Wedding Videography - How to film the bridal preparations | Ian Worth | Skillshare

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Wedding Videography - How to film the bridal preparations

teacher avatar Ian Worth

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      01 INTRO


    • 2.

      02 EQUIPMENT


    • 3.



    • 4.



    • 5.



    • 6.



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    • 8.



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About This Class

In this wedding videography class, I will teach you how I plan and film the bride and grooms wedding preparations.
I cover every aspect of filming the wedding preparations from the gear you need, through to filming a sequence for a wedding film.
By the end of this wedding videography course, you will have learnt how to film the bridal prep and how to generate more wedding bookings through supplier and client referrals.

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 a wedding ceremony class

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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Level: Intermediate

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1. 01 INTRO: hi there, looking to start a wedding videographer business or up your wedding video, feed game or even film. A friend's wedding in this class is for you. What I am is in worth, and I'm a professional photographer and filmmaker based in the UK Alongside teaching, I run a successful wedding video coffee business, and today I would like to share with you some steps to film the bride and groom's preparations. At a wedding. I'll discuss everything from equipment and planning to tips to make everyone relaxed. Health puts go that a workflow for a fishing filming on help to shoot footage that you can use for your own marketing purposes. This class will be sure to make filming the bridal prep a breeze, so I do hope to see you in the class. 2. 02 EQUIPMENT: So let's talk about the all important equipment. And the great thing about the bridal prep is you really don't need a ton of gear after, say, I take a really minimal approach, equipment wise for the preparations. Personally, I believe that it's plenty of time during the rest of the day for gimble, work, sliders and the like. I feel the prep can be the most invasive part of the wedding for many couples, so keeping things nice and simple really helps Mitt and feel more comfortable, quite often to the space in which we have to work. Enduring the prep could be fairly confined, maybe set the bride's house or a hotel room. When this space is filled with family members, bridesmaids, hair, makeup artists and photographers, things could get a touch cramp, so taking just the essentials could be really helpful. So my advice would be to keep it simple. My equipment list for the bridal prep goes like this. I take the Fuji X T three within 18 to 55 millimeters F 2.8 lens. This allows me to get a range of wide and close in shots mainly used as backup. I take the Fuji X Hey H one with a nick on 50 millimeters f 1.4 vintage lens on a built trucks. 23 millimeters F one point for auto focus lens. The prime lenses are equivalent to 35 mil on a 75 millimeters if you're shooting on a full frame camera. I used the Peak Design capture clip to make sure I have both cameras with me at all times. Once it's on my belt or the other one is on me, the base plates. Arkestra is compatible, meaning they fit straight onto my monitor pod or tripod. I take a variable indie filter with a man Fratto quick release system, which allows me to quickly remove on swap filters Should I need to. I don't take a try Put into the prep those I feel there too intrusive. But I do take a mono pod, which really helps to keep things steady. Also take handheld shots to with my Fuji. X H. One is that has in body image stabilization. Make sure I have plenty of footage of both cameras. There's a Fuji's only write one SD card, and this means I have plenty of backup Percival card should fail. I always bring spare batteries and cards, and these will be in my back pocket. Always take a drink with me as well. To keep me hydrated is my phone as well, to get a few little grab shots, my instagram stories and if I parked in a safe location prep than old, sometimes leave my bag in the car and just take the gear that I've just listed. 3. 03 CLASS PROJECT: for the class project. I would love for you to put together a little mini sequence of clips that you have filmed during the bride or groom's preparations. Try being as creative as possible. If you haven't filmed a wedding before, maybe you have your own wedding dress rings or shoes you could film. If not, ask a friend or relative. Now I'm gonna be demonstrating. Some techniques are used for capturing footage like this later in the course, and these clips would be great for you and your portfolio going forward. So really look forward to seeing what you can come up with seeing your clips and hopefully I can give you some feedback that will help. 4. 04 PLANNING THE PREP: Although the majority of my wedding filmmaking is documentary based on MAWR, Running Gun than staged planning is essential to make sure the day one smoothly, that I know where I need to be at the right time. So for every wedding, I write a planner for different parts for the day when, as this class is about the preparations and I'm going to concentrate on the planet for the preparations now, every wedding will be different and have a different timeline. So it's really vital that we get our timing spot on. I even text the bride the day before the wedding to make sure that there is no last minute changes to the itinerary to build my planner. I usually start by sending Michael put a questionnaire. I send this out four weeks before the wedding day. My question is integrated within my business management software, and I have a reminder set for my wedding, prompting me to send the questionnaire at the correct time. Now this also coincides with the final payment for their wedding. I find this works well because it means I could make the email to a little less structured towards money on more about them and their day, and this is a lot easier and a bit more friendly. I have many questions in the questionnaire for them to fill out, such as supplies, emails, timeline of the day. Except, but I also have quite a few that are specific to the prep, and these are as follows. Who will be attending the prep names of possible supplies out working during the prep names , if possible. When will the hairdressing star? When? With the makeup start. What time will the bride have the finishing touches done to a hair and makeup? What time will the bride put on a dress? Will she be sharing gifts? Will she be being a night from her husband today? Will you be having a first look? Will you be doing a revealed to your family members when you're ready? Will you be having any additional ceremonies during the preparations? All the prep be all one venue. If not, then please specify venues and times what time will be leaving for the ceremony. Any specific shops that you require or the photographer be attending the prep and, if so, what time and where the photographer be doing any formal shots during the prep. The above points are all relevant to the bride's preparations. Quite afternoon, we're covering both the bride and Greens preparations together. For this, my assistant will be running the groom's prep. These are some of the questions I'll be asking if we shoot in the groom's prep to who will be attending the prep names, If possible. Surprise are working during the prep names. If possible, what time will the greens may be getting dressed? What time will the buttonholes be put on? Will you be sharing any gifts? Were you been reading a note from your wife to bay? Will you be having a first look? We have any additional ceremonies during the preparations. All the prep be all at one venue. If not been. Please specify venue in times what time you'd be leaving for the ceremony. Any specific shots that you require? Were the photographer be attending the groom's preparations? And if so, what time will the photography be doing Any formal shots during the greens? Preparations? While the bride and groom's prep is very different, the questions are fairly similar. I then make a few personal notes such as this, the prep venue addressed with the postcode. The arrival time agreed the time to leave for the ceremony. The ceremony address with the post code on where to park for the ceremony on the preparations. The answers to these questions gives me enough information to research the venues on giggle . Get some ideas for establishing shots and to get a feel for how the prep will play out. The more information I can gain really helps with efficiency on the day. I usually allow two hours before the ceremony to cover the preparations, and this gives me enough time to be creative. Get shots that I need uncovered the most important parts of proceedings without being too invasive. If there's a long drive between the prep on the ceremony, I might just my time to see. I usually like to be at the Churchill venue 30 minutes before the bride's arrival to set up , And for this reason, I like to make sure that she is aware that if she would like me to have shots, the dress being button and the family revealed that she'll need to make sure that this happens no later than about 15 minutes before I'm due to leave for the ceremony. I also keep a list on my phone. Just a glance. Occasionally, it's easy to get something important when things get busy. The list goes as follows. Rings and jewellery, perfume, bride's dress, bridesmaid's dress, shoes, flowers bright, taking the dress off the hanger fingernails, the car venue shots, venue decorations, cards, notes on messages. It's only a small list. Just help me to remember. I've found that these little things can really help to reduce stress levels on the day, and that is always a bonus. 5. 05 CAMERA SETTINGS: camera settings for the prep are fairly straightforward. For May, as it's a documentation, Andi, I am looking for natural footage. This means shooting at 24 frames per second. This gives the correct amount of motion blur of that cinematic look. This means I can keep my shutter speed at 180 degree rule of 1 48 of a second. This will, in turn, the most amount of light in. We'll keep my eyesight at its lowest. I'm not afraid to increase my eyes, so if needed, and I would rather do this than have a mixture of lighting, such led and tungsten and window light. These mixed lighting setups could really mess around with skin tones on having a little digital noises, more pleasing them. Funky yellow skin tones. For sure, rapture is usually wide open to suck in that light and create that beautifully shallow depth of field that we all love with Hollywood films. If I'm shooting on my 50 millimeters f 1.4, which is a manual focus lens, I tend to stop down a little bit to say f to just to help with focus occasionally all throw in some slow motion clip, so I feel it works for the film. These we shot 60 frames per second. Why should it, then goes to 120 for second to stay in touch with that 180 degree Rule 180 degree roll Mangels shutter speed remains twice the frame rate to get that correct amount of motion blur. I do have my variable indie filter with me if the window light is really bright and this helps keep my shirt to speed low on what aperture wide with the correct amount of motion blur that you'd expect with professional videographer. I do like to get a little creative for my shots as well, with the dress in the rings etcetera for this ie the shoot 60 frames per second or 120. When these clips are placed in the 20 Friends with second timeline, I can achieve some nice, slow motion footage used to get this nice handheld slides and pounds of delicate details. But I'm gonna demonstrate this next 6. 06 FILMING THE DETAILS: So here on the table, we have a little set up with some perfume flowers on a ring. Now, before I start to film anything, I give everything a little bit of a polish. Perfume bottles are the worst for showing grubby fingerprints, and we really did not want to show them. In our film, I have placed these items in the spot where they have some available light. They usually use a window sill or a table near a window. For this, I arranged the items in a way. They complement each other, and then I create my camera settings to shoot in slow motion. So motion takes away most of the camera shape get from hand. Holding 120 frames per second is great for this. Essentially, we're getting five times slow motion. For example, a one second real time clip becomes a five second clip when so down to our 24 frames per second timeline Why cameras produced 120 frames per second. Clips in camera essentially out putting slow motion. But I can only receive a 10 80 p resolution file. With this, though another good alternative for me is to shoot four k 60 frames per second. This gives me a better quality file, but only 2.5 times a slow motion. I wouldn't second real time clip becomes a 2.5 2nd clip. The benefits are four K and a high bit rate, meaning higher quality clips. The downsides are it won't be a stable is 120 friends per second slow mation shots when shooting 60 frames a second on my camera. I have a real time clip, and this means I will have to slow that down manually in postproduction on March 24 Friends for second time line. I do this to all of my clips before I start my edit by selecting interpret footage and selecting 24 frames per second. Now, when I dragged my 60 frames per second clips down onto my timeline, they would be slowed down 2.5 times. Let's have a quick look how I would shoot this little set up to add some cinematic movement . Firstly, I would choose a lens that has stabilization, which will help keep things nice and steady. I also use my Fuji X H one, which has IBIs using this combo means are five access image stabilization, and this really helps to keep things nice and smooth. My 18 to 55 millimeter lens also gives me options in focal length to to mix things up a little bit. First off, I'm gonna shoot a simple slide from left to right and back again. I always repeat this several times to make sure I have a few good options to choose from this unfairly closer to around 25 mil. My next shot is gonna be a reveal, so start slide past the objects, revealing them as I go. And finally, I'll try to pick out some final details by going really close to the products on that, you get those finer details. Now let's pop these into Premiere Pro and take a look at the clips. Step one is to import the clips into a project folder. Step two is to interpret the footage to 24 friends per second, making them slow motion when place on the 24 frames per second time line. Step three. Drug them into the timeline and cut the clips in the correct place to make a short sequence as mentioned before, please do go ahead and create a short clip using these techniques for the class project 7. 07 INTRODUCING YOURSELF: In my experience, the first few minutes you spend at the bridal preparations are probably the most important , and during this time I'm not even thinking about getting my camera out. My aim here during this first couple of minutes is to introduce myself to make everyone feel as comfortable as possible. Ask lots of questions about how things are going, the weather, how amazing everybody looks. Crack. Some jokes smile. Be their friend. The bed of these first few minutes go, the better. The whole prep will bay. Essentially, my aim during this time is to make them feel as relaxed as possible to make them enjoy being filmed rather than being nervous about it. You've got to remember this is probably like the first time they've ever been filmed by professional videographer. And it's all coming at a time where emotions and nerves of running particularly high, I found winning over the mother of the bride to be the most challenging. Usually, the girls are a lot more Children than mother, so what I try to do is get the mum alone and have a little chat with her on a 1 to 1 basis just to reassure that I'm here to help, and if she needs any help with anything at all, just to let me know quite often as well. The bride's prep will be at the parent's house, so being sympathetic about their home to shows that you're on their side and telling them how amazing their house looks usually does the trick. I almost always start off filming some of the shot list first, maybe the dress, the shoes, the jewelry. I do this just to ease them into the filming while I'm filming these bits I'll be chatting on. Then I'll start to grab a few smaller clips of proceedings, usually starting wide and then going in close. 8. 08 WORK THROUGH THE SHOT LIST: Now everybody is comfortable. I start documenting proceedings now. I don't tend to get any tight shots of the bride and the bridesmaids until the hair and makeup is nearly finished. I'm just after the finishing touches, really that last little bit of lipstick or eyeliner? These in the shops that are probably the most invasive for the bride. So I tend to go with my 50 millimeter prime lens, so I'm not too close to them. But I could get a nice and white with my framing. I'm also shooting at F two or below to get that dreamy cinematic look, if possible. And everyone agrees. I prefer to turn off any tungsten or led lights that are in the room. This allows me more options, as white banks would be the same throughout. One of the biggest problems with shooting the bridal prep is poor lighting. Often just having window light will give the best results. Be creative with your shots as the time at the prep will often be longer than needed. After news, my prison will do a spot of lens working for creative effect. These techniques could be very handy for removing unwanted distractions from your frame. Think about composition and light. After all, these are the main two ingredients for that filmic cinematic look. Think about silhouettes and storytelling to remember. With film, you don't always need to show everything to tell the story. Being subtle can often yield the best results. I like to concentrate on building a visual story. So, for example, let's take a look at the bride's hair. What can we show to tell the story of her hair being dressed? Let's look at the components we have to start with. We have the hairdresser, the bride, the tools, the products, the location. Let's shoot all of them to create a story. Firstly, I actually a wide from the back of the room to establish where we are on what is going on. Then I'll maybe coming closer and go for a medium length establishing shot. This could be silhouetted against a window from behind. Then I'll focus on the hairdresser. Let's tell her story. Look for tight shots of are picking up scissors, straight nose hair clips. Look for tight shots of the hair clips being placed on kills being made or of these air we shot with my 50 millimeter prime. Just remember, that's about 75 if you're on a full frame camera. So nice and tight with lots of blur. Now, when I have shocked the hairdresser, all move onto the shots off the bride. I might start with her hands holding a glass of bubbly and nails or even a slippers. Then I'll stand back a little and capture a couple of minutes of head and shoulder hair action. I usually let this roll for a few minutes to get some audio to to make sure I've got enough nice chit chat to put in the film if I need to. I always like to get shots of the hair being sprayed as well as I think it's gonna be awesome if back. I also ask the hairdresser to put some Inform me if she's already done this, not previously missed it. Now all of these shots do not necessarily have to be shot in that order. But by having a wide selection, we now have so many options. When we get to the edit, I'll do the same process for the makeup to looking for close in shots as well as tight toe . Add depth to my shots. I look to shoot three things such as curtains, a bride's veil. Reflections were well, too. So look out for glass tabletops, windows, mirrors. Play it safe. But also take this, too. But most of all, be creative. Remember, you don't have to use every shot you take, but you can't retake them, so just go ahead and fill your boots. Another tip is that don't be afraid to take a few still clips, either. It's so much easier to take a still shop in a video clip. You don't need to stabilize these on. This could be worked in with a little added motion in postproduction. No one will even know I do this fall stationary things only, though maybe some labels on address or creative shot of the shoes showing these for a couple of seconds during the highlight film can really help build a story. And if it shot correctly, it's impossible to tell that their photos this works really well. If I'm pushed for time saying the church, for example, I might grab some stills of the flowers, order of service or staying glass window. You get the idea. It only takes a few seconds to switch to stills on your camera. But the more you can get, the more options you have when you get to the edit. When the bride's hair and makeup is finished, should be ready for the dress unless asked to do so. I always tell them that I will leave the room for a while on being asked to be called back in. When the dress is ready to be buttoned at the back, now shots off the buttons and ribbons. Being dinner looks amazing and can clearly tell the story. Be sure to get some wide and tight with audio to let the camera roll for a minute. It was well, now the reveal to the father or family members can be tricky to film. And sometimes I set up two cameras if I think this work, but you really need to capture the emotions of the family members as opposed to the bride. After all, you'll always have plenty of footage off the bride during the day. On this shot off parents is very important, so I would like to set up directly over the bride's shoulder looking toward the door. Then, when the door is open in the dog walks in, you'll be able to capture his emotions. This particular shot. I'll use auto focus with face detection and allow the auto focus to track the duds, faces the enters all of the other shots. During the preparations, I will manually focus. Now let's talk about the boys caught after them, more reluctant and the girls to be filmed. So I always tell them that I'm just after a few natural shots, apart from putting on the jackets, the ties, cufflinks and the buttonholes. For this, I set them up looking out of a window to get some nice natural soft light rest of proceedings. My assistant will just follow along and document proceedings, as I would be for the bride's prep. Finally, I like to get a shot off the bride, leaving to aid this storytelling transition. But this isn't always possible, though, so shot were walking down the stairs or through a doorway can really help that transition. Another one is the guys walking up to the venue or church, or maybe the car arriving at the venue. These transitions are really important to tie the film together during the edit 9. 09 SHOOT FOR YOURSELF: All of the shots previously mentioned are with film in mind, whether that's a highlight reel or a full feature film. But there is also a big area of wedding filmmaking. There is often overlooked, and that is shooting for yourself now. This may seem a little bit odd at first, but getting the footage you need for promotional reasons is as important to your business as the film itself. Quite often, I put together a slightly different edit to the one that I give to my couples from my own website. Now this only usually happens if the couple of asked me to do a shot, maybe a group photograph where people are looking at the camera. Usually I never showed anyone directly looking at the camera, as I feel it doesn't really suit my style of documentary filmmaking. But if they asked me instead of me saying No, I just replace that clip in my edit when I do my film from our website, all social media, So be sure to get some extra clips from for fillers for that, to be sure to shoot some vertical footage to if you have time, this really helps when you come to share parts of the wedding for instagram stories. You can use horizontal clips, too, if you've shot in four K. And so for that reason, I always shoot my prepping for K on. I'm then able to use the full resolution off my footage to gain my instruct stories. When I cropped them, I appreciate some vertical shots of the flowers, the hair, the makeup, the wedding decorations venue and photographer. And after the wedding, I make a couple of 15 2nd vertical stories for each supplier with my logo at the bottom. I said these directly to the respective supplies with a little note to say how lovely it was to meet them and how I hope to work with him again in the future. Now this simple little trick has brought me in so much business in referrals, and it costs absolutely nothing, just a little bit of extra thought on the day in a few minutes of editing time. Advertising is so expensive, so creating these little free advertising streams is a very valuable tour indeed. Let's face it, if you're a wedding florist on a video for send You a flashy little video story, for their social media, something that they can use time and time again. They're more likely to remember you and then more likely to recommend you than any of the videographer that doesn't do anything at all sheep for yourself and for your own sanity. Now, what I mean for this is that your kinds have come to you because they've seen your work in the past. This is work that you've created. It's work that you have shot yourself. Deviating from your style will leave your finish video looking somewhat different, toe what you usually shoot. So if a couple comes to you with a big shot list and it's something that you're not really comfortable with, it's much easier to lose him as a client before they book, then deal with an unhappy client when they received their film later down the line 10. 10 WHEN TO LEAVE THE PREP: knowing when to leave. The bridal prep is vital for your client and for your insanity. I can't stress enough how much more important ceremony is over the preparations. You need to give yourself enough time to reach the ceremony, get establishing shots, get set up for the service and shoot brides Arrival. For me, this takes around 30 minutes. So for this reason, I like to be at the church or the venue at least 30 minutes before the ceremony is due to start. If the venue is a different address to the prep on our need to factor in traffic and parking to make sure I arrive on time. For me, this is probably the most stressful part of the wedding day. Here's a little story for here, a year or so into my wedding videography create. I arrived at a wedding at the wrong church through no fault of my own, I have to say. But it could have been avoided with more planning. Now the green that filled out the planning questionnaire and put the postcode of the church in. Now that postcode was the church in the next village. We're all about to leave the prep at the same time as well. So when I arrived at this church after 15 minutes of driving to find that nobody was there , I went into absolute panic mode. I literally had five minutes to find where they were getting married, drive there and set up. Fortunately for me, the bride had given her phone to a dad and I was able to make contact, find the address on drive. The whole wedding party had taken their seats in the church, and we're waiting for the bride. Fortunately, the bride had a father have waited outside for me to arrive, but it may be setting up in the church with everybody waiting for me. It was incredibly embarrassing. And I don't so much from that experience had the broad not given a phone to with Dad and left it switched on. I would have missed the whole wedding ceremony. Now, whenever I am given the address is on the wedding questionnaire. I double check them with the address that was originally given to me on the wedding contract. I also checked the postcode against the address itself are check on Google Earth from my room and I check the local traffic before ago. Parking can also be a problem if you leave the prep too late if you arrive before the guests and you'll be fine. But if 100 people arrive at the church venue before you and things to get a lot different looking your stuff half a mile tomb from the church could be real pain. Sometimes the prep can run late and things can get a little bit rushed. If it's looking like I'm not gonna be able to film the dress being blown up, all say that bride that the ceremony is way more important. We can get some footage off address being done up later in the day. It's an easy shot to replicate. The ceremony is not so. Just to clarify, don't rely on post codes or ZIP codes. All grooms, for that matter, double check the address. Stick to your time schedule, check local traffic and parking restrictions. You do all that, and you should be good to go 11. 11 POTENTIAL PROBLEMS: Aside from the families, nerves and emotions, there are some potential issues that we need to watch out for when shooting the bridal preparations and then mainly due to lighting poor lighting. Campi a videographers Worst nightmare For this reason, don't be afraid to politely asked to turn off ceiling lights and led war lights. If the hair and makeup of being done in a dark corner, it asked them to moves there in front of a nice window. Be sure to give yourself enough room to get to the window to capture that beautiful soft light on your subjects. Try to aim for a window that doesn't have direct sunlight coming straight in. If it's the only option, try to find something to diffuse the light or close the curtains just a little bit. Quite often, the maker parties will have bought her own light. If this isn't working out well for you, though, then please just ask you to turn off for a few minutes while you get the shots that you need. I'm sure there'll be more than happy if it's not possible for you to turn off specific lights for whatever reason. And be careful with your shutter speed aimed to fit your shirt to speed to the same speed, the led lights resonating, or you're going to receive rolling bands in your footage. It is possible to move these in post production, but it's very, very time consuming and taxing on your editing software. Getting it right in camera will be the best way to go. Working in a confined space can often be difficult, so be respectful to the other suppliers and property owners. The other surprise will have their jobs to do to to make sure you're not going to slow them down. Slowing them down potentially means a wedding running late. So be very mindful of this. But most of all, smile. Be happy and make everybody feel comfortable. This way, they're gonna be sure to recommend you to future couples. 12. 12 BRING IT ALL TOGETHER: with the wedding finished on the footage, all backed up, building a story. In the end, it is the next challenge. Now I'll be doing a whole class and held to edit a wedding film soon. But if you're watching this further down, the line in that class may already be available to view. If it is Oliver link for that class in the description, please be sure to check out my other wedding videography classes to I will leave links for those in the description. Also, I'm really looking forward to seeing your class project. So please go ahead and upload your short sequence on. I will be more than happy to give you some feedback. Thank you so much for watching and be sure to enjoy your wedding filmmaking. Take care. Please be sure to give us a follow and I'll see you in the next class.