How To Film High-End Weddings From Start To Finish | Thomas Brown | Skillshare

How To Film High-End Weddings From Start To Finish

Thomas Brown, Wedding Filmmaker | Content Creator

How To Film High-End Weddings From Start To Finish

Thomas Brown, Wedding Filmmaker | Content Creator

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18 Lessons (2h 8m)
    • 1. What To Expect In This Course?

    • 2. Tips For Wedding Video Pre-Production

    • 3. "Cinematic" Wedding Films

    • 4. What Frame Rates Do I Use For Weddings? 24 fps, 60 fps, 210 fps

    • 5. Essential Wedding Video Gear

    • 6. Essential Wedding Audio Gear

    • 7. What's In My Camera Bag?

    • 8. Tips For Filming Bridal Prep

    • 9. Second Shooters & The Groom's Prep

    • 10. Filming Beautiful Ceremony Details

    • 11. Filming Beautiful Reception Details

    • 12. Getting Cinematic Couple Shots

    • 13. Filming The Entire Wedding Ceremony

    • 14. Filming The Entire Wedding Reception

    • 15. Document A Process

    • 16. Cinematic Wardrobe Shots

    • 17. Epic Room Shots

    • 18. Final Thoughts

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About This Class

As wedding filmmakers we have one of the most important roles during a client's wedding. We are tasked with capturing some of the most important memories of their lives. 

This course is for video creators new to filming weddings and wedding photographers that want to add wedding filmmaking to their portfolio. 

There are so many different elements to what we do from pre-production, to client management, and of course filming. My goal is to teach you not only how to organize your day but also how to be a master observer so that your wedding film is filled with amazing memories for your client.

I’ve seen so many courses out there that are geared towards mid-level wedding filmmakers to help them land luxury weddings. But what about the video creators that have yet to film an event? Well, this is the course for them/you! I didn’t hold anything back, from the gear I use to film an event, to the type of b-roll shots I get, and all of the strategies I use for filming the couple's big day from start to finish.

Meet Your Teacher

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Thomas Brown

Wedding Filmmaker | Content Creator


Hi, I'm Thomas. I am a Full-Time Wedding Filmmaker originally from New York and now filming out of Atlanta, Georgia. 

I have been filming weddings since 2014 and I have been making YouTube videos since 2012. I film weddings all over the United States and have even been blessed to film a few destinations weddings overseas.  I hope to share some of my film-making knowledge and experience with you.


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1. What To Expect In This Course?: Hey guys, I'm Thomas Brown. Yeah. I'm Thomas Brown and I'm a full-time wetting film maker. For the past several months, I have been working hard to make a course specifically for video creators or photographers that want to dive into wetting film making for the first time. What I noticed is that there are a lot of courses out there for the low price wedding videographers that want to move to the luxury level and raise their prices. But there's not a lot out there that will teach those of you that are starting completely from scratch the process and steps to film entire wedding day. And not only how to film the wedding day, but how to capture beautiful footage. And I think, especially for those of you who have yet to shoot their first wedding, the scariest part is the fear that they won't know what to shoot. That is why I created the wedding filmmakers guide on how to film high-end weddings from start to finish. So my goal is to help put you on the right track to master the fundamentals of wetting filmmaking so that you can find your own style to create your own unique, visually stunning wedding films. And when I'm talking about fundamentals, I'm not talking about technical details like memorizing, filmmaking stats. Your clients aren't going to care if you know the specs for every camera. They just want an amazing wetting film. The only thing that matters to me is can you shoot and can you create beautiful images and put those images together to make a fantastic story? So I want you to walk away knowing how many shots are enough or not enough, and how to organize your day, like how to approach the filming of bridal PrEP. Not only the B row aspect of things, but how to actually document all of the experiences. We are also going to talk about gear and how you don't need the most expensive gear. You just need the right gear for US dollar filming. And I want you to enjoy filming weddings. It shouldn't be something that is too scary for you to try. And I want your clients to be blown away by the footage you capture on their big day. And that is why I've put everything I could think of when it comes to the steps to follow to film at actual wedding day in this course. So if you are ready to become a full-time wedding filmmaker and learn how to film a high-end wedding from start to finish. You like how I put the dido and they're right for the core. So anyway, let's get started. 2. Tips For Wedding Video Pre-Production: Whether you are filming a student film or big-budget Hollywood production. There is one thing that is crucial to the success of any film, and that is preproduction. Filming your clients wedding would be no different way before their wedding day. You are going to plan accordingly so that you can knock it out the park with their wedding film doing some preparation before your clients wedding will also ensure that you don't run into any headaches on their big day. The more time you put into pre-production for each of your weddings, the better your film will be. There no ifs and buts about it. Let's first talk about the wedding timeline. For every wedding that has a planar, there will be a timeline. The timeline will have activities for the wedding day and the time each activity is supposed to happen. Most of my clients usually booked me months before their wedding and since the planner usually won't have a completed timeline until a few weeks before the actual wedding. This is a great opportunity to sliding or put some of my filmmaking requests that the planner can even add to the schedule. I'll talk more in depth about the things I request to be added to the timeline a little later. But here are a few items that acts the client slash planner to be added to the timeline. Number one is my arrival time. I find it best that I choose the best time for my team to arrive. The bribing rooms, interviews or any other interviews that need to be conducted. Ceremony detail shots, a time where ceremony decor is finished and I will have the room to myself. Reception details, a time where the reception to core is finished and I will have the room to myself couple shots a time where I can have ten to 15 minutes to get cinematic shots of the couple. Alright? Now, when you give for video, you kiss, but then you just, you just do a regular kids and they continue to look at each other's eyes. Okay. Alright. And so I've put in all my request to the clients or the planner, but there's one thing to consider. And that is not all planners are created equal. What I mean by this is that some established planners I work with who've been in the game for awhile, will have these magical timelines with the addresses, phone numbers that time they've been just eat. I mean, you name it, it's on a timeline and then you might have a newer planner that has little to no NFO and the Timeline. So you don't want to leave anything to chance when I first started, there were times when I trusted that the planner would have a detailed timeline, then they would send it in the morning of the wedding. That is way too late to be sent at a timeline by the way, to all the wedding venues. And I would get the timeline. And there were no addresses on the timeline. No times at the bride and groom would be getting ready. And so I'm like, OK. So even if your client has a planner, it is important that you do your own due diligence and get as much info from your clients as possible. Now sometimes your client may push back and say that the planner will be handling all of this. So get the Plato's info and sin a nice email introducing yourself, but still get as much info from your clients as possible. When my clients pushback and want to put all the info gathering on the planner, I say, Hey, I will definitely reach out to the planner, but there are a few things I need right now so that my team and I can't prepare for your big day. Here is the immediate info that you want to get. The hotel or location where the bride and groom will be getting ready. You get the time, that would be great. But if you're hiring months before, they probably won't have that yet. I want the ceremony location and the reception location. Sometimes they're not at the same place and also want to know if the couples don't reverse look. Will we be filming any interviews of the bridegroom? So I definitely want the bride and groom cellphone number. You want this because if you run into a snag on the wedding day, you need somebody to contact and there will be times where you try to call the planner and she won't pick up. So I just let my clients know that I'll try to contact the plan of first on their wedding day. But if not, I just want somebody I can contact. In the meantime, I also get contact information for all the vendors I'll be working closely with, like the planner, the photographer, and the DJ. Once I get this info for my clients, I will then reach out to the plan is for any additional information, I will then set a reminder in my calendar that check back with a plan or a few weeks before the wedding. If she doesn't immediately reply back to me. Ok. Let's get into a little more detail about everything we talked about thus far and how to plan the actual filming. One of the first items I like to check off my list is when, where, and how many interviewers need to be filmed. For most advanced, this may just be with the bride and groom, but I've had weddings where I've felt interviews with the couple, their parents, and the whole broader party filming that many interviews can be time consuming. So your clients and their planner needs to work this into their wedding Timeline. The last thing you wanna do is not have enough time to get all the interviews done on the wedding day because your clients are going to be disappointed and all their responsibility for this is going to fall on. You also work with my clients that come up with all the questions I should ask for their family and friends interviews. Here's something different. I DO about 50% of the time for all of my wedding interviews. I don't always do all of my client interviews on the actual wedding day. I think I mentioned that before. Sometimes I will film their interviews the month before or the month after their wedding. This is one thing that I want to stress. Don't be afraid to make suggestions to the flow of the wedding day. One of the suggestions I make to my brides all of the time is regarded and makeup. I know. What do I know about makeup, right? Not much, but when the bride has a large bridal party and if she gets her makeup done last after all of her bridesmaids, it doesn't leave much time for anything else, because once our makeup is done, we're getting her into her dress and Russian to the first look or the ceremony. So my suggestion to my Brides is that they get their makeup done in the middle of their bridesmaids. So if there are six bridesmaids, including the bribe, then she will either go third or fourth and get her makeup done. That way. Something like our interview can be scheduled right after she finishes her makeup. As you feel more and more weddings, you will get more and more of an idea of how every wedding has a similar flow. And you can mold that flow. Holes like binded to your will. You fit it to your will. As a filmmaker, It is your job to do research before any film shoot. For example, if you will be filming and a venue that you've never been to before, you would need to do some research about the vineyard layout so that you can come up with a good estimation on how long it would take you to film any exterior or drone shots of the wedding venue. Not only that, if you are doing drone work, you need to do research to make sure that the vineyards location has no drone restrictions. Now, there will be some people that say that it's better to ask forgiveness than acts permission. But not only do you want to make sure that the venue allows you to fly a drone? You wanna make sure that it's legal in that area to fly a drone. You don't want any legal problems if the wedding is going to be held at a big resort. I like to give my team and I two to three hours to film exterior shots. If the wedding will be held at a smaller venue, we may just need one hour to get all the exterior shots. The reason why this is important is because usually on the wedding timeline, the planner will have your arrival time as the time you need the film, The Bride and groans prep. So you may need to arrive much earlier, so you can get all of your exterior shots dependent on your schedule. You can also get shots of the venue before the actual wedding day, which will free up a lot of time on the actual day of the event. One of the most important shooting opportunities that you will have with your client is the couple shots. These are often the shots where you can be most creative with the couple. So you want to make sure you have enough time to get the shots that you need, having a specific time that you will be filled in with the couple locked in on the wedding timeline will also help for yourself and the photographer not to bump heads. I also accept the planner as specific time set a timeline where my team and I will be filming RB role for the center millenia reception detail shots. This is super-helpful as it will give the flow design team a hard stop for when they have to be done with the course setup. And the planner will clear out the ceremony Hall and reception hall when it's time for us to film. As I mentioned earlier, I always like to reach out to any of the wedding vendors that I will have to work with closely on the day of the wedding, like the photographer or the DJ for a photographer. If I've never worked with them, I may just send them a DM on Instagram or Facebook, just introducing myself for the DJ, I will send a friendly email introducing myself and asking if it's okay if I plug my audio recorders into their equipment for the clients wedding day, in most cases, you might get a short reply from the DJ saying yes. But in some cases, if the DJ does not normally film weddings, he may ask you what type of connection you will need and he will be glad that you gave them a heads up while now you have a few ways to plan and prepare and get organized before you fumble, Whiting. 3. "Cinematic" Wedding Films: Google search looking for wedding videographers and any state in any city. And you're likely to get results fill with links to cinematic wedding films. Actually, I think I show up first on that search if you actually put in same adequate in films. But anyway, most videographers use cinematic to describe our wedding films because that's what brides are looking for, right? They want their wedding films to look like a movie. Well, what does cinematic? Is it when we put the widescreen bars over our footage? Or is it when we put dramatic Violin music as the score for an edit? Maybe is when we stack a lot on top of our footage, or it could be the use of slow motion in a shot. I got it. I will get the feel right. No. It's when we buy the latest camera. So everything I mentioned minus the camera has to do with cinematic style. A lot of people confuse cinematic style or cinematic technique. A cinematic technique is the ability for your footage to make your audience feel, think about it. There is no one specific look for all the movies out there. Just because a shot is not using a shallow depth of field, doesn't mean it's not breathtaking. And just because a beautiful shot and a movie was filmed in a full screen aspect ratio instead of a widescreen aspect ratio, it doesn't remove its beauty. When we react positively to a cinematic shot, we are reacting to how it makes us feel. Creating your own cinematic style is inevitable. Your goal should be mastering cinematic techniques to learn how they affect your audience's emotions. All of this will be the foundation of your visual style. So if you're a painter, you cinematic style would be how you like to paint nice, bright, well-lit scenes instead of scenes draped in Shadows. Use cinematic technique is the fact that you have the skill level to be able to paint a scene in any style that you want to put techniques to work to achieve a cinematic style, you have to have a vision. And to successfully implement a vision, you have to be knowledgeable. Well, how do you get knowledgeable? Well, by taking course like you are right now, kudos to you. And by watching beautiful wedding films and by watching great movies. For example, I was so inspired from watching The Great Gatsby and how they captured all the x-s. The wide shots were magnificent. So I said, why don't I try to do these type of shots in my wedding films. So if you want to make great things, you have to watch great things, then steal some of what you saw in make it your own. Alright, let's talk about molding style and technique together in your wedding films. So the technique is having a purpose for your stylistic choice, right? So I'm personally fascinated with light, natural and artificial light. When I'm shooting like silhouettes, I will typically use a silhouette shot to either add some drama or give the audience some information. For example, I can start a shot of one of my Brides in silhouette as she's getting ready, the viewer watching will only see shapes against a beautiful backdrop. And it adds some misery before I do the big reveal, or if I wanted to give the viewer some information, I can start with the aerial shot of a city showing off all the buildings and then switch to a silhouette shot of Mike room getting ready. And this instance, I think the silhouette revealing the city adds to the establishing shot. But you can also use movement and your shots to affect the audience's emotions. When I think of this Gimbels versus hand-held shots going to mine. I use Gimbels when I want my shot to have a weightlessness to it. Like when I want to focus on the stunning floral designs, I want the audience to feel like they are gliding through all of the beauty and the scene. I'll go handheld for shots where I want the audience to feel the energy that's happening in the scene. Like for some of the guests dancing shots. There's nothing wrong at all with using different elements of filmmaking to create a certain visual style for your wedding films. I just want you to know why you use an assurance, John, why did you choose to do a close up of the bride instead of a wide shot, we all need to continue to learn as many filmmaking techniques as possible. Because being able to conjure intense emotional responses from your audience via your shot selection, camera movement, sound design or lighting, or truly make your wedding films cinematic. See you guys later. 4. What Frame Rates Do I Use For Weddings? 24 fps, 60 fps, 210 fps: I always get a lot of questions about how to be more creative when filming a wedding. One of the simplest ways to up your creativity is by experimenting with different frame rates. A lot of cameras nowadays can film at higher frame rates then 24 frames per second. In most cases, a filmmaker will film at 60 frames per second, so that baking potentially slowed down the footage during the editing process, let's quickly talk about why I use different frame rates. So if I want certain moments to feel natural and if I want my audience to feel like they are experiencing those certain moments of the wedding. I will film those moments at 24 frames per seconds. When I want certain scenes in my film to have a magical field, I will film at 60 frames per second. A good example of this are my couple shots or most of my shots of the completed ceremony or reception details. And the reason why I save it completed detail shots because I like to shoot the details for the reception and ceremony being set up in 24 frames per second. I want the audience to be able to feel the rush of things needing to be set up and completed. I would say one hundred and twenty and one hundred and eighty frames per second. I used most barely at a wedding. I really only use those frame rates when I want to stop time. For example, if I'm trapping flower petals in front of a wedding dress, and I want the viewer to be able to see everything in that moment, the details of the dress and the petals as they fall. I'll film at a 120 or a 180 frames. So now I hope you have a basic understanding of frame rates and how and when to use them when filming away. 5. Essential Wedding Video Gear: If there is a message I could give new video creators in general is to be anti gear. I've personally struggled with a lot of new cameras and all the great specs they bring. But in the end, if you can use a camera that's 12 years old to create something beautiful, that's all that matters. That may be a strange thing for me to say, yes, this is a gear video, but for my weddings, I use tools that I know and I only buy what I need. And as I mentioned before, it wasn't always like this. I used to buy more than I needed. And when I did that, my wedding films were subpar because I would always be buying and I didn't take time to learn how to use what I had. So rather didn't just given you a list of gear I used. I think it'll be equally beneficial to talk about the why. There are always two factors I consider when buying film equipment. The first thing I asked myself is will bind this tool, make me more money. For example, if already have video lights and I just want to buy the latest and greatest video lights from my weddings. Those new lights aren't going to necessarily make my business moreover profit. The second question I asked myself is, How much will this to help me advance my production? Let's use the first example with video lights. I've already determined that the new lights won't make me moreover profit, right? However, what if the new lights are much smaller? Don't get as hot as my own lights. That means I can potentially take less bags to my weddings, which will make me lighter and quicker. And if the new lights get less hot, there's less of a fire hazard and I can pack them up right away after I used them, which again makes me quicker. I just wanted to quickly share my thought process when buying gear for my business. Because a lot of times as new filmmakers, I mean, we're excited and so we often buy things we want rather than what we need. Let's start things off with DSLR cameras. The great thing about DSLR cameras is that they have been around for a long time. So you'll most likely have a large length selection. A lot of newer DSLR cameras are going to have really good autofocus and perform pretty well in low light situations. Most modern DSLR cameras are going to have a 30 minute cutoff limit. Meaning at the 30 minutes, your cameras going to stop recording. So if you were filming a long wedding ceremony, you'll have to check it cameras to make sure you hit record again so you don't miss any of them. Important moments. I loved filming weddings with cinema cameras. I used to see 100 mark to for years, I was able to use the same lenses I used from idea. So our cameras or my c 100 mark to cinema cameras come with more features than DSLR cameras. One example is that the cinema cameras do not have a record limit as long as there's Rumi SD card in the camera Stowe has battery life, it will keep recording. Then some cinema cameras also have built-in indie filters. If you are not familiar with indie filters, it's like putting sunglasses on your lenses. And most cases cinema cameras come with other professional features. Wave form monitors and log picture profiles as well. The pitcher profiles will give the filmmaker more dynamic range. One of the downsides of filming with cinema cameras is that they are much bigger and heavier than DSLR mirrorless cameras. If you don't mind carrying that extra load while filming a wedding, they can make a great tool. I'm currently filming on mirrorless cameras, specifically the Panasonic mirrorless cameras. But keep in mind, you can make an amazing wetting film with almost any cameras, especially with most of the popular cameras from the past four to five years, I liked my mirrorless cameras for one because the cameras and lenses are very lightweight. They also have unlimited record time. And I use these bad boys in extreme cold. The hot Georgia summers and has never died on me. It also has different features like waveforms and flat profiles. So I could add my own personal colour grade to my footage. Whichever camera you decide to go with, you just want to pick a camera that will give you the features that you need for your particular style of shooting. Let's move on to lenses which are one of the most important tools in your arsenal. As different focal lens will help you capture different perspectives and emotions no matter which camera bring you choose, they will all have lenses available in the following focal lamps. One of my favorite lenses for creative shots at our events is macro lenses. As macro lenses allow you to get closer to objects than you normally would be able to. Traditional lenses. These are great for ring shots. Wide angles. I love using wide-angle lenses for establishing shots, shots of the venue, shots of the reception hall, or even shots of the dress. My current to favorite wide-angle lenses are the sigma 1835 effluent 0.8 and the sigma 60 millimeter F1 point for when it comes to the 1835, is super-fast at f 1.8. So it's great for low light situations. And the ability to zoom into Thirty-five millimeters give you a little bit more flexibility. However, if I had to choose between 1835 and the 16 millimeter, I personally choose a 16 millimeter as is so much lighter. And let's an even more light at f 1.4, if I'm using a slider or gimble nine times out of ten, I'm on a wide-angle lens. How will sometimes use a wide angle for a creative shot of a toast when I want to see the couple, the person giving the toes, the reception at the core and the guests all in one shot. In the end, they are both great choices for your wide shots. Our favorite mid-range lens when we want to get up close and personal, it's gotta be the 50 millimeter. We love the 50 for a lot of our prep shots, basically for shots where we can easily predict what is going to happen. There's not going to be a lot of movement on my x5. The 25 millimeter is equivalent to a 50 millimeter lens as a x5 has a two times crop, while a typical 50 millimeter lens is already pretty compact, like this Canon ELF nifty 50 right here. The 25 millimeter is tiny and not intimidated and all fulfillment up close with your clients in a gas. Next, let us look at what I feel is one of the best all around telephoto zoom lenses, the 70 to 200 millimeter. I have always loved this lens forced dreamy Boca effect. As far as apertures concern, we have always gone with the 7200 millimeter. It is F2, 0.8 forms so that we can have more flexibility when it comes to low-light situations. It's a really versatile lens, especially when filming a wedding ceremony, when you have a lot of different things happening in a short period of time. So being able to zoom in and zoom out will be a godsend, especially in some churches where you're not allowed to move around a lot during the ceremony. If we still want along, fault will live, but a much past aperture, then the 17th 200s F2, 0.8, we go with 85 millimeter, the one I currently own as the sam Yang 85 t 1.5 sin lens, which has aperture of f 1.4. We like to use the 85 millimeter from a wide range of scenes from interviews, toast. And ceremony shots. Saarinen, about three or four years ago, drone footage became really popular and wedding videography nowadays most clients expected as part of the wedding videographers package. We owned the DJI Phantom four Pro, which is now on the largest side, as drones have got much more compact while still being able to film high-quality 4K footage. We want our footage to be as smooth and shake free as possible. And they are a variety of tools that are designed to give you smooth fluid shots. The first, which is pretty much a no-brainer, is the tripod, definitely a staple that has been part of cinema since it began. We use tripods for almost every part of the wedding day, interviews, vows, and the tolls. The tripod is one of our most important tools of the day. Next up is the mono pod. We may use monopoles during the parts of the day where things can get a little cramped. This can be during the prep cocktail hour, you know, the times where you don't have a lot of elbow room in the tripod, may not cut it. I know some wedding filmmakers that use mono pod all day right now where you use a mono pies that have these nice stable feed on them. But to me, if you want, a super-state will shop for a long period of time, you will never be a tripod, but the model pod will give us stability while keeping you mobile. When we first started filming weddings, the slider was all the rage and it is still a very useful tool for smooth cinematic shots. The slider provides you with some smooth movements that would be almost impossible to lubricate with hand-held shots unless you have some good in camera stabilization. But we'll get to that later. If you have a motorized slider, they can be great for getting some cool exterior and interior time lapses. We also have a few unique sliders which are a lot smaller and much easier to carry around. In recent years, my team and I hardly ever use sliders for weddings anymore, and they have opted to get most of our cinematic B-roll footage with Gimbels. We have used a wide variety of gambles for our weddings, starting with the Rodin m, which we would typically use for bigger cinema cameras. One of my first reasons for moving away from sliders was basically time management. I usually keep one camera on my gamble all day so I can quickly pick it up and start getting some B-roll. Gimbels also allow you to get longest shots, which can really help you out when you're putting together your story. Some cameras now have image stabilization, which is great for getting hand-held shots. This can be really helpful for getting even closer to your clients. So subjects, the J5, for example, has one of the best image stabilization systems where you can not only gets moved shots, but also stable tripod like shots when available, we typically look to use natural sunlight as our main light source for our wedding scenes. But for certain parts of the day, you may need to use additional light sources. We use LED lights because they don't get very hot and are usually very light and compact. Let's start with the prep. For the most part, we use natural light for all of our prep shots. And in some cases we'll use LEDs to add some creativity to our detail shop. We try to never use LEDs during the wedding ceremonies, but sometimes we have to. So we typically try to hide them in those instances when it comes to film and receptions, we definitely use multiple LEDs dependent on the wedding, we will use between two to ten LED lights. I don't think you should worry too much about particular brands Alliance we are using. There are so many great LED lights out there when looking for your LEDs to use for a wedding, I was suggest buying lights. That won't give you weird colleague Cass. The last thing you want is for your light to make the bride's dress look purple in your film. So if possible, you want to buy lights with CRI values of 95 or higher. Basically, the higher the CRI value of the light, the more the light will make the object being illuminated appears similar to how we look under natural lighting conditions. We all couldn't have picked a better time to film weddings. Technology is constantly advancing and now there's just so much gear available to freelance filmmakers. In this video, I didn't touch on every piece of gear out there. I really wanted to only focus on the gear that we feel is essential to tell our clients stories. Don't get stuck on certain brands. You definitely don't have to use the Zak brands I'm using as there are a lot of great products out there. So always think about what you need to get the job done first rather than what you would like to have. Use what works best for your budget. And that will still give you a clients the best quality that you are currently able to provide. 6. Essential Wedding Audio Gear: When you think about the gear for your wedding filmmaking business, you probably think of cameras, lighting and lenses. And it makes sense because the visual for weddings can be breathtaking. But don't think for 1 second that the audio you capture for you wetting film is not just as important. I was pretty quiet. He was. I love you more than they are perfect for each other. Now, how much audio gear you use will depend on how you plan to tell your clients stories and your films. Are you plan on making stories centered on just music and visuals? Or will you be adding lots of soundbites to your film? What you wore, beautiful, you were. In this video we are going to pretend that you are going to be going all out when it comes to capture and sound. So we'll be looking at how a capture audio for the prep ceremony and reception during the Brighton groans prep, we mainly use shock on mikes on top of our cameras for any ambient sounds we are capturing the row Video Mike Pro is a real popular shotgun microphone amongst wedding filmmakers is pretty compact in allows you to be really mobile while filming. We use our on-camera mix that capture the fund spontaneous moments that will always happen during their prep. This is mainly going to be the bridal party having fun, but GIF exchanges in intos that happened during the prep. We also use the shotgun microphones on our cameras as backup audio sources during the ceremony in reception as well. Depending on your style of wetting film or if your client has any interview requests, you might find yourself doing multiple interviews throughout the wedding day. Here is one of our secrets. For some of our wedding films. We will film the bride and groom interviews a few weeks before the wedding or a few weeks after the wedding. She dot tiny body for interviews on the actual wedding day, we will use two different shotgun microphones, even the on-camera microphones that we talked about earlier. Or if we have more time, I use a shotgun condenser microphone on a boom, Stan, I'm currently using the audio technical 88, 75 are when using any type of Shaka microphone, the closer the microphone is too you subject, the better to sound, it'll be alright. So how are you fail? I mean, incredible, incredible moment. I'm loving that we're finally really like this point. I will typically put the microphone above my client right outside the camera's view, like I'm doing right now. So if I go down like this, you will see, here's a microphone, so I will raise it up. I have a little monitor I'm looking at right here. And now you can't see the microphone, but you can hear it perfectly. And typically, I tried to bring the microphone down at the chess. So if they'd been down or look down and while they're talking, Look around. You should still be able to get the same sound quality. Finally, finally, get to do that. My family, friends, and all the people who are going to be with, they like the deep bases sound that a shotgun microphone like this gives you, Hey, don't get me wrong. Lavalier is do play a big part in our audio recordings for every single wedding. And that is mainly because during the ceremony, we will put the lavalier on the groom and the minister. The main recorder we will use for our love microphone is attached cam TR tin l. There are a few different ways that you can put the mic on the room. You can clip the mike to a shirt or a jacket. We have a different method for putting the mike on the groom's. We take off his jacket and then put the mike under his collar. We then use gaffe tape in two different spots to hold it in place. Then once he puts back on his jacket, you can't see the Mike at all. That is, sometimes the DJ will put alive layer on the groom as well, and sometimes you'll see it. I always keep extra When filters in my bag for the live layers just in case I lose one another. Great thing about on the column method is that it provides an additional layer to block when we use the same law of technique when filming our first looks as well. What I love about the DR. Tunnel is that is really compact and out for the lively are actually screws on. So you don't have to worry about the line accidentally being pulled out while you're recording. So to capture how audio during the ceremony and reception, we are going to use two different recorders. The first is another backup audio source, which is going to be the Zoom H1. I own about six of these little guys. There are two different ways we use this for quarter. The first, of course, is to plug it directly into your speaker. So you want to order three different chords this way, all of your bases covered dependent on which input that DJ will have available for you. The second way we use these three microphones is to pick up ambient music from a live band, Orchestra, soloist, or harpist in cases when they are not using any speakers. So now we're going to talk about our main professional audio recorders. For the past four years, we were using the tascam DR. 40, and we recently moved to the zoom H6. Both are great recorders so you can't go wrong with either. We decided to move to the zoom H6 only because it had more inputs. When using a recorder like this. You'll want to buy three chord that she'll keep in your wedding back for all of your weddings, you'll want a male XLR to female XLR, a male XLR to RCA, and a male XLR to quarter-inch. Again, the reason why you want three chords, as you'll never know until you speak to the DJ, what input they will have available for you. And you want to have your own chords, as it is not the DJ's job to have the courts that you need to use. One of the most important tools we have in our audio arsenal is our inline attenuators. If you don't have one of these, get one, trust me, they will Savior but have a few different versions of these. One I'm used the most is the shore A15, AS in-between my DR. 40 recorder and a DJs mixer or speaker. I use the A15 AES on one of the record is inputs and I just insert the other connection strain to the record. The reason why I do this is because I can send the A15 AS to either negative 15 dB, negative 20 DB, or negative 25 dB. This will preserve my sound just in case a DJs output is too hot for the recorder aren't guys. We need to stop right here. So I can explain to you guys and really show you guys firsthand why I use inline attenuators like this. Alright, so the first audio sample I'm going to play for you guys. It is straight out of the DJs or the bands mixer board and into my recorder with no attenuator in-between the mixing board and the recorder. I had to cut this down for you guys because I don't want to blow your headphones or your eardrums or blow you guys. All right, so now this audio sample, it's going to be from this wedding again, is going to be with the shore A15 AS in-between the bands mixer board in my recorder. I didn't not lower the audio levels at all. Play this for you guys. This is straight from the record. I really felt I should share this with you guys because I really want you guys to have the best audio possible from your wedding either by was something heavily led me to look at this guy is the color below. When I was a lazy you were the one for me. So if you didn't already know how important audio is on the wedding day and how to go about recording it. Hopefully now you have a few more techniques and tools to add to your wedding audio kit. And again, always remember, don't get stuck on certain brands. Need to have the most expensive version of a specific tool. You definitely don't have to use as brands that I'm using as there are a lot of great products out there, you have goal is just to make the best possible creation for your clients that you possibly can. 7. What's In My Camera Bag?: And we did go over the central video and audio equipment in other modules, we still have a lot more equipment that we bring to our events. It will probably be equally as useful for you guys to also see how we pack and transport are good to weddings. Alright, so this is one of our newer tripod bag. This is our old tripod bag that has seen about 40 years of weddings right here were used to carry this bag. Inside the tripod bag, we have two tripods and one mono pod. We also have multiple reverse light stands and the bag as well. So we bring a lot of hand sanitizer, wipes, cals so we can wipe off because you just never know. So bringing that, we have our model pods in here. This is my mono pod bag. And so what I use my mono pod bag, one monopole inside. And there is after a wedding, we put all of my batteries are dead batteries in here, so I know that charges them and so that they just don't flop around everywhere. We have another tripod right here. Yesterday yesterday's wedding we brought to light stands. We didn't really need that much light. His no, the tripod right here. And so you guys may wonder why have a hanger in here? I bring a hanger just in case I take the groom outside, right? Or the bride or whoever, you know, the grandmother, bribe and save. I want to hang like say the group jacket outside in. We don't have a hanger, honest. I have it have on with me that I can bring so I can always be able to hang it up. It's not the prettiest hanger, but at least I have something hanging up so I can get some shots. I have my extension cord. I have a really long XLR chord here, but I will, I'll show you my all the chords to have another bags. And this is just a attachments so I can use my ninja V. And the most important thing that you want as a videographer filmmaker is gaffe tape. This thing is miracles. You can tape your chords down to the floor. You can tape recorder to the DJs booth so it doesn't get knocked down or so it's not hanging by the wire. I mean, oh, I you know, I tape Mike's to the groom's shirt so that the lavalier stays in place. There's just so many uses to this tape. This actually has a side pocket right here. So everything out. But I typically in the side pockets, I keep all my plates in the side pocket for my tripod head. This little mini roller suitcase houses, lots of important tools. So this is probably one of my favorite bags. I take it on every destination wedding I have. I take it to every wedding I had. And man, it houses all of our most important tools. As you guys will see. Indie filters, camera, batteries, SD cards, you name it. So when you open a bag, you see, it's really nice. It's a really small bag, is really nice and compact. And want to look at the size of my form and see how big the bag is as a little comparison. But yeah, has has everything I need as far as my lenses and little peripherals. So you start with this right here. This is where I keep all of my batteries, right? Have double a AAA 9-volt. And I also keep my extra Zion crane batteries in here as well. For the crane to then this is a little couch where I keep all of my JH five batteries I have marked. And just in case I'm working with someone else will use the second shooter. I have my name or my batteries just so we don't get things mixed up. But most of the time when I have much other shooters shoe with me, we just use my cameras. I typically have enough extra weights in here, even though I keep plates in my tripod bag. Just in case like I'm up in the bride's room and I bring a tripod and I forget to bring a belief. I have some extra plates in here. This is where we keep more GHI batteries, but of course we had a wedding yesterday, so it's empty. We do have two left. We went through all but two batteries Yesterday. Huge progress, pretty good on batteries. These are the batteries for our LED lights, and I'll have a link in the class notes. If you guys want to have a link to all these for easy access. But yeah, this for LED lights. This we use a, we still use some Canon lenses on our Panasonic cameras. And so this is a lens adapter. This is a power bank, which I used to charge a lot of things. Use it to charge my phone yesterday and can't be charged all day. And you see still has mesh or you've got to see the blue light is still full, full, completely full. So this thing last me probably like two weddings or three weddings because it's just such a good best power bank I've ever had. This is an XLR attachment for my JH five so I can hook up XOR Mike's to my camera. I keep all of my black premise filters in here. But they are currently, this is currently empty except for my variable ND filter, because all of my black hole mystic filters on the lenses. Now this right here, you can guys probably never seen this is basically a wrist strap, but I keep it in there when I do weddings where I'm going to be using my Gimbal for long periods of time. I just put this on and it keeps my risks from getting sore. I did a promo video one day for limousine service and we shot all day and my risk was so source. So that's what made me get this. And yeah, I use it for weddings now when I'm going to be using a lot of gimble work, especially for like the Zion currying. Two, because you're holding it with one hand and all that has gone on your risks. This is another way I can charge everything I need to. You just plug it in is by the same company. And I have a whole bunch of USB outlets so I can charge things. Are right now the fun part, the lenses, you know, before we get to the lenses, row quick. Vz. This little container is where I keep all of my SD cards that are fresh, that aren't used, that we can record onto. And then after we record onto them, we put them in this bag. So these are all the SD cards we used for yesterday's wedding. And then we also use external recorders. And this is the hard drive for the external recorder. So anything I record on as far as media goals here, so I don't get to take anything. I'll transfer it to my computer and then, you know, I can keep extra cords and things in here. But as you guys can see, nothing's in here now. So let's start with my favorite lens. My favorite lens is the sigma 60 millimeter f 1.4. It has a black premise filter on it. 1 eighth. And yeah, my favorite lens in the world, I wish this was they had a sinner version of this lens just so the focus focus rings on it. And that's really it. I'd just wish it had the external focus rings, but I can put one on there. But other than that, I really love this. Lens is really lightweight and great image. Next, do not have a black promise filter on this lens. This is an anamorphic lens, a 50 millimeter f 1.8 is by Siri or Siri. You think that's how you pronounce it. But yeah, love this lens. Anamorphic glands. And the G15 has what I love internally. It has on its monitor a D squeeze option. So you can actually see what the final footage just going to look like. This is our go-to lens for the ceremony. We typically use this for the bride's angle. And this is the 35 to 100 and by Lumix. And so with the GH 5s two times crop, it is 70 to 200 beautiful image of this lens. And this one has a black premise filter on it and it's a 1 eighth filters as well. I puts, because I'm using lenses from different brands, I put the black promise filters on their, I mean, they give you a nice soft highlights that gives skin tones really nice, flat, pleasing looking image for the skin tones. And it kinda helps a lot of my different lenses from different brands, you know, look alike. So that's why I have every lens that, you know. I use primarily for the ceremony, we're testing the anamorphic lens out, so I don't have a filter for that yet. So this is the 1835 by canon is, well, not by canons as EF mount by canon is actually a sigma heartlands. So f 1.8, I have a black premise, 1 eighth filter on there as well. We have one of my favorite lenses for the ceremony as well. My wife use this lens all the time. She gets a lot of the guess shots, gets reaction shots. This is the sam Yang, 85 millimeter T15 is a sinner lens. Nice smooth focusing. When you're pulling, your aperture is really nice and firm so you can hit it accurately hits your aperture. And yeah, really nice lens. I do not have the black premise filter on here because it is on the 835 shares. Blackboard mins filter with the 85 millimeter. Since they're both found, that thread is 72. Alright, so then our last lens is a macro lens right here. This by 70 artisans is the 60 millimeter f 2.8. And yes, you can get some nice cool ring shots. We have our macro. Alright, and that is it for this back. Let's move to our camera book bag. As I mentioned in some of the other modules, we are currently using the GTE series of cameras to film our weddings. One of the things I like about these cameras is that they are pretty small. So we have x5, GH five, and gt 5S. So right here, our main LEDs. So in this next section right here, another bag, we keep two LED panels in their chords. So 12 and have one-quarter in here right now, I'm using another chord. As we speak. I have some HDMI chords in here for various monitors. And then this is my ninja five recorder right here. I'm going to keep that in the bag. I don't want that the fall of table. Actually, you know what? And let's put these cameras back and this biggest section on the bag, we have a lot going on. First. As you can see, I keep our gimble which is desire crane to on top of everything in this section, sign crane to right here. Packed into the bag. I used to keep it in its separate case. But yeah, um, and it was just easier to keep in this bag under the Gimbal we have this case which I keep few Z2, H 1s and my Tashkent DR. To now we have to live in layers. And we have attached can DR. T10 and we have a Zoom. H1. I did not need all of my zooms for this wedding. So here are all my connections in this bag. For the Zoom H5. That's why I look up to the DJs mixing. So a lot of cords and here I have every variation known demand, so that the DJ has no excuse. But they'll let me get magical audio for my clients. Oops, alright. And then my zoom H6 right here, which I love. That's how I get all the audio from DJ. In this middle section, I have two road video might pros, but aha, I have some new new mikes right here. Have to leave this in the class notes. But the company's name is Novo, which you see right here. These are $40 mikes and we tested them out. Yesterday was actually our first time test them out and actually that a mobile VR. So once I look at the video, after I finish this video for you guys, I'll be able to see how I liked these mikes. But this was our first time using them yesterday. This bag has all of the connections for the Zoom H1, little 3.5. millimeter connections. And then this is where I keep all my attenuators, which I talked about in another video. Well, now you know, what's in my camera bag. 8. Tips For Filming Bridal Prep: Okay. Now it's time to stop filming that Brian's prep now decided to separate the bride and groom prep into two separate classes for three reasons. Reasons. One is because the bride will usually start to get ready way before the group or doesn't do. Is that just second shooter will typically be filming the groom's prep. And the last reason is because the bride's prep, the gross prep to me have a different flow, this similar, but the flow to them is a little bit different. In this class, I'm going to show how I feel bridal prep from start to finish. But you may have noticed that I have four classes dedicated to filming B-roll. And in these classes, more than teaching you how to get cool shots, I wanna teach you how to become a master observer had a breakdown processes. So you can see all the steps and thus film than if you hadn't film your first wedding yet and you're a little overwhelmed with filming the bronze prep. Don't be what I like to do is break up the prep into five parts. The bride's dress, shoes and rinks, the bride's extra little accessories, the makeup, the bridal party, and the bride put on her dress. When it comes to my prep B-roll, I tried to film each step of the bride getting ready as if I was going to make a one-minute short story about each process, I typically start my bridal prep with the bride's dress shoes and the rings. So I will arrive at the bride's room about an hour before she starts her makeup. We will of course get other details as well. But these are always the most important for me to capture if I was ever to run out of time. However, arriving at the bride's room about an hour before she starts her makeup will ensure that you never run out of time when it comes to the bride's dress, if I have time, I will typically filming in two to three different locations. That way, I can show a different shot of the dress for all of my different wedding edits. My goal is to make each of my wedding films feel like a new experience for my clients. I would do the same thing for the shoes and other accessories. If you are unsure how many shots you should get of each item, I follow the five, the tin rule. I will give five to ten shots of each item when filming the dress, I always get several wide shots and the dress, if the room the Brian is getting ready in is not big enough to get a nice wide shot without a lot of clutter. Don't be afraid to take the address to another location. Sometimes we will shoot the address in the hotel lobby, or maybe we'll shoot it outside. If you're shooting the wedding solo, don't be afraid to act. One of the bridesmaids to accompany you with addressed. I hope you carry it in, hanging up somewhere. We also get lots of close-ups of the dress. The close ups can be just as stunning as the wide shots. The same thing with the browse shoes and the rings. We will get wide shots and closeups and various locations when film in the accessories, I will always ask the bride if there are any specific details that she would like film. While I already know what I would like to film for every wedding. Always want to make sure I capture certain trinkets that are special to her as some may be tucked away. I tried to film everything that is there. The invitations, Carter, bridesmaids, flowers, bridesmaids, dresses, bracelets, hairpin, champagne, you name it. You never know what might be helpful when you're in the Edit putting together your story, let's talk a little more about the story. Each item you're filming has a story or better yet, you can use each one of the bride's accessories that tells a story. For example, most films will show the bribe putting on her wedding accessories like her earrings, garner. But maybe you can get a shot of the guard are being taken out of the package. Or instead of getting the bronchus went on her earrings, you can get a shot of her actually picking up the earrings off the table. As I mentioned earlier, when it comes to my prep charts, I tried to film each stage of the getting ready process as if I was making a one-minute short film. If you felt like this, you will always have enough bureau when it's time to edit. So dependent on our early makeup artists arrives, I will get the makeup artist unpacking and send it up. Then I will get individual shots of all the makeup artists applies. If his or her station is little junkie, I'll ask them if it's okay if I tidy it up a bit. Most of the time, they all thank you for doing this before you film their station. Then I tried to get the entire process of the bribe in the makeup chair. I usually won't stay there nonstop for the entire process as I will literally get other detail shots, but I try my best to capture the beginning, middle, and end. And if you ever miss the end because you were filming something else, you can always fake it. Just have the make-up artists lightly apply the blush, mascara, et cetera. I tend to like faking them brides completed makeup. As I can be really creative with the lighting or angle the show to final reveal. The best way you learn to become a master observer is to write down the different steps of a certain process. So I want you to write down by steps that will take place as part of a process during the Bryan's getting ready. I'll use the omega part is again as an example, here's what I wrote. One makeup artist arrives at the bribes door to, she opens up her suitcase. Three, she washes her hands for she places a cloth on a table. Five, she would begin to lay down her makeup toolkit. You guys get where I'm going with this, right? So I only have five steps in this list, but I could keep going. The point of this is all of the steps I wrote down are the steps of the mesa process that I can now film. You can do this with the brine stress or the food being delivered to the bride's room. Every process has a story. In the midst of filming all of the details, we still need to capture the guest stars of a day, the bridal party. These are the woman that your client has spent most of her life with. So try to capture all that they are doing a lot of the time. The bridesmaids will help with some of the preparations like steam in the bride stress. Or helping out with the hair makeup. You want to try your best to capture bits and pieces of all of that, especially all of the fun and laughter. Sometimes I'll put on a longer lens on my camera so I'm further away and how just wait, my goal is for my clients and that gets to be get down there and then be able to capture some genuine moments that will randomly happen. Like the bridesmaids may start to practice the dance routine that they kind of do it the reception. I will also get all the shots at the photographer's stage and with the brighten the bridesmaids are then their robes. Those are super fun. Listen, I love. Get creative with the detail shots, but the shots that will leave the greatest emotional impact on your clients or the shots of their loved ones. So capture the love. But there's so much more that you can capture if the couple has a pet that is a big part of their life, I will try to have them interact in some way. You never know. Maybe that will come up in the vowels are the toast, and you'll be able to overlay that footage and your edit. Now is the magical time when the bride is gonna put on her dress. So I step out the room really quick. And if my wife is filming, she'll sometimes they in the room, but I step out until the bride, once the dresses on, call me back into the room and don't want it up yet as I want to capture those final buttons being snapped together. But depending on how things are going to work out schedule wise, I will film the bribe put on her dress in two ways. If the schedule allows for my wife to come back and film with me, if she's done filming the groom, getting ready, she will film on either a 70 to 100 millimeter or five millimeter. And I will be on a wide-angle lens, which is either like 85 to 35 millimeter or 16 millimeter. I like this method as my wife can get really nice close-ups of all the motions in the room and details. And I can get some beautiful wide shots if I'm filming the getting ready by myself, I will typically still use a wide angle lens and then just start with all of the close-ups. Then after they're bright, it's done, get ready. How will stage some additional wide shots? Here is another shot list that will help give you some ideas of what the film when the brightest putting on her dress, the broad takes address off of a hanger. The mother of the bride buttons up the back of the dress. That bridesmaids fluff the bottom of the wedding dress that brian picks up her earrings off of the dresser. The Briant looks out of the window as she puts on one of her earrings. I would definitely practice right now. All the stamps for the entire wedding. It will really help you while you're filming a wedding to see all of what is going on around you. Well, I like to capture lots of natural moments. I also like the stage some reveals. This is when someone close that EBRI, we'll see her in her wedding dress for the first time. You can do a reveal with the father of the bride. You can also do a review with the bridesmaids once the bride is completely finished getting ready. Alright, I think I covered everything. Again. My mission with filming the bride's PrEP is to capture everything that may seem overwhelming, but as you do it more and more, you'll be able to film prep and you're asleep if you're new to weddings, I think the best thing that I did when I first started him on weddings was to list out my desire shots for each process. So take some time to write down the shots you would like to get for each stage of the wedding day, this will be a big help when you start hiring assistants to help you film a wedding as you already have a shortlist to give them, alright? I think you guys are ready to go out and film some epic bridal prep. 9. Second Shooters & The Groom's Prep: A long time ago I realized that I can't do everything in my business by myself to make the best films I could possibly make. I needed help with that said, my wife has been one of my best second shooters since the very beginning of my wedding filmmaking journey. But since we have a child and she also has her own business, she can't be there for every wedding. So we've had to develop a few processes that are other second shooters could follow so that we can get consistent results for every wedding. So I'll be sharing with you how we film are growing prep, but also how we set up a few processes so that our other second shooters will know how to get the best footage for our wedding films. And remember how I taught you to be a master observer in the last class. You will want to teach that to you second shooters, Well, you know, I was going to make a whole class on working with your spouse, but that will be long video. So we're going to focus on building a team. I'll say this about working with the spouse first, you need to respect each other's role in the process, and that is why you need the fine roles and your business and task. So when your event is over, you're not asking a second shooter. Did you get that shot? And they say, I thought you were going to get that shot. So before we discuss film in the actual groom prep, I think it may be wise to talk a little bit about roles and processes. For my company. I have three roles or positions during an event, the lead shooter, the second shooter, and a production assistant. Sometimes we will have to events on the same day. And so I will leave the filming for one event and we will have a lead for the second event. This is why you need a process. So you can eventually group someone to do this for us. Delete shooter handles all their important client planner and venue interactions on the day of the event. My wife is right here. Are leads you to gets all the primary and creative shots for the event and is in charge of setting up all of the audio. The second shooter is in charge of all the secondary angles during the main festivities and leads the effort for all documentary work. So for us, our second shooter has a big responsibility when it comes to our story. So while I as elite shooter will get a lot of the core gimble shots in the main chops for the ceremony, the second shooter IS patiently capturing they'll motions of the day, that joyful conversations. And last but not least, definitely not least, our production assistants setup lights, grab extra batteries, helped us carry bags, et cetera. The more things that they are able to do, the more time they free up for the lead in second shooter to focus on filming. So here's my process. When we are in the need of a new second shooter. I don't just look at their online video resume before the wedding. I will meet with them for coffee so I can get to know them and let them get to know me. Then I'll go over what is expected of the second shooter for my company and make sure we're on the same page, but he back in the market. Then if not that day, we will set up a day to do a practice sheet together. Sometimes this can be a 20-minute shoot in the park for me. They are not willing to do all of this, then they are not the right fit for my company. If you put roles and processes in place, take time to meet and trainers that can shooters. You will be amazed at how N'Sync your footage will be when it's time to edit. Here is an example of a senior from one of our wedding films. I wanted to use an example from one of our weddings where my wife was not the second shooter for the event. For this event, I was elite shooter, so I was filming The Bride and our second shooter who had just started working with us, was filming the grown. I did not give our second shooter a shot list for this had been, but we gave them training on when to shoot and what we typically want captured during the groom prep. And the funny thing. And he never ordered wife will go me again. Now, slices. It's free today just gets you started cynicism coming out, sticks in that flow through the vessels lifestyle. I was really happy how my shots in our second shooter shots aligned so that we can put that together. You want to make sure you have thoroughly trained your second chute is so that they can effectively communicate with the ground and it grows man, keep doing. Good to see. So we gotta do some figure and ready shots really quick if you're up for it. So let's go to the natural light. I just need you to bring your jacket and or you went to die or yeah. I feel I like the fund like no, no. We're going to be by a window that we talked about the idea. When I first saw the film weddings, there was so many times when I had shooters that was scared to talk whether was asking the room if they had anything special to shoot or politely ask them to guess to move out of a shot. So when our second chute is first arrived where the grooming groans, Penn will be getting ready. They need to ask questions. And according to my wife, you have to be a little persistence sometimes, as some grooms will forget that they have some cool items that should be filmed. For example, sometimes they may have some sown and monograms on the inside of their suits. Their wedding date. Some grooms might have multiple taxes, just like with the bride. They wanted to film all the groom's accessories, watches, cologne, Cufflinks, film at all. My wife was adamant when I was making this course that I need to tell you that as a second shooter, you can't be afraid to speak up. Of course you want to be polite, but a second shooter needs to be assertive. It one more time. So Hamilton notebook here. And in it I have some advice from my wife for your second shooters on how to film the groans prep. Gotta honey, do lists. In my own course. Don't be afraid to experiment when placing the groom's accessories. Have fun with it. First, you can try some traditional placement of items, then start to experiment. There will usually be a photographer there, so don't be afraid to bump off of their shots. And sometimes they may borrow some of your shots as well. When it comes to filling the groom, interacting with all of his buddies. The groomsmen don't be afraid to create moments like suggesting that they do a toast. If the group is going to give out gifts, don't be afraid to ask him to hold for a second so you can get your exposure and framing, right? Yes. You don't want to ruin their moment, but it's even worse to miss a shot. Get him B-roll shots you second shooter should hold the shot for at least ten seconds and the 10-second starts after they get their framing set and exposure set for the interviews. Extra grooms, AXA, groomsmen for five to ten minutes of silence and they will be more than happy to accommodate you if there's a separate room, that's even better. Now of course, all of this is great for me as I have a lot of options to work with him. I edit RIB. How'd I do? When it's time for the groom to give ready? I personally like my second chute is to get tight shots and wide shots. So if I want, I can mirror the groom getting ready shots with the brides. So we will have the groom to certain things twice, like put on his watch, once for the tight shot, and again for the wide shot, put on his jacket ones for the close-up of his face, then a second time for the wide shot. Okay, so save this one of my biggest pet peeves. Remind you second shooters not to get every shot from the same angle. I always say use UP, move around. Because then if you want to put a sequence together, you just got to have a bunch of jump cuts if every shouted from the same angle, because the groom and his groomsmen will most likely get ready a lot faster then the bride in her bridesmaids, you can take them to a few different locations around the venue to do some additional shots. By second shooters, we usually give me a call or text before they leave the room just to make sure that the priding room won't see each other by mistake. So this is how my second shooters film growing prep. The groom's PrEP is just as important as the prize because this is day two. 10. Filming Beautiful Ceremony Details: Through each stage of a wedding, you wanna make sure you get lots of B-roll footage. Always keep in the back of your mind. The purpose of your B-roll is to help enrich the story that you're telling while also giving you flexibility during the editing process. For example, during your edit, you may want to foreshadow the ceremony while the bride and groom are getting ready or during one of your interviews. For most weddings, we try to arrive at the ceremony location and about 30 minutes to an hour before the guest arrives. That way we'll have the room to ourselves filming the detail shots. Everybody will be different. But for a lot of our weddings, a ceremony Hall will be decorated the night before. So sometimes I'm, I sneak away for about 20 minutes from filming the bride's prep and film the ceremony details. And other cases where the ceremony won't be decorated until the day of the wedding. Our rush to film the ceremony details. After I'm done filming the bride, getting ready. If the schedule is really tight, I will film the first half of the bride prep and then let my second take over while I head to the ceremony to fill in the detail shots. Eventually, if you build a great team, you can send a third shooter to film the ceremony details by you finished film in the product. If you are unsure of everything that you should be captured for the ceremony CTO shots, here's a quick cheat sheet of the things I feel should always be captured. A wide shot of entire ceremony setup, one shot from the entrance and then get a wide shot of the entire room from the alter. Some people may not realize this, but one of the most costly expenses as some weddings are the flowers. For some of the weddings we film our clients been over $20 thousand on just the floral design alone. No matter what your clients spin with all the excitement going on, the only time your clients will fully get to enjoy the floral arrangements will be in your video. So we'd like to get a wide variety of medium and close up shots of all the floral setups. Another item that often gets overlooked are the chairs for many weddings that shares our custom. So be sure to get some creative shots of those two. Don't forget to look up some of the venues you film that may have CRAN chandelier, so intricate seal and designs. So be sure to appoint your cameras up to give your audience a new perspective. You also want to get close-ups of all the sentiment, details and the rural. This can be something as simple as the program pitches of a loved one that is no longer with us. About two or three years ago, we replaced our sliders with gambles on the Gimbal. I will for the most part, always use our widest lens when it comes to gimble shots, I personally like to do dramatic reveals, a ceremony space. You can do this by starting on the ceiling or Sky and slowly using the controls on your gimble to tilt down and reveal the beautiful space. Remember to keep in mind that you can potentially use every aspect of a ceremony to core to help tell your client story. This gives you a limitless amount of options of what to film and how to film it. For example, if there is a piano, I will film a wide shot of it, but I'll also get close-ups of the keys. That way in my edit, I have the option to start with the keys and then reveal the wide shot of entire piano. Or if you're using this footage over and interview or the vowels, you can start with the shadow. The keys cut back to the interview and then back to a wide shot revealing the full shadow of the piano. No matter how many cool new gauges we give for filming, the tripod will always stand true. All of your shots don't have to be full of movement. I love using a tripod because it forces me to slow down. And for the rights shot, a static shot can be just as powerful as a moving one, if not more, when a film with the tripod, I will usually start with a few close-up shots using a 50 or 85 millimeter and then move to the wide shots. If you follow these steps, I am assure you we'll get some fantastic shots that will not only impress your clients, but also help you to tell a compelling story. 11. Filming Beautiful Reception Details: A wedding filmmaker, you will eventually find that thing that makes you feel is unique. For our weddings, we'd like to put a lot of our focus on the reception and as to court, we are blessed in the fact that we get to film so many beautiful reception designs. And our clients have put a lot of planning and money into those creations. And we want to make sure that they are able to see those things in an exciting way for years to come. So when it comes to filming wedding reception details, we usually film bills in two stages. The first stage is actually filming the setup process by the flow designers. I'll be honest, we won't always use this footage, but dependent on where the story goes, it may be a big help in the edit. So you're always going to want to look at the wedding timeline so that you can determine your shooting schedule. We're filming weddings that have these big Insure Kids setups. They will start the building process the day before the wedding. So depending on my schedule and the weddings location, I might start filming this setup process that day before the wedding. At the very least, I will arrive at the wedding early, about two to three hours before the bride's starts her makeup to start getting some of my exterior shots that we talked about before and some shots of the reception being setup. Once the setup is done, we will actually went and Planner to clear the room so that we can fill our detail shots. But some weddings, we won't get the 15 minutes to fill the details that we typically will want as a minimum. Sometimes we make it as little as five minutes. And those cases, the setup shots will come in handy. If we're going to talk about filming the reception details, we need to talk about photographers again when it's time to get the shots of the completed reception. This is usually another time at the wedding with a videographer and photographer may bump heads as we both need to get our shots. So there are a few ways my team and I handle this. First before the wedding, we request to the planner that we will need 15 minutes to film their reception by ourselves. That way, she or he can work off filling needs into the schedule. I have to admit, even though we always request is sometimes the planners and designers are still setting up the reception during our designated reception filming times, which is usually scheduled while photographer is getting the family portraits. When this happens, we'll have to share the photographers detail shot time, which will usually be right before they let all the guests and the reception hall. And this scenario, I usually suggest to the photographer that we shoot in the same direction so that we won't be now the shot, I should mention for us, while the lead shooter is filming the reception detail shots are second shooter is usually filming cocktail hour. Okay, so here's your cheat sheet for the shots you should always get at the reception that will make your edit straight buyer. Wide shots. Your clients will love to see some epic wide shots of their reception for a lot of the wind angles. I get, I like low angle shots at table level or below table level. These low angles will help make the room feel larger than life. These low shots will also help give you shots different perspectives, like showing the tables and the chandelier is in the same shot. You'll want to get a few wide shots of the entire room from different angles. Then get wide shots putting the focus on different subjects in the room like the wedding cake, the DJs booth, and the Brio parties table. Next up, or your medium shots. For shots like this, you can focus solely on the wedding cake or all of the individual table setups. Last but not least, we need to get some close-up shots for these. We will focus on everything we shan't already. So we already got a wide shot and a medium shot of a cake. So now we need to focus on getting close to the cake so that we can show all the small details. Get creative, which your close-up shots, the sky is literally delimit. Now you know the type of shots you should get. Let's dive a little deeper into some of the technical details. Let us first talk about camera settings. Whatever camera I am using, I like to stay as close to native ISO as possible. This will give my footage the least amount of noise that artifact things as possible for my aperture when filming the reception details, I stay between f2, 0.2, and F4. The reason being is I want as much of the reception to core in-focus as possible. So you're probably thinking, well, if we're keeping ISO as low as possible and we're not shooting wide open on our lenses. Isn't a reception in detail footage going to look really dark. This is why we use LED lights. We are currently using the x5, the film, a lot of our events and the GH fives have a really small sensors. So when we are shooting the wide shots, we will hide the LEDs all around the room to get our shots. And then for the close-up shots, we would do the same thing. For the close-ups. We try to put the light a good distance away from the tables so that we can have soft the shadows. For this shot. We used about eight LED lights on stands around the room. For this shot, he only used to LED lights. And for this one, we didn't need to use any. So you're going to want to look at each wedding and assess your lighting needs on a case-by-case basis. And remember, I'm sharing the way I do things so that you can have the building blocks to help you develop your own style and filming weddings. Eventually you get to a place where you doing things your own way. Probably even better than me, Bob, indefinitely, but me. So now you're ready to film some beautiful reception detail shots. Well, what are you waiting for? Guo start filming. 12. Getting Cinematic Couple Shots: And this class we are going to be talking about a couple shots. These shots are really important for our photo film. Don't want AT cheesy shots. I want my clients to feel like superheroes when they watch, they feel that that's superheroes. Maybe like super spies. Do you know? The couple that has to wear dress and a tux as they infiltrate the bag as hangout while doing the tango. That's what I want my couples of fill like when they're watching a film. In all seriousness, the first thing I want when fill in my couple shots is for my clients to feel comfortable. This is why so important to have an in-depth conversation with your clients before their wedding. You can ask them things like, are you okay with PDA? What type of couple shots would you like to get? Some of your clients will not have any suggestions, but some will have a mood board with all the different shots they want you to get and for the photographer to get. And hey, the more help you can get for filming, the better. So how do you get romantic shots without making them look forced? My answer to this is pretty simple. You make the couple focus on each other and not the camera. Let's start with the shots where you couple won't be moving for these shots. I like to make my couple interact with each other. For example, I may extra groom to whisper something funny. It has new brides ear. And I may add to that, say something that you would only want her to here. Nine times out of ten, he's going to say something that will either make her blush OR make her laugh. Either way, you've turned a state shot into a genuine moment. Okay. We're all grown up here. I hope I'm pretty grown. Less not beat around the bush, less talk about kissing. Now of course, for a lot of clients, it may be awkward for them to kiss in front of other people. So here's how I get some natural switches from my clients. For these shots, I'm usually filming at a high frame rate so I can slow down the shot later in post. So I tell the coupled to look in each other's eyes, give a quick kiss. But then after the kids continue to look into each other's eyes, I feel this makes for a great shot. And again, you are having a couple of Focus on each other rather than focus on the camera or video. But then you didn't need a through a regular give and they can feel lucky flows out. Okay. Alright. Yes. Because they are focused on each other, looking into one another's eyes. A lot of the times they will just automatically kiss again and we get that we are even there. You don't always have to make a couple of kids to have them connect with each other. You can film them holding hands and just asked them to talk to each other. I may do some shots where I have the bride looking at the lens and then the group is looking at the bride. Or I may just have the Brian looking away from the girl for these shots are always talking them. I couple. Try to get them to bring out some genuine feelings. And those moments I made it to the bribe, look away like you're pretending you're too good for him. Then I may say to groom and grab her hand and put all of your love that you have into that touch. This is my style. I like to make my clients have fun and make them more and more comfortable with me film in them. The more relax you can make your clients feel while you're working with them, the better they will look on camera. As you work with more and more clients, you will find your own way to communicate with your client wants you to be enjoying the ride. So my favorite Szostak get of my clients during the couple shots are moving. Now watch this though these shots, I will have him hold hands and looking at each other as they slowly walked towards me. Sometimes it will even look better on camera if you asked him to smile at each other and have a short conversation, or you can even Acts one of them to tell the other why they loved them so much. I know I've said this before, but the more you can get your clients are focused on each other, the less they will be worried about are focused on your camera. Okay, we talked about how to interact with your couple so that they are more comfortable on camera. Let's talk about some cool angles. Let's start with why charts. If you are using a gimble, you can get some super cool low angle y shots as you track the couple as they walked together, I'll always acts them to walk slowly and just pay attention to each other and pretend that we're not even there. Sometimes we have just finished a shoot at a separate location and we're about to head back to the main venue and the couple is just walking together. I always film that. Don't waste those moments. If you're in a wide-open space, you can even bring your drone low to the ground and track the couple as they walk. Just FYI, for safety reasons, I like to keep my Jerome far away from the couple at all time. If you do have a drone, you can use it to get so many perspectives of a couple. As I said before, I like to keep the drone a safe distance away from the couple. Still in wide shots, both for your clients. Don't have to be moving at the same time, which I mentioned before. You can actually have one of your clients walk towards the other. Sometimes if we've just started shooting and the couple's film a little nervous, I may fake a first look to break the ice and trust me, the audience will never know. So you have the groom stand with his back turned to the bride, and then the bride will then walk up to the group and tap Moniz shoulder. I always tell the group I want him to give his best reaction ever. I want it to be asked for the usually the couple will have so much fun with each other doing this. It will just make them laugh and has some great fillable moments. You will also want to get a good amount of medium and close-up shots as well. I went to get shots. They focused on holding hands, maybe the wedding rings or even the eyes. Those shots will add some nice emotion to your edit. I will often get a wide shot of the couple of walking towards me, having them talk to each other and then our accident a stop and then I'll go in closer to get their hands or their feet as they walk. That way. I can put together a little sequence. If you want to take you a couple of shots who even higher level, you can use the environment to get even greater shots. One cool shot is to film a couple crossing the street. I like these shots because they establish the location. A wedding is taking place and people will often honk their horns and yell Congratulations, which makes the coupled field great and also adds a great quality to your film. When my clients have a hiring collar, I will ask them if it's okay if we use that as part of the shoot, there's just so much that you can do when you add I guess you would say our prompt to the shoot, you can have the groom open up the car door for the bride as she gets into the car. In a safe environment with no other cars, you can have the couple slowly drive the car and get some shots. Okay, let's talk about photographers. Again. I have seen a lot of wedding videographer stopped shooting when it's to photographers turned to work with a couple. The reason for this is the pin on the pose save a couple is looking at the photographer's camera. The shot won't look as natural. Trust me, you can still get some great shots while the photographer's work with the couple. Even if the couple is looking at the photographer's camera for one, you can focus on Medium and tight shots. You can get close-up detail shots of the bride's dress or close-ups of the bouquet. Or sometimes you can use your surroundings to frame the couple just they created. If you have a gimble, you can have a little fun with your shots by having the bride and groom hold each other or slow dance, and then you can slowly circle them. Let's talk a little bit about lighting. If it's really bright out, don't be afraid to move locations, define a shaped area to film the couple. I always liked the film, a few shots of the couple while they are being backlit by the Sun. This can make for some nice dramatic silhouette shots. Well, I think you guys are ready to film some cinematic couple shots. 13. Filming The Entire Wedding Ceremony: The wedding ceremony is the heart of the wedding and for me it is the pulse of my wedding films. Weddings are full of so many festivities, but this is the most important part of the day. And this is why everyone is there. There are a lot of different ways to film a wedding ceremony. I'm gonna share with you the best ways that have worked for me MIT. When filming wedding ceremonies, we use a three camera setup. One camera has a wide-angle lens, and the other two cameras used telephoto lenses, as I've mentioned in this intro video gear module, we are currently used in Panasonic cameras from their Lumix th line, we'd like to use cameras from the same brand as it helps us in the color grading stage to keep our footage look inconsistent. While my second shooter is given all the shots of the guess, I'm setting up all of the audio. So let's talk about oil as one of the most important things you'll be captured for the ceremony and go to that committee will serve as a source of encouragement for ceremony where there will be a DJ playing all the music and administer performing a sermon and a couple of changing vowels. We will use three recorders. I will put one lava layer on the groom, I'll put one lavalier on the minister. And then I will also plug in a recorder into the DJ mixer. And I'll always use the entity waiter when that mean recorder, which we talked about in this century, audio gear module, or one of the lines of the main recorder, just to be safe. The more ceremony has going on, the more mix we will use in a perfect world that DJs mixer will sound great. And you'll be able to use that as the main source for all the audio for your edit. But things don't always work out that way. For example, sometimes there is Orchestra and they won't have an electronic amplifier. If this is the case, I will take recorder like a Zoom H1 or even an H5 or H6 and place it on the ground near them as they play in your readings at a podium, I will put a Zoom H1 on the stand as a backup. I can't tell you how many times someone forgot to give the person given the reading a microphone, the ceremony is about the start, so we turn on three cameras and we let them run the entire ceremony. This makes them really simple. When you have to sink all three cameras during your edit. That's one of the main reasons why we eventually move to using cameras for weddings. Don't have a record limit. Now depending upon the edit you're giving your client, you may not need to film nonstop. However, some of our edits are of the entire ceremony. I would also like to mention that we don't do a lot of moving shots during the filming of our ceremonies. We don't want to be a main part of the show. We just want to capture it. During the procession of the lead shooter will have the camera with the wide angle lens face and down to o. It will either be at 1835 millimeter, which has aperture f 1.8 or 16 millimeter, which has an aperture F1 point for these lenses have served me well for all of my lighting situations. I like to have my camera at a low angle. Almost looking up at the bridal party as they come down to our wide angle camera is on a Gimbal. And when we are filming the ceremony, we attach a mono pod to it so we can adjust the height as needed. My second shooter will have 85 millimeter on their camera that will be on a tripod. They have two jobs. One is the capture the bridal party, come down the aisle and to capture the kids reactions at the broader party comes out, the owl wants to group, comes down the aisle, bill, they will, for the most part stay on him to capture all of his reaction. We will have a third camera on a tripod that is usually unmanned, which will have a 70 to 200 millimeter lens on it. It has a 2 aperture, which is still pretty good for most ceremony low light situations that we have encountered for this ceremony, insurances are third camera will capture a secondary angle of all the bridal party coming down the aisle. This third camera angle is so important as it gives the second shooter freedom to film different subjects during the entrances. Once the bribe finishes coming down the aisle, the camera angles change during the transition. The second shooter has the most important shot. There. Single close-up shot of just a groom, turns into a two shot of the groom and the minister. For the rest of the ceremony. A second shooter would typically have three shot, which primarily focuses on the Minister and the room with the back of the Brighton view as well. Let's take a quick break from filming and talk about communication. The biggest hurdle that some videographers have when filming a wedding is dealing with. But the photographer doesn't have to be your arch nemesis. What I like to do is talk to the photographer before the ceremony. It acts how they typically shoot ceremonies. I then explained that we are using a three camera setup and it's fine if they need to cross shots because I know they have a job to do as well. I just politely ask that they do not block one of our cameras for extended period of time, and we would try our best not to block any of their shots. I then explained to the photographer how the vowels are the most important part of the ceremony for the clients wetting film. And if possible, could they please give us a clear shot for those moments? You see what I did there? I didn't make it about me and my shot. I made it about the client because at the end of the day, everything that we're doing, the both the photographer and the videographer, we're doing it for Klein's 99% of the time. This will work out great for you in the cases where the photographer just ignores everything you said, which will happen sometimes. You usually have at least one good angle from year three camera setup. Back to how we film a ceremony. So during the vowels we will have a wide shots showing at the very least, the minister bridegroom, if possible. At some point we'd like to have the whole broader party in the wide shot once the bride and groom start reading their bowels are second shooter moves to a close-up of the groom, and our third camera is already in place as a close-up shot of the bride. I always go over to that camera just to make sure is completely and focus on the bride's face just in case she moved back or forth. If there's any type of performance during the ceremony while the third cameras capturing their performance, a second shooter usually drifts from the performance to the crowd shot, to the close-up shots of the couple. And our wide angle will either stay on the couple or capture a secondary angle of a performance. Okay, so the bridegroom say I do, and the minister says, I would like to present Mr. Mrs. insert a cool lastName. It is time for the bride and groom to walk back down the up. This is why I like having a cynic camera on a Gimbal. Most of the photographers I worked with liked to be up-close for this part and then walk backwards, getting shots out the broadening group as they walk towards us. So having the camera on a Gimbal allows me to be able to pick up the cynic camera and walk backwards, get a nice smooth shot. Then I stay at the end of the hour as the rest of the bridal party exit the ceremony. Don't be afraid to experiment with different focal lamps or filming techniques when filming your ceremonies. Most likely you'll start with the techniques I just taught you and eventually your own style will evolve. Well. Now, you're ready to film a wedding center month. 14. Filming The Entire Wedding Reception: If the wedding ceremony is the heart of our wedding edits than the wedding reception is the soul. The wedding reception is the most fun part of the wedding. I don't think anyone would disagree with me on that. However, we still need to stay vigilant when it comes to planning and preparing for filming this portion of the wedding, there are three things I keep in mind for the reception. Audio, lighting and replacement. 99% of the time the DJ for the reception will be the same one that performed the DJ services for the ceremony. If that is the case, I would have introduced myself to the DJ during a ceremony. I'm also polite in approach my relationship with the J from the perspective that he or she is doing me a favor by allowing me to tap into their equipment for the event. With that in mind, as soon as the DJ is done setting up for the reception, I could lightly acts if I can tap into this system for the feed for my audio recorders, we will use 2.2.3 audio recorders for the reception. I'm a recorder will be plugged into the DJs mixer. I will always have a safe line using the attenuator. I talked about the attenuator and all my other audio equipment in the central audio equipment module of this course. If there's a band and they have their own speakers separate from the DJ. I will use another recorder to capture their audio if needed. We will use 2.2.3 lights to illuminate all of the formal festivities at the reception. Our goal is for our lighting to look as natural as possible and for our lights to be as unobtrusive as possible. So we will usually place our lights against the far wall, slightly facing up so that they will not be directly in the eyes of any guest. We will also placed him in a way where the lights will not be in our shots beacon of placement. We try to shoot with our cameras on an imaginary 180 degree line so that we will never be in one or another shot. We try to get the photographers on the same page as well. So we're not in their shot and they're not in ours 70 to 80% of the time. It works out. The way you shoot the reception will really depend on the type of edit. So you give me a clients, if you're going to give them a documentary edit, which is more of a linear, long-form edit. You will keep your camera's rolling for the duration of each stage of the reception. Most receptions have six to seven parts. The entrances, formal dances, toast, performances, fun festivities, guest dancing, and the send-off. There are a lot of different ways you can film each segment of the reception. I will share the simplest ways I've found for filming each. Remember, this will be a starting point for your journey and eventually you will develop your own way. Let's start with a broader party instances. Depending on the event, either film them with the cameras, with having a lot of movement or my cameras will be completely stationary. You can usually keep both cameras on a tripod if all the guests will stay seated for the duration of entrances. So one camera will be set up with a wide-angle lens position, so it has the best angle as each party member into the reception hall. The other camera will have a telephoto lens for the tight shots. It will also transition back from the entrances to the guest reaction shots for the Tracking options. So we can have a lot of movement. The wide angle lens will be on gimble. As each party member enters a reception hall, you will mostly backup in a straight line tracking their movements. The secondary camera will function the same way as it did in the first example. Getting close ups of the bridal party as they enter in the guest reaction shots. In either case, both cameras are positioned in a way that neither camera will be in other shot. Sometimes when we are using a Gimbal, the tractor party, as they enter, the stationary camera will stay on a DJ as they make the announcements. Then the other camera on the Gimbal can track the inferences and get guest shots as well. The former dancers will almost always come after the entrances. And again, we will use a two camera setup. Both cameras will always be on the same side. So we're not in Jell-O shot. We will either use the crowd as the backdrop or the the core. It depends on which looks or suits the situation best. Most of the time, I like the wide shot to be super low as I like to be able to see the ceiling in the shot. The tight shot will track the bride and groom as they dance. For most of our weddings, after the formal dances are done, it will be time for the guests to eat. Before they eat, there will usually be a blessing on the food that our rule is to always film it. But to be honest, we hardly ever use it. I always say whatever you don't film. That's what the clients are going to act for. Next up is the toast dependent upon the wedding? We may use three cameras for the toast camera, one is a medium or closeup of whoever is giving the toes. Sometimes if we want to be creative, we would do a three shot showing the person giving the speech and the bride and groom. Camera two will be a medium shot of the couple as they enjoy all the speeches. This camera can either float between the couple in guess reactions to the dose, or you can have a third camera so that the second camera can stay on the bride and groom. And the third camera can capture all the guests reaction light and wise, we will have one LED light on a couple about 1520 feet away from them. For the person, given the tools, we will have one to two lights on them, usually a key light and a kicker light. The key light is the light that will provide the main illumination of our subject. And the kicker light will either be a side or back light on our subject. For a lot of our weddings, there will be surprised performances most of the time, especially if his surprise celebrity performance, there will be a lot of secrecy around this part of the event. What this means for you is that you might not have a lot of time to plan and prepare for the performance. Ladies and gentlemen, how about a round of applause for read Psalm Grammy nominated ladies and gentlemen. Camera one is for performances. We use two to three cameras. Camera one is capturing the performer, camera two is capturing the coupled reaction. And if we have a third camera, that camera will float back and forth between a guess reactions and a secondary angle. Other performance lighting wise for the instances where the planner makes you aware of the performance, we will set up four to five LED lights on stands. If there are no professional spotlights being setup for the performance, if the venue or the design team will have one spotlight on the performer, we will set up two to three LED lights, one on the couple to get their reactions of the performance, and two additional lines which we will place on the far edges of the room to slightly illuminates the crowd. For any performance. Always, always check with the DJ. The see if the feed for the performance microphone will be coming from his mixer. The last thing you want is for your recorded be plugged into the DJs mixer and you're not actually recording sound from the actual performance, even if the DJ will be handling the sound, always have a backup mic, especially if it's a celebrity performance. For my backup Mike, I will sit it recorder like sum1 on the floor about ten feet away from one of the speakers. We will also have shocked on Mike's on the top of our cameras like the Road Video Mike pro for festivities like the garden toss and cake cutting. We use to LED likes usually 15 to 20 feet away from the action. We usually try to have delights almost as a sidelight to whatever's going on. So now it's time to capture the guest dancing lighting wise, we will move all of the lights to the furthest walls as we don't want to be too much of a distraction. We never put lights on top of our cameras. We just feel like there's too much of a distraction. We will not put lights on top of our cameras. We went the lights as far from us subjects as possible while providing enough light for our cameras, sensors for some of our weddings, the clients don't want any lights use for the dance and portion of their reception for us. I would say this happened just found maybe 5% of the time. And these cases, sometimes the DJ will have nice strobe lighting system. And this situation, it is good to have cameras that are great and low lighting conditions. Here's a wedding where we were not allowed to setup LED lights for the guest dancing. The DJ did have a nice lighting system. However, to get this shot here, I did have to push the ISO all the way to 10 thousand. At the time, I was using the Canon C 100 mark two. This is why pre-production is so important. Way before the wedding, I'm let my clients know how we will be lightening their weddings. I just have a simple conversation with them about lighting. If you are working with clients that have darker skin completions that will not reflect light as well as clients they have lightest can completions. You will need more light to properly film for the guests dance. And we will use two cameras, one on a Gimbal, and the other is usually handheld. The handheld camera usually helps us get closer to the guess while they are dancing. And since the camera we use are so small, we tend to find that they feel a lot more comfortable with us when the Gimbal we will use a wide-angle lens, gain some nice moving shots. And for the handheld camera, we will either have a 50 millimeter or five millimeter lens for some nice close-up shots at the end of the night, there will sometimes be a sendoff for this. We use two cameras. Camera one is the wide angle shot on a Gimbal so that we can move as the couple moves to the crowd. Camera two can either be a secondary angles slightly from the side, or you can even film the secondary angle of the couples exit from the back. This end off is going to have sparklers. You probably will not need to use additional lighting as a sparklers will provide all the light you need if it isn't enough with no sparklers, we will usually use one key light to the side and sometimes we may add a backlight. So when you put all of the tools that you now have together, you will have enough reception content to put together a film that will blow your clients away. 15. Document A Process: All right guys, it's time for the best part of school. Homework, OK. Maybe in traditional school homework is not fun, but when it comes to filming, it always is. So I made these projects with the brand new wedding filmmakers in mind, as you won't yet have any weddings to practice on. So you'll need some drills to help sharpen your skills. But even if you are more experience, you are more than welcome to participate as I would love to see what you all create. So for this exercise is best if you can film someone else, your spouse, your child, whoever. But if you don't have anyone else to film, you can film yourself. As a filmmaker, you should document subjects that interests you. Yes, we are all filming weddings with similar structure happening every weekend, but there will be different things you appreciate more than others that happened throughout the wedding day that connect with you personally, I am going to film something that I have a strong connection with at home, and that is breakfast. To keep things simple and fun, I'm gonna capture my wife MakingComics. Now to be clear, this isn't a B-roll challenge where you're going to stage every shot. You wanna put your a documentary filmmaker hat on for this one, what I want you to do is actually document something as it's happening naturally. So I'm just going to have my wife cooked some eggs and I'm not going to have her stop and wait for me to get set up. I am just going to try my best to capture as much of the steps as I can and then see what I can create. Here are the rules for your assignment. I want you to film at least five different angles. I want to hear some of their original sounds for whatever you are documenting. Your final film should be one to three minutes long. No more, no less. Yeah. If you don't have to don't use any additional lights for this assignment. The reason is because I just want you to focus on filming the different pieces of the puzzle and nothing else while guys have followed your homework, I look forward to seeing it. 16. Cinematic Wardrobe Shots: So if you're going to be filming weddings, you're going to have to get some B-roll shots. Typically the shots will be the wedding dress to shoes and the jewelry. So for this assignment, I want you to challenge yourself to get some beautiful shots of some clothing you have in your house. I want you to shoot three items, a t-shirt or a dress, whatever type of shoes you have laying around. So it can be dress shoes, sneakers, flip-flops or boots. And last but not least, a shot of some jury you have laying around and it can be a watch, earrings, bracelet. Be creative, OK, for each of the three items, you're going to get three shots, a wide shot of the item where it's perfectly exposed. The next shot is a silhouette shot where you're playing with light and shadows. And the last shot of each item, I want a medium close-up shot shown off the details of your item. You can do these shots inside or outside your house just like if you're at a wedding. So for my three items, either decide to use one of my thomas vision film shirts, a pair of my daughter sneakers, and my watch. I wanted to pick stuff that are simple so you guys will have no excuses. So you guys know, I have to do my homework two, so here is my version of the assignment. The point of this exercise is to help you bring creativity into any space that you're in when you're filming a wedding, you will eventually get to a hotel room where you need to film a wedding dress. And you think to yourself, where in the world am I going to put this dress? Maybe the room doesn't have a lot of natural light or the room will be really junky, so you'll have to be creative. Another problem I run into, and it's not so much a problem, but I felt a lot of the same vineyards multiple times a year. And as a creative, I hate repeating the same shot and a film, especially since I'm usually put now Instagram teases the same week. I femoral wedding, I can't be repeat no shots. For example, I recently film to weddings at the Ritz-Carlton, back to back for two Saturdays. And my bride, or in the same exact room. So the first Saturday I shot the dress hanging in between the bedroom and the bathroom. And I also got shots of the dress outside near the ceremony. So for the next Saturday, I didn't want to shoot the wedding dress in the same place in-between the bride's room, in the bathroom, and the guys were getting ready near the ceremony area, so I couldn't take the dress downstairs. So I asked if I could shoot the dress in the month of the bride's Room. And I think the shots turned out pretty good. And most importantly, I didn't have to repeat shots. Like I said, I hate that anyway, guys. As always, have fun doing your homework. I look forward to seeing your assignments. 17. Epic Room Shots: This assignment is another bureau Drew. We are so lucky as what I'm filmmakers because we get to film in the most beautiful venues every single weekend. For this drill, you are going to film of five shots sequence of one specific room in your house. Now when you're filming your B-roll for this drill, you can actually film as many shots as you want. Well, kind of because here's the kicker. I want you to set a timer and get all of your shots within two minutes. No cheating. So why the timer? You don't know how many times I've been at a wedding and it's time to film their reception detail shots, which I've mentioned to you in another class or some of my most important shots for my films. The planet tells me I only have five minutes before they let the guests. When you gotta do what you gotta do in sometimes you need to be able to be creative and Bast. Be sure to mix up your shots with wide shots and closeups of your room. For this drill, I chose my living room. You can actually tidy up your room first before you set up your timer, but you have to set the timer once you hit record. My timer set for two minutes and go. Alright, here's my little film. Now. Again, the point of this drill is to prepare you for filming your first wedding. And I want you to get comfortable getting cinematic shots in a hurry if you have two more importantly, I just want you to be able to be creative no matter what obstacles are standing in your way, Okay, I know you will have a great time with this homework assignment. So get to work. Piece. 18. Final Thoughts: I first just want to say congratulations to all of you that have took time to make it through the course. Make it through this course. That is really a big step. I have a few final thoughts in tips that I want to share with you to use on your new and exciting journey and filming weddings. I said this before, but you don't need the latest data, the art gear to make an amazing wedding film. You just need to be committed to mastering the tools that you currently have. Don't get me wrong. I love filmmaking gear as much as the next guy, and probably even more. And you see all the stuff I have behind me. But at the end of the day is all about the final film that you're going to create for your clients. So having a mastery of composition, lighting, and sound is way more important than having the latest camera. So if you went through every class in this course, which I hope you did, but you will know that we have covered B-roll in at least four glasses. And that's because B-roll is super important and will help you provide flexibility and your edit. Not only is an important part of the story creation process, it is super-helpful when you make a mistake. I mean, mistakes happen. So make sure you get enough Bureau footage for all of your editing needs. In this course, we didn't talk much about me other than my philosophies and practices when it comes to filming weddings. And I wanted to give you a little inside info on me. So I went to undergrad and grad school for film and TV production. It's an internships and TV. I went to the corporate world for ten years outside of film, I even grew a big YouTube channel in acquiring rooms. In, out of all of that, filming weddings has been one of the most rewarding careers I have ever had. It has made me a better filmmaker as made me a better businessman. It has made me a better creative in general. And I'm still not the best businessman. I can be the best filmmaker, I could be the best creative, but I try to be better and improve myself. Every day. Yesterday I watched some filmmaking videos, tutorials on YouTube. And today I actually listened to a pi castle and business. And I'm always trying to improve. So this course was your first step or maybe it was your TIM step in the right direction to a life and career of always trying to improve. You may hit a few bumps in the road I have, but learn from your mistakes and keep moving forward. I so want you to be a successful winning filmmaker. My hope is that I have given you the tools and processes you need to film an entire weddings start to finish. So what are you waiting for? Go out there and film epic, Whiting.