Shoot: Wedding Couple
Now, let's do this. So, I'm going to bring out a second apple box. I'm going to have you come off for one second, my dear. Kurt, I'm going to call you my love. And you're my dear. Just to keep things very clear, you know? And let's scoot it this way. Yeah, and let's put them next to each other so, they have a nice platform. Perfect. Alright, hop up on there, you guys. So, we're playing to our scene, and we're going to kind of shoot this the same way that we did, but, I want to incorporate a little bit of the veil into this, okay? So, what I want you guys to do is we're not going to teach you guys the foundation posing stuff because we only have a minute or two to get some more shots. What I'm going to have you guys do is close against each other. By the way, if you guys have learned the foundation posing, it still works for the most part, even when they don't really know like, you know, the terms are very simple. So, just close. Go chest to chest. There you go, perfect. Now, I'm going ...
to have you, love, put your arm up, you're love, you're dear. So, dear put your arm on the, I'm just kidding. So, Kelsey put your arm like, right there, that's great. And what I like to do is just make sure that you guys aren't like, copying each other. You know what I mean? Like, if she's putting her hands somewhere, you want to put your hands in a different place. If you're putting your hands somewhere, you know, do different things, basically. I love that. Okay, and then, let's go, let's do this. Let's go, your left hand in the pocket, Kurt. And let's go right hand around her waist and pull her in. Beautiful, love that. And let's bring your hand, my dear, right up to the chest. And hand down, beautiful. We have this lovely thing. Okay, so, this could be a special effect item, right? Yes. (mumbles agreeingly) Let's do a shot without her real quick. Yeah, just feel his pecs. Is it firm? Nice. Well done, Kurt. Do you do like, a hundred push ups before you started this? Yeah. That's awesome. Okay. Guys, do you have room on the boxes? Because if so, I want you to scoot this way a little bit. Okay, yeah don't step off it. There you go. Perfect. That's adorable. Let's get this guy a little longer. So, I'm going to start with, you know, we don't have a ton of stuff that we can possibly shoot here, So, we're just going to get a little bit of variety. starting off with something a little bit wider. And, I didn't even adjust in my settings. That's pretty fantastic. So, let me go ahead and do that now. Perfect. Okay. And John, can you scoot the sofa just a little bit more that way? Okay, my dear with the hand, I want you to lower it a little bit and let's go to his tie, actually. Why don't you pull his tie, like, into you? There you go. That's cute. I love that. Okay, right there, fantastic. Okay, I'm white balance, like, I adjusted my white balance for all of these shots, guys. So, we're at 5500 kelvin because this is what the room is basically. So, we're keeping, again, trying to get as close to possible for post. Beautiful. So, I'm going to do maybe three different angles here. Let's do, John, can you pull on the veil real quick? I love this shot but I want to get that veil kind of dropping behind her a little bit. And, one of the things, another tip that I'm going to give y'all is when it comes to weddings, engagements, family, and all this kind of stuff, lighting is awesome and cool compositions is awesome, and all those things are fantastic, but, if you don't have a great expression, it's a dead image, right? They're not going to use it if they don't have a great look and a good expression so watch those kind of things. So, look into him. That's perfect. Did you just go tippy toed? I love that. That's cute. Okay, right there, that's perfect John. And lower a little bit, John, I want it to reach the edge of the frame. That's fantastic. Perfect. I'm going to shoot just a little bit wider than I actually need. I love that smile guys. I'm going to see, I put the bar, like, between their heads and I don't really mind it right there, actually, it looks pretty good. That's really cute. Alright. Go for a little peck guys. Give a little kiss. Perfect. Pull him in like you mean it! And dip her down a little bit. There you go, that's what I'm talking about. I love that smile. It's so adorable. Perfect guys. Does that curtain, it doesn't open up anymore, right? That's alright, we'll just crop in on the (mumbles). Now, let's play a little bit more. So, what we're going to do is this go around. Oh, it's all good John. That's hold on. Just hold that right there, John. Perfect. It's gonna pop. We'll see it. There it is. It's nice, dude. Solid. Okay, so, I want you to bring that over the the front. This is one of my favorite shots, guys. It's such a great shot. By the way, I don't like anything on my camera. I hate straps and stuff so I just put it on the ground. People think it's weird, but whatever. This is one of my favorite special effects. Why? Because it uses the lens, sorry, it uses the veil which is a piece of their day. And it also helps me to block things out, right? So, all I do, it's so easy, close up against each other. Okay, and then, can y'all help me? Let's name some techniques that are named, like, after me. Right? Like, let's call this the pie veil. Does that have a good ring to it? That's terrible. I'm just kidding. Don't ever, don't do that. Okay, so this, I did a pie veil shot the other day. I'm just kidding. Everyone has cool names like Brenzer. That's a good name. Okay, so what we're going to do is, you're going to hold this right here, John. So, what this is, is now it's a natural line that leads up and into them, right? So, look toward each other guys. And John, bring that into me more. So, come closer, right there. And if we have junk in the background, if we have things that we don't necessarily want in our feature, this is a great way. Go in for a little kiss, guys. Perfect. Lean her back a little bit. Get into it. Get into it. Aw, I love that almost kiss. Do that almost kiss. Yeah, that kind of like you're touching teeth. Like, weirdly. Mm, touch them teeth. Yeah. That's adorable. Okay, so you guys see that? So, again, if there's more junk in the frame anywhere, then you have this line that comes in and you can just close things off. So, you just close things off and it's really cool. You can actually get in, I love doing it on 35. We'll get probably some junk in here, but let's just do it anyway. I want to show it. I feel like I'm staying on time. I feel good. Yeah, let's do this! Okay, with the 35, I want you all to be really careful with this lens because it's a lens that creates a lot of distortion when you get in tight. So, when you're doing this type of shot, make sure that you're framing them in a way that is flattering, okay? Yeah, I do want the veil. Let's move that reflector out to the side real quick. Now what you're going to do, John, is you're going to stand on this side. I want you to hold the veil up from your side. And I'm going to have you hold the middle piece. So, I'm going to hold this part and you're going to hold that part. And you can let go of this side. So, I want you to hold, like, yeah, so, let go of this thing. Let me get this into place right here. There we go. Okay, you hold onto this piece, John. And I'll get the other. This one. This right here, where my fingers are. Perfect, okay. Let me get this. Hold it up a little bit higher, John. I'm just going to go, one side. I love that. Alright, lean her back, dude. Go for the dramatic. There it is. Love that. Show her how you kiss. Like a man. And yes, this is exactly how I am on actual shoots. Um, go in close like that. I love that. Just pull apart a little bit with that smile. Pull apart, apart, apart, apart. A little bit more, right there, right there. Hold that, jerk around, laugh a little bit. And, brother, you have um, I want you to close the hips. And lean almost towards my side a little bit, You know what I mean? Because you're kind of leaning away from me. So, open up so that I can see your chest. And when you lean, kind of lean this way. There you go. A little bit less. There you go. And what we'll do is we'll just turn, just turn, so you put your body a little bit behind her. There you go, right there. Perfect. Lean back a little, little bit. Right there. Hold that smile. I love that. That's fantastic. And now touch teeth! Get them teeth in there! There you go. Pull apart when you're laughing. I love that. Fantastic. Okay, super easy, okay. I'm going to do one last shot. We're going to wrap it up. I'm just going to get my tight shot. So, guys pull each other in close. Let's go from my 85. Let me just get my last piece. So, for this, John, why don't you grab the ice light real quick because it's going to be the quickest light that we can grab. Actually, you know what, let's just go with silver. Let's just do the silver reflector. That's the quickest light source. That's cute, isn't it? Aww. Let's do a large silver. We're in doors right now, so, we're going to do the large silver. Beautiful. I love that right there. Alright, let's just pretend like I told you guys to do that. I love that. No seriously, like, pretend I told you to do it. Like, yeah, laugh a little bit, alright. It's all good. There you go. Look down while you're laughing. There you go. Perfect. Beautiful. And, that's a wrap on the studio piece. So, what do we do? We've got three different types of shots, right now in this little scene. We did that kind of wider shot. We did, like, an action shot with the veil. We did a closeup shot where we can get that. So, now we have these elements to piece together. You guys want to sell frames? You guys want to sell canvases? Sell albums? We need to tell the entire story. So, look for details and then work your lenses to get different angles.