How to Film a Wedding Ceremony - A Guide to Wedding Filmmaking | Ian Worth | Skillshare

How to Film a Wedding Ceremony - A Guide to Wedding Filmmaking

Ian Worth

How to Film a Wedding Ceremony - A Guide to Wedding Filmmaking

Ian Worth

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10 Lessons (29m)
    • 1. 01 INTRO

    • 2. 02 GEAR

    • 3. 03 PLANNING

    • 4. 04 CLASS PROJECT




    • 8. 08 EDITING


    • 10. 10 FINAL WORDS

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About This Class

In this class, I will teach you how I plan, film, edit and deliver a complete documentary wedding ceremony film. I cover every aspect of filming a wedding ceremony from the gear you need, through to the final edit.

By the end of the course, you will have learnt how to film a wedding ceremony and how to deliver a professional-looking wedding film to a client.

If you would like to watch my next wedding videography class, please click the link below or search through my Skillshare classes for more like this.
How to film the bridal preparations

How to film the speeches & Toasts class

Please note: A good understanding of camera basics will help you throughout this course.

Meet Your Teacher

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Ian Worth


Hello, I'm Ian, a professional filmmaker and photographer based in the UK. I document weddings for a living but also run a Youtube channel based around my love for the great outdoors and landscape photography.

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1. 01 INTRO: I am worth. I'm a filmmaker and photographer based in the UK, but I've been filming weddings now for over 12 years on thoroughly enjoy it. I really do believe it's a great way to make a living. My approach is always being of a more relaxed style. I like to document proceedings in a completely natural manner, focusing on capturing emotions and a story driven by great audience. I say I take a fairly minimalist approach to filming a wedding, carry a small amount of gear, and I like to keep things really simple. I found this style often allows me to capture Mawr of what's important. That's raw emotion, fun and laughter. Wedding filmmaking is growing in popularity year on year definitely Seymour enquiries now than I did five years ago, and I think that's purely down to how easy it is for couples to share their wedding films on social media. Five years ago, we didn't really have the streaming platforms that we do now on. I believe it's so easy for couples now to share their films, and that's great because it gives us free advertising on a lot of referrals through those platforms in this class all break down every aspect of filming, editing and delivering a complete wedding ceremony for client. Now this is a documentary edit. Not talking about highlight films or filming the rest of days is purely just a ceremony. I also believe that this class will help you achieve a better understanding of planning editing on delivering a film to your client, family or friend. I think this course will see all abilities from someone looking to get into wedding filmmaking for the first time with someone that already has some experience but would like to refresh their skill set. So I think some basic camera knowledge on editing skills will be helpful for you to follow along with this course. I hope that by completing this course, you will feel confident enough to film at it and deliver a wedding film for a client. This will be filmed from multiple angles with eggs and audience 2. 02 GEAR: so having the right equipment to film wedding is really essential on Do you believe the better your equipment is better, your film will probably bay. But also, what's really important is getting to know your equipment and making sure you know your equipment inside out. You know its strengths and weaknesses. And this is really gonna help you create really good wedding film. So I'll be sharing with you. What? I used to film a ceremony today. Now, do you use other equipment for the rest of the day? But as we're just talking about the ceremony, I'm just gonna be showing you what I used to film the ceremony itself. Let's talk about camera bodies. First. I use the food. Txt, threes. I really love the colors I can get straight out of camera. This enables me to streamline my editing process and keep my color grading to a minimum. They also have great lens line up to also at the fact that they're a little different from what many of cinematographers they're using. Right now, it's only a seven s is are really popular on our great option. Also, they're probably the most popular camera for wedding filmmaking. At the moment, Panasonic also have some great options to two things I would look for when choosing a camera body. Whether that's a DSLR or mirrors camera would be good looking. Skin tones, reliable auto focus on good, low light capabilities. I have three camera bodies that are used to shoot a ceremony, but you can also get away with two on that will do you just fine. Let's talk about lenses now. Prime lenses. A Grateful Weddings as they have a fast aperture, meaning they will let a lot of light in when I say fast appetite. What I mean is there actual open? Very wide. So some of my prime lenses are F. One point for this enables me to open that actual wide open and get a lot of light in. This really helps in low light situations, so I use the following prime lenses. Use a 23 1.4 a 35 mil F to 50 millimeters f. One point for I also have to zoom lenses that I use, which gives me a little bit more flexibility on these also stabilized lenses as well, which helped me get smooth footage. I'm shooting hand out. These are the 50 to 140 millimeters F, 2.8 on 18 to 55 millimeters f two point. One thing to mention about above lenses is that they're all native food you lenses apart from the 50 millimeter, which is a vintage nick on prime lands. I actually love this prime lens due to its capabilities to give some interesting flares, report traits and Dunstable shots. But it works great in the church to because it's a good reach on has good, low light capabilities. It doesn't have auto focus they, but generally, for a lot of my work, I'll be manually focusing anyway. Picking up vintage glass is a great way to boost your lens line. Oppa's well, if you're on a bit of a budget. Another thing to bear in mind with my lens lineup is that they're all designed to fit on a PSC size Fuji camera body. This is a 1.5 times crop factor, meaning the focal length needed would need to be multiplied by 1.5 if you were to compare them with a full frame lens. For example, 23 millimeter is equivalent to a 35 millimeter lens on a full frame camera. This is because the Super 35 or A P S C size sensor is smaller than a full frame camera. I prefer a PSC as all the gear is a lot smaller and lighter than the full frame gear. It's worth mentioned that I've built this collection of gear up over many years, and you could easily shoot a wedding ceremony with just a couple of prime lenses. Let's talk about tripods. I use the man photo to 90 extras, which are aluminium, lightweight and relatively inexpensive compared to dedicated video tripods. I only tend to use tripods when I'm shooting so many speeches on the first dance. Something that's really light and easy to set up is essential for the way I shoot. I also have this little man photo Pixie Evo, which is a super lightweight, and it's great for getting my low, wide shot down the aisle. I also use a man 40 mono pod when I'm roaming around, capturing B roll footage, all of my gear SAARC, Swiss Mount Place. This allows me to seamlessly switch cameras between all of my different stabilizers system audio now having polished audio really separate your film from the crowd, I can't stress enough how you know the better audio quality is, the better your film will bay. I use thes tick Sony Ticks 50 recorders, essentially the addict phones. But they're really good quality, discreet fit into a jacket pocket really easily. I have four of these. I can just click clip them in the groom's pocket within a few seconds. I've got really good quality audio ready to go. I also have a couple of Tuscan D R 10 Els. These give a slightly superior audio quality than the Sony's but are a little more difficult to set up. They have wires exception to deal with. The Road Video Micro gives me sufficient scratch audio in a compact size. I can attach the top of my camera if need be. Memory cards are obviously essential in having plenty of memory cards. Is also must I use a SanDisk 128 gigabyte extreme pro V 30 cards. He's a great recording four K video. I also have some accessories in my bag that uses this lens blur to keep dust off lenses. In the sense I also have some lens cloths of a memory card case. Keep on memory cards. Nice and safe. Andi, desperate and watertight, have some spare batches. Obviously, it's critical. Some electrical tape, the Swiss Army knife and some Alan Keyes. Finally, my bag, all of the gear that are talked about today you'll fit in this think tank. Airport navigated bag on. This bag's been great. I've used it for three or four years now, and it really is a fantastic bag. It's great I can for everything in here as a shoulder strap on a house of roller wheels as well. It also fits in the overhead bins on an aircraft. For those overseas, job in this bag comes highly recommended. 3. 03 PLANNING: planning and communication is key to a successful wedding shoot. Now I liaise with my client right up until the wedding day to make sure you get to know them a little bit, but also to make sure I know alot, the INS announced off the wedding day. We also have my own checklist and planner that I put together. Firstly, I have my equipment checklist. This is a list I used to check off my equipment. When I'm packing my bag quite often. Have a photo issue to a workshop the day before a wedding on I will be using different gear . Having a checklist really helps to speed things up When I'm getting ready. Little essentials. Nothing gets left behind. I use the same kid for every wedding or film. Secondly, a location planner, a location planet is essential for making sure the day run smoothly and you know where you need to be A at the right time. Key things to note in your plan out would be a vacation with ceremony with a postcode parking restrictions costs for parking time. It takes to get from the preparations to the ceremony, including a map. Tom. It takes to get from the parking to the semi location, make sure you leave enough time for interior and exterior establishing shots. A basic plan of the room. Churchill Wedding venue. This could be a rough sketch where the couple will stand during the different parts of the service where the readings will take place, where the bride will park before the entrance where the wedding party will leave after the wedding on whether confetti will take place on whether signing the register will be held Detailing all of these things in a planet will really help. Make sure you know where you need to be A at the correct time. Andi will also help you create a much better film. My next planner would be the order of service. Quite often, the bride and groom will already have this for you and that would just send it to you. But the order of the service will basically tell you everything that will happen during the wedding ceremony. On If you can get some times on when these things will happen as well, it's gonna make sure you know where you need to be at the right time. So in the order of service. I like to have everything listed that's happening during the ceremony. But I also like to have a list off the speakers names, everybody that will be doing a reading dropped throughout the ceremony. I also, like have a list of speakers, names, everybody that will be doing a reading throughout the ceremony. I also like to know the name of the vicar or celebrant on. Ideally, his contact information definitely advised to contact the vicar or celebrant before the wedding day. It will give you more time in the day if you need to ask a lot of questions on the day. Sometimes the vicar, maybe a little nervous and not just ask you to stand at the back out of the way. I found that testing over the phone in advance a few days before the wedding really helps. He or she will then be able to see it that you're a nice person that really cares about the day when we more likely to give you more freedom to film. During the service. I always ask if they would mind if I could clip us. Well, microphone to them just before the service starts nine times out of 10. They will be fine with this If you ask politely, I always ask first if there are any special requirements that they have during the ceremony . I think asking this question first really lets them know that you care about their venue, their church on also the day and it puts the ball in their court on quite often they'll take. This is a big positive on do you know, as opposed to going in there saying this is how I want to stand? This is where I understand this is where I want to film, being putting the ball in their court first really to show that you care about them The venue Onda that you care about capturing the day discreetly. I shoot wedding ceremonies from at least two different angles. But I'd like to be discreet. I don't use gimble sliders, steady cams during the ceremony, on to stay as low key as possible. I really do not want them to know that they're being filmed during this time. Expensive time during the rest of the day for getting creative and showing cinematic movement. Really. What I'm trying to achieve is a documentation of the ceremony with really clean audio shot from different angles, I am to film everything from the bride's entrance to the couple's exit. This allows me to cut together a complete documentation of the ceremony from the Sermanni film. I will then pull clips on audio from that to help create the highlight and feature film. 4. 04 CLASS PROJECT: as planning is key to a successful shoot, I would like you to put together and share your own planner. Try including an equipment check list, a location planner on order of service and anything else you might find helpful. Feel free to make your planners as a chart of table or just the list. You can be as creative as you wish. I also send out a questionnaire to all of my clients prior to the wedding day on. This helps me gather this information, so please feel free to develop your own questionnaire to and share that as well. 5. 05 SETTING UP AT THE CEREMONY: Let's talk about setting the gear up at the ceremony, so from your planning information should have a really good idea of how the venues laid out on where to set your gear up. If it's possible, you can visit the venue before the wedding to get a better understanding of where everything will happen if the venue visit isn't possible, research other weddings online You should be able to get a really good feel for a venue from spending an hour on giggle. I always check out Google Earth to which really helps get feel for a location for most weddings. I'm looking to film from multiple angles to get a really compelling story off the wedding ceremony. I'm looking to get at least one upper body shot off the couple from the front of the church facing the guests. Ideally, this will be angled towards bride before the service. I will get the exact position where the couple will stand and ask the green to stand where the bridal stand so I can manually focus my camera on the face. If the venue is well, it I'll set my aptitude Teoh. Therefore, at 5.6, which will give me a decent amount of depth of field. Should they stand slightly further or slightly back, this camera will be locked on a driver, and this is camera one to Camera two will be at the back off the oil low down on wide old manually. Focus this on the green or my assistant before the wedding starts to camera three will be my roaming camera. Initially, I'll have this on the mono pod no uses to capture B roll on also the bride's arrival when the bride makes her entrance. Usually I'll pop this camera off the mono pod onto the tripod, which would be located right above camera to. This will also be set to auto focus, meaning I'll be able to track the bride as she walks down the aisle from behind. It will also track a couple when they walked back up the aisle on their exit. So for audio, as I said before, audio is extremely important, getting a really good quality wedding film. So for this example, I've got a Sony recorder taped to the lectern. Now this will record audio from everyone that is speaking during the service, as I was told beforehand where this would happen. I also did Sony Recorder on the vicar to get his audio. I also had a Sony recorder on the groom to get his on the bride's audio as they'll be standing right next to each other. They also had the task um D r 10 l in the green as well. The reason I place two mikes in the groom is for backup. If once you failed, I have another one. If the vicar should fail and I should get something good enough from the groom as the vicar usually talks a lot louder, it's worth mentioning that the closer you can get the audio to the source the cleaner and better quality that audio it will bay to be my wife Haven't hold haven't told from this day forward from this day forward for better, for worse, for better, for worse, for richer, for poorer, for richer, for poorer I wouldn't recommend using audio from the camera. The reason I use the road video micro on my closest camera to the couple. It just helps me get nice, good quality scratch audio. This helps wanna come to sink my audio in post because I have mortal recorders. Just help the whole sinking process for this wedding. There was no Lichten. I had to attach a Sony recorder to each person that was reading also for this particular wedding. The release trial would not allow me to clip a mike on her. I'm not sure why. She said she didn't want me to hear if she had something confidential to say to her assistant again. I have to respect the decision on this is K. I had two mikes on the groom on my hate to end behind flowers. This worked out well. I managed to get really good quality audio from the groom's microphones so I could I could take everything from his on. It wasn't a problem. If I can't access to Camera One, which is placed in front of the church, then I will advise the couple that a second shooter would be advisable to make sure that camera is manned. If they decide not to hire second shooter and I'll make sure they understand that, potentially the camera may stop recording any time on that angle could then be shut down. Maybe I did reassure them they at this point that I would have a wide and a tight angle from the back of the oil. So if this did happen, their wedding would still be captured. But being honest really helps. I always position the cameras so they're not facing each other. You really do not want to be a part off the wedding film yourself. Having my wife shot low down means I can't see camera one. Having come. A woman facing on an angle means I can't see the other two cameras for this wedding. I could access the front camera down the side. There was room to get past a guest to the front camera, which was great for this one. I couldn't region, so I just left it rolling and shot from the back. But all worked out well. Let's talk about supporting footage, which is often called B Roll. B Roll is essential to support any film, and I will use a lot of beer. Old German highlight and feature films. To get as much as I possibly can is essential now assumes I've got everything set up in the church. Everybody, Mike, that needs to be miked up cameras and my other two cameras in position. I would then get as much B roll as I possibly can. I try to get the following shots for have time. A watch of the church from inside on out. Details of the church flowers, candles, guests arriving, the groom looking nervous, the bride and bridesmaid arriving. Soon as the bride is ready to make her entrance, I will take my camera three off the mono pod place on my tripod, leaving one upon next to me on film. The rest of the family. If I need Teoh, then maybe move positions during the ceremony. Maybe if the signing the register is right down the back of the church, I can quickly take comfort three off the tripod attached to my ma NEPAD. And then I'm free to roam while the other two cameras carry on. Recorded as they're walking down the aisle, I will return to the front camera camera one to check the focus and make sure it's recording. Now I'm happy that Camera one is all good and set 30 minutes. I'll return to the back of I'll a man. Those cameras, usually a ceremony, is done in 30 minutes of record time if no, of course only to revisit camera one again and hit record. It would be great if my cameras recorded from more than 30 minutes of continuous record time. But unfortunately, don't I know that's only 87 s is don't either. I do believe that Panasonic's do record for an unlimited amount of time or until they overheat. So, yeah, if you got a Panasonic, you won't have this problem. 6. 06 CAMERA SETTINGS: I took a little bit about camera's settings, but this is gonna be dependent on obviously the conditions at the time. The light in the in the church will venue is gonna be different. But I'll just go through the settings that I would use in the examples I've shown just to give you an idea of how for everything set up. Unfortunately, using lighting rigs in churches here in the UK is really allowed, So making do with ambient lighting is all we have to work with. Sometimes lighting will effect where the cameras are positioned. Generally, the light levels are fairly low inside venues and churches, so keeping the aperture fairly wide is usually advised. So going back to my example camera one, I will set the actual narrower If I can't actually man that camera just to make sure I know my fakers, that the couple might move forwards or backwards a little bit during the surface. So having a bit more depth of field definitely helps keep things in focus. This might mean I need to bump up my I s O to compensate for that smaller aperture. I'm not afraid to shoot. I so 1600 if need be. I would rather introduce a little noise to my footage than have my shot completely out of focus. I was so 1600 is completely usable on my gear. If I shoot four K, which I do, it's a camera two, which is my low, wide shot at the back off the oil I will have set at a very wide aperture as I can adjust this any point as I'll be manning this camera my aperture would probably be around if to On this in turn would make sure my i s o stays a lot lower. My might be say, I s a 400 September 3. All of my 18 to 55 zoom lens on on. This will be my tight shot down the aisle from the back. My picture will be F four on this If I'm fully zoomed in a 55 mil If I need, then I will also bump up my eye. So to get my correct exposure, why should to speed will be the same on all of my cameras at 1 48 of a second. This is set like this because I shoot 24 frames a second, it's advisable to keep your shutter speed double your frame rate. This helps to create really smooth cinematic motion in your films. I manually select my white balance so all of my cameras match. Sometimes I select Kelvin Value. Other times I sect, daylight or cloudy. If it looks right, it just depends on the conditions. Getting white balance right is very difficult in a church due to the poor lighting with a mixture of tungsten ceiling lights, candle lights on daylight coming through staying glass windows. Sometimes it's nigh on impossible to get it right. You've just got to get it as near as possible and make some adjustments later in postproduction if need be in terms of resolution, all of my videography inside the church will be shot at four K 24 frames per second at 200 megabits per second. This gives me lots of resolution and quality to play with imports, production 7. 07 ORGANIZING YOUR FOOTAGE: So after the wedding day, we've got turn off footage that we need to sort out. Now. I like to get this done on my first available day after the wedding on it makes me feel so much more relaxed. If I've got all of the footage sorted on, backed up and then I can delete my cards. I know that everything is safe and I've got everything. So I I always advised in on the earliest opportunity. It is also quite helpful as well. If you're recording lots of different clips, you'll know the best moments in those clips to so getting everything sorted initially conceived your time. If you're maybe editing this weddin in like three months time, busy workflow during the summer or something like that, getting it sorted straight away really, really helps. I usually upload everything to my computer's hard drive, keeping it all in different folders as it comes off the cards. This way, I could be sure that I have the same number of folders as I do cards to make sure nothing is missed. From there, I will drag the clips into different folders on a separate hard drive. This will be my working hard drive, which automatically backs up footage to a separate drive. When I'm dragging the clips across, I'm dragging relevant clips into the relevant part of the day. All of the preparations will be in one folder or of the ceremony in another, and so on. This makes it so much easier to manage when we get to post production. For good measure, I back up this to a portable hard drive, which I then keep at a separate location. This whole process takes me a few hours, So having really fast cards on really fast hard drives really help speed up this part of the workflow. 8. 08 EDITING: Let's talk a little bit about video editing now. It isn't really possible for me to show you a complete edit because it will take many hours , but I can give you a few pointers to help you on your way. I use a day be Premiere Pro, but there are other applications, such as Final Cut on DaVinci Resolve, which worked really well. So first off, I will open a new project, making sure to place my premiere pro project in my project folder with the rest of my footage. That way I can easily access it later or that import all of my organized folders into the project been This keeps things neat and tidy. The next step is to create a new sequence. I choose to use the preset ari 10 80 p 24 frames per second since I shot the wedding at 24 frames per second. One of my footage is shot in four K, but I deliver my footage to my client a 10 80 p, which is in full HD. Having shot in four K and delivering in 10 80 p gives me a lot of resolution to play with Justin Cater need to scale up any of my clips. Most people will view their films and a tablet, smart phone or computer. So I find 10 80 p works really well, for that makes easier for them to share it to, and it also keeps a file sizes to a minimum. Sinking all of your footage and audio together is one of the most challenging parts of the edit, especially if there is an echo inside the building. I use a plugging called player reliance, which really helps to speed up this part of the edit. You simply drop your footage and audio into a bin and automatically syncs everything in places on the timeline for you. Doing it manually in Premiere is straightforward enough, though it just takes a little longer. Simply highlight two clips like I've done here and then hit, synchronized or being well, it will sink your clips for you when Eclipse will sink. Your timeline should look like this, they said. It is finished, and you could say I have three video tracks and six audio trucks. The top three audio tracks are the camera's audio, and, as you can see here, have thes muted the bottom three audio tracks are my Sony recorders. I used one on the group were on the vicar, someone on the lectern. This line here represents the track volume. As you can see, I just the volume of each track, depending on when I need to come in for more video tracks. I have three different cameras stacked on top of each other. Here we have my low wide shot, which was camera, too. Next, we have our view from the front, which is camera one. On top of that, we have are tight shot from the back, which was my roaming camera camera. Three. So three different camera angles. The reason I have different angles is not just because it makes Fillmore interest in, but also for moments when the photographer walks in front of the camera such as this. As we can see here, I can easily cut to another cameras. Every doesn't appear in the film for cutting my film. I just use a short cut key, see to Kurt and then V to go back to my selection tool. It's just a matter of cutting the footage to get the best angles in terms of color grading . Like I said before, the main reason a sheet with Fuge is is because I can get great colors straight out of camera. I don't shoot in log. I just feel that step isn't really necessary. For May I use the color profile? A. Turner and I just breathe saturation and contrast a little in the Dmitri Killer panel. Sometimes I will need to tweak the white balance as well. Depending on how the conditions were a time for exporting my film, I use a video 10 80 p HD preset and select render at maximum depth on render at maximum quality. I usually use media encoder to export. That way I can carry on working while it's exporting. This is how I could together a wedding film. But you could also use more to come sequence in, which is another technique. You can use it a debut Premier pro. I don't use this personally, but I do know a lot of other video offers that do so. This may be worth looking into if it is of interest to you. 9. 09 DELIVERING YOUR FILM: Let's talk about delivering the finished films now. I used to use DVDs and then I went on to us bees. But now I deliver all of my films via video online. I use videos host my films, my website so it makes complete sense to me to use it for a delivery method to creating a video collection. All profile such as this takes only a few minutes, and it's really easy and straightforward. It is password protected on Let's a Couple share the link with whomever they wish. This is great in itself as it gets to work in front of other people to on potentially they could become your clients to. They can also download their films directly from the device in multiple resolutions, which means that it can save a lot of time and money in US bees and DVDs. I really think it's a great way to deliver films of use media zilla to in the past, which looks really nice, but I found that the extra cost involved with this isn't really worth it. For May 10. 10 FINAL WORDS: I hope you found this class helpful. I've really enjoyed creating it. And of course, with every creative art form, it's all very subjective. What one might like another will not. There is also many ways to reach the same outcome. I believe finding a workflow that suits your style is very important, and I hope that the things I've shared with you we'll help you find your own style of working and help you create better films. Please feel free to drop me a follow. It's been a pleasure to share this information with you on by following. You'll be helped to discover my new classes as they are released. So that's all for today. Take care on, see soon.