It's not very cumbersome unit, and the second part of the question was, How do you keep it in focus as you're flying? Yes, I use a pre focus method. So what I'm doing is I'm actually looking my subject. I use my magnifier. I zoom in. I get my aperture to where I wanted to be. A let's and I don't wanna be too shallow. Sometimes it receptions. I like to fly shallow, but I'll get to that in a second. But if it's decent light, try to keep your shot here to dip the field like 56 to 8 somewhere around there and depending on your environment, if you have a lot of depth behind them, you have that nice step, that field, and then you want to maintain equal distance. All right. So as she was walking before, I was tracking along with her and not changing my my axis in relation to her. So I'm just turned track with her as much as possible and then keep them generally in focus. Steadicam shots are rarely more than a couple of seconds long. More of these guys who likes to use as a very subtle method. I'm not one of these guys go running with like this. I see that a lot like just flying up on the bridegroom, and it's like a za. Viewers like your eyes go towards something. That's what you do in action movies. Not romantic doesn't fit into my films. Eso I like. I like movements. I like it when I'm tracking like this, and then the subject moves into my shot like that. This is so cool or a corkscrew. Look in a room like this with a beautiful light picture and a ceiling. You start up here and you track around like this and come down on the subjects right here and then you're on the subject. So you're my favorite subject on, but that's that's awesome. It's like a nice corkscrew. And that's great for the first dance. When they're out there doing the first, let's get toe all that when we get there. Yeah, we'll get into that. We have any other questions? Absolutely. From Carlo Door Tensy, can you please give a recap of how many points of view were used in the first? Okay, so recap we had for the main action we had one camera looking over the groom shoulder as the bride walked in. Our second camera was gonna be the groom's reaction when he turns. So we had camera one while technically camera three camera, too. And then we had 1/3 angle high up perspective up in the balcony that was three on the first try, right, Plus two more in the reenactments, one wide, one on the slider and one like am so really five angles that ultimately you will be able to cut when you because when I have my crew with me. We actually do more than that because while I'm doing the slider, my other guy will be doing a close up shot from far away hidden in the trees. Or maybe he'll climb a tree and I'll shoot down. You know who I'm talking about? Eso You know that? That's sort of like so we'll cover another three angles on the second reenactment and then 1/ reenactment. When I'm doing the city cam, I pull everybody out so my other guy might go way far away and shoot this extreme wide of her walking up. So we were. Now we got, like, nine different angles of the first look. Anything's possible way. Do it right efficiently and were quick. And we've communicated properly in The bridegroom are comfortable. It's a great feeling. Walk within the first look and just go. I can use that all throughout my film in pieces. All right, Another question. Would you use a jib crane? Or what about the figuring? Do they use that for set of cams? Big rig from familiar with figuring? I do use a cream. Oh God, no God, no offense to anybody who uses that steering wheel since we couldn't hear. Yeah. Don't your car and take your steering wheel often jacket camera into the middle of it. I'm not crazy about this. Look, that's not really me. I will use a jib crane. I do have a jib crane and I will use it. You know what? Jim is great. When you have a ceremony that's on site on Bond. You know that it's gonna be there and you're already on site. And you know that once you set it up, you don't you don't have to move it. I'll put a jib up and use it for ceremony during the ceremony. Run back there or I'll have my assistant. Just do a couple of Jim Gibb lifts. And then during the reception, it's nice to have it up in a balcony somewhere out of the way. And you get these real beautiful Jim lifts JJ. Of course. In the end, it will you ever break up the first look. So you tell a story with it, or will you just show it all together? No, I break it up. If I've got enough to work with, I will use it in chunks all somehow to start the film where you just see him standing there and then you cut something else completely on. A lot of times we don't do this today, but sometimes what I'll do also is get them to the location. So after the groom gets ready, we ran out of time in the first segment. After the groom gets ready, I'll do a sequence like a Steadicam shot of him getting to the point he gets over here and then he kind of goes like this and he waits and that's a shot. Just a Steadicam shot from behind getting into the spot. Maybe I'll rotate around him like this. Boom! Cut away to the bride. She's getting out of the car, you know, shooting low down underneath the cars. Her foot drops, dress comes behind it. She's you know, she is now tracking with Said he came walking to the location. I've used the gym for the first look before I've had the jib crane come down as the bride's walking up. Yeah, I mean all you so much you can dio. This was a very basic example of how elaborate we get. First looks alright, Alright. Earlier you mentioned a traditional versus non traditional photographer. What do you mean by that? Is a good question. Traditionally, I really just wanted to do like those traditional poses where they're not moving. It's usually just that standard poses a necessarily a rigid one. But just stand still. One, because the idea is that a video of this not very effective so broadcast learned to work with that. Sometimes if he's working with a photographer as a very standstill type of traditional approach to posing really more traditional posing or even sometimes there's just mixed. So as opposed to a lot of the times. And it's because I work with Rob. My posing tends to be a lot more fluid. I'm usually talking them toe walk here, there, arm having them leaned against each other, and I'm just They just talk to each other. Look around, look around Steadicam around all kinds of stuff we have. If I have time to pose myself, you know what I want to do? Direct the couple. I get nuts. You know, I really have them walking through trees, not through trees, like in wooded areas where have a lot of foreground for my Steadicam we're looking, you know, doing really, really dynamical back way up into extreme wide shots and just really looking for sun flare. And just that that look, my style is very like I like vibrant, you know, I like vibrant flare e kind of like rustic. So when I was talking about traditional versus non traditional, it's really just a sense that we're posing. Very still. Some photographers I worked with, the great man they're just so I've worked with before was a couple of my area that I love working with us. I know their style matches mine. So they'll go and do all this. Have a moving around, and I'm this film It I don't have to say a word. Just filming it like this is amazing. This is perfect. Oh, okay. What do you do with slider shots when they're outside or in the grass or something? I'm sorry. I don't have the altering legs on the slider. Actually have all terrain legs that elevate the slider up about two or three inches in their adjustable, so that allows me to put it down anywhere. Okay. Live love. Snap asks. Do you ever use markers on the floor to help you. Yeah. I mean, we thought about doing that earlier, actually, when we had the groom in position and if we're outside, we kind of use the end of the carpet as a role here as sort of like the rule of thumb of where he was going to stand. So, yes, I will, if required for a stick down or something. I don't usually, for I don't bust out Gaff tape and, like markers, focused park like making films. You know, you're moving the camera with focus, and we're not doing that. We're trying to pre focus on everything. We shoot a question from Scott. How often are you centering versus offsetting versus extreme off Centering? Why Composition? Yeah, I'm I'm very much a rule of thirds kind of guy. I like rule of thirds. I'm or interested not so much with composition. Also center things up once in a while. Like if parents, dances and stuff will kind of keep him center frame. If I know I have another shop that's off, Senator, I don't ever want my shots to cut together and look exactly the same. That's why different. That's my lunch choices. So important. I'm more concerned with tight, medium wide than I am with left, right center. Okay. Okay, cool. Another question. And maybe the last one was, um what do you What are the biggest mistakes that photographers make when you're working with them? And what is advice to those photographers? And I was from adding in English. It's a great question. He's gonna point out all my flaws right now, no one can ask you the same question. Are a more evolved photographer Doesn't make these mistakes popping flash and beautiful natural light. I don't understand. I'm a listen. I do still photography to not I understand how light works and I don't understand adding a little bit more filled to a beautifully t to a natural light seen. But when guys air direct flashing with a bracket when the when the room is beautiful and the lights perfect and you have beautiful Rembrandt lighting on somebody's face, I don't get it. Or photographers that come into the bride's prep and shut all the shades and they just want pop flash. Why doesn't make any sense? Another thing is, and this is not so bad with the primary. This is great for you guys to hear this. It's not so bad, but the primary shooter. But you gotta watch for seconds and thirds. They love to get in your shots inadvertently, and I don't mean to. And if I know a photographer well enough, I'll see like him. If you just make sure that they don't wander nor shots and we do the ceremony, you'll see how I set this up or the way that I do what I tell my seconds. Like I said before, you know, go next to Rob's guy over there and my third go, but next to Rob's guy over there so that that doesn't happen. The worst thing is when during the ceremony, we got our walk down shots. Everybody's hands or down. All of a sudden, you see this walking across your frame and I'm going and they go look right in the lens and go on. They don't walk out of the frame they want back, so they're still in my shot drives me nuts. So, like we're really that's why we vocalize it so much. T. Whoever working with your seconds know where our cameras are, you know, which is tough and I'll just mention this now. But we'll get into it during the reception's. We like to hide in the crowd. We like to get in the crowded, give you that in the crowd, feel so we're shooting with, like, a 35 millimeter lens and was shooting through the crowd and, like dancing and somebody just walking the friend photographer That's our fault. Vocalize where we were deal with just a vocal. And sometimes I like to talk in person. My shots. I don't mind once in a while. Type for walks in my shot does this. It's really cool. It's kind of dynamic hideaway, something else.