Lessons

Lesson Info

Planning Q&A

Oh, questions weigh about if that's what we like to bring this up and talk about it with you guys first and demonstrated kind of drawings before we actually do it. So we could get a lot of the preliminary questions here. Get a clear picture. Because a lot of times when you're watching somebody shoot it's hard to see everything that's around and hard. Teo see the big picture. So questions, questions? Anybody hear questions? Okay, taking it all in? Well, they get to see the big picture here. So this's different a different perspective. So sorry. S o jim noona asks, do you ask the bride and groom to be to request that guests don't take photographs or use their flashes? You know, we just saw this great idea there is, if you probably honestly, if any of you go on facebook right now and any photography groups, there is a very cute little card that a bride and groom had made that talks exactly about that. And it's specifically says that, hey, we have hired a professional photo video who that ...

will be happy to. Cheryl, there all the photos with you? We just ask that during the ceremony of the ceremonial parts of the reception for stances, parent and toast and cake cutting that you would refrain from being on your phone or on your camera because we want to see your smiling faces and not your digital equipment. Being with us in part of the day, brilliant is really, really home. We're having training that out, and I'm putting it out. They say if you wear going, advise them, and then we hand it to him to say, if you want to do this hand these out because I can't tell you how many times I've been filming ceremonies and a woman or a van have leaned out in the aisle, not with a camera with an ipad. It is a pity is one thing I pad like this and it's, just ridiculous. So it's definitely a peppy for for the bride and groom's perspective, though I mean, I remember when I walk down the aisle and I remember the first face that I saw when the doors were open in the first face that smiled at me, and if she had had a camera in front of her face, I would not have that memory when I walk down the aisle and to me having a bride and groom request that their friends and family be there with, um instead of living vicariously through the camera, I just think is special and it's priceless. So we don't request that, but we're planning on it. Great! What a great suggestion! Cool! So another question is from both k frank and lawyer sh photography, who is in melbourne, australia, and that is starting early due to do all the close up shots and the rings, etcetera. There must be a lot of communication ahead of time for what need, which doesn't always happen. How do you manage this? And then from australia it was do you ask for since the groom's usually have the rings? Do you ask for them to be where the bride iss? If yes, if if we know what, just give me one camera confusion deal? Yeah, we'll make sure that all of the details remain with the bride and then they can arrange later to get the rings to the best man way want to hear all the details of their way do a scheduling session about four to six weeks beforehand, where I give a detailed list of all these things, and I tell the bride to hand their maid of honor that list and to get all those details together before we get there. And I also show up usually a little bit earlier than vanessa does this way we're not all arriving at the same time and clamoring over this to shoot the same details right? We usually switch around he'll be shooting details why should make up and then we'll swap and I'll shoot details and kill sheets and make up and then we can come together um and do the make up kind of fake shots will show you have to do that at the same time and moved from there and then roger's global photos from right here in seattle asks when working with others or using assistance early on so in the very beginning seeing how challenging has it been to make sure you're all on the same page very challenging from a cinema cinema perspective as well was a fusion perspective I think if you have two people who are not used to working with each other you have to communicate, communicate, communicate, communicate always talk to each other. What lens are you using are you gonna be why you're going to be tight where you're gonna be standing in the room when certain things happen? We're going to be during the ceremony when I worked with photographers I don't know why I show up with four person cinema crew one's an audio technicians he's not really in the foreground but we always communicate with photographers and say, hey so you know where do you plan on being during this part and okay so you're gonna be in the aisle of the seventy, two hundred three I'm gonna put a camera in the isle of seventy, two hundred next to you and then they appreciate that because they know that we're not gonna be in their way and vice versa so way position ourselves in such a way that we do remain out of play and when it comes to assistant that are actually working with you, the best thing you can do is have a regular assistant because after three or four weddings you're going to know each other like the back of your hands and you're going to know it's happening so I'm trying to find something that is a regular assistant and keeping them on board is really good teo so kind of a follow up question to that from steve hamel dot com is when you have several people shooting the wedding do you have to ensure that the camera settings are all synchronized so that video, audio and photographs all work together when merge into the final very much so we're always coming of walkie talkies wait so let's say we walk into a church and we're all getting their different times because I get their enterprise prepping their grooms prep and then my assistants they're setting everything up so once we get all the cameras set up we will basically talk to each other okay what's the white balance up by the ill well mine's a little bit different in back of the church we have some blue light from outside coming in so we're kind of like just get it close enough on the white balance and they will make sure of course that were all shooting in st picture profile yes you have to be vigilant you have to like just communiqu sure make sure it's a lot of work I mean ours our days on the wedding's there's no dad julie no downtime it's usually go go, go, go, go, go, go! You're always thinking you're doing about something until the very communicate for sure so and that asked that answered somebody paul villa floors question tips among about communicating with the crew so you use walkie talkies? Yeah, well he'd have his micro does not but usually were standing next to somebody who has you talking so it works out it really? I have to say having the walkie talkies is great by the way it's not handheld like we'll get like joe it's a headset so it's an ear piece and that any time you can communicate to somebody so it's like hey you're in my shop moved to your left and you can do it quietly you know or hey you no pushover that uncle bob who's flashing in my face you know, I think whatever it is that you want to do that um is helpful the walkie talkies are really great and my crew has a serious of hand signals that we used to but sometimes it's so quiet and a church that you even like this it just sounds resonates way have you know we have a series of hand signals it's almost like baseball calls you know, basically like look, we're always looking at each other too was like when we do our ceremonies you know we're always we're looking at the action what we're filming but then when there was time we're always like making sure everybody else is good and nobody's frantically going like this looking for a battery or something and then you know, if we if my second shooter over there needs to know if I'm having a two shot three shot meeting is it just the bride and groom or is that brother and the priest he'll go let's go through that just helps us to communicate over always looking at each other and telepathy helps too. So this a question from life by rebecca which I think is kind of what you just answered but in film school they always taught us to get the master shot and then moving closer do you get master shots for fusion and or weddings are duty is it is a different that's a great technique for a single camera operation there's always make sure that you get meaning the master shot would have independent what scenario you're in so for ceremony opposite your master shot would be the bride coming down the aisle and like the wide shot from behind doing that and then moving to the front and getting different angles basically you're stable shot make sure that you've got your stable down you're safe shot down and then move into things more artistically I think that applies across the board photo video fusion anything you know we worked that way you'd get stable shots we know the bride and groom is going to stick in their home and then we go play and have fun in films it's like if you're doing dialogue usually go film it all from one angle that in another time another angle in another time from another angle but usually will do like two shot first and then we'll do the individuals but that's sort of along the lines okay? And holly christine and life by rebecca have kind of the same question it's do you do a lot of staging and reshooting of one scene or do you ask them to slow down when you're trying tio you know we create something on ly wanted appropriate so during the make up a lot of times I will re stage that both of us will stage that because some makeup artists like torque under yellow tongue and like and it just doesn't look very pretty, so we'll move them to better light and restage it for that one of the other things that we re stage is the first look very often, so if you have one camera, you could definitely do that maybe you just have one camera and all you did was focused on the bride's face to the groom's face and you want to get that shot where the the groom is here in the bride's, walking up and it's a nice wide shots like that, you could definitely restage it like, hey, just walk ahead back, walk up and tap him on the shoulder, and you're getting a different shot like that and I think that's, perfectly appropriate at that time asked him to recite their vows again, not so appropriate way, for example, the master shop first look, the master shot is the real reaction is actually, when they when he really caesar for the first time, and then you could just have him re enacted for it doesn't matter look like she just said, having her walk up so, you know, we talked about this yesterday about a couple of folks are asking elizabeth, I am from daytona about battery use, I know live you takes a lot if I use two batteries for a wedding, how maney more batteries what I need to shoot photo and fusion and just how many do generally go through it's different for fusion because remember, you're not filming the whole day as much as much you're not rolling as much as I would be if I was running three cameras on ceremony and my role in the whole ceremony for the film for cinematography, we're making a film um, probably double up and bring a charger so a total of four batteries if two batteries is your normal usage double up and bring a charger because you could always just charged at the reception. If you end up doing a bunch of future needs of that day, I want to keep going with that night camera on time with five more to go on one brand new camera battery, you know, just out of the box disordered on time for the camera all usually get about three hours filming time roughly about an hour of constantly, constantly, so we have, um, ken rockwell says, have you shut in churches that forbid lighting or flash? And how do you deal the situation? Yeah, all the time, way never lose light will flash in a church on most of our catholic churches in new jersey or dark, right that's what all the kremlin's is, therefore we all use prime lenses so that if we need to we can go down to one point tio this is a one thirty five that goes down to two point oh we use that as you know to our advantage as much as we can what's nice about shooting um you're shooting video especially in a church you could be on a tripod and go down to thirtieth of a second and you're not going to get like a blurry pictures if we were photographing with seventy two hundred and thirty second karen stabilizer as I shake like crazy so that's a really doing that with seventy two hundred of my crew my cinema crew doesn't use primes for the ceremonies we need that zoom range we need that two hundred range because usually prevented from getting really close so you know to a usually have to push my eyes so in our churches upto life twelve fifty which is I really don't want to do that but you have to sometimes just tryto pull out some of the noise later on most churches though have pretty adequate light I mean and wear the iaw where were the were the were the altar is it's usually the aisle that's more of a problem where you have mixed lighting you have a lot of blue light in the back of the church in a yellow light up top so yeah just work with that you just you know you can't you're not putting the wedding day on for the shoot you know you're shooting the wedding day so you have to dispute you have to be patient with certain way have about no eight nine minutes before we get a break do you want to keep yes yeah we just have a couple things that will go through and reminder and then waiting and the's while were shooting these are just things to keep in mind and rob did speak about these a little bit but things to keep in mind that we're going to be emphasizing the audio for the ceremony and the speeches as well as for the bride's prep but the bride's prep will be the external microphone mounted on top of the camera so that's going to be that type of audio for that? And then we will be recording external audio for the ceremony and the speeches and the reason for that being is I'm going to show you how to work with both when we do editing and it's you're going to laugh at how easy this is it's really really great we're definitely going to be talking to you about lens choices throughout the day and we have them all here like I mentioned they're all primes they're all cannon so we have and twenty four, thirty five, fifty, eighty five one, thirty five all the primes and then actually I will say for my for the ring shots, we both use signals because the amount of times that we use a macro is exactly one and it's furthering shot, so we just felt this dude that's excellent one hundred two point I'd rather have a house to live in, but, you know, weigh will be talking to you about that. So keep in mind looking at all that lens choices because it is very important, like rob said it's part of the communication hey, you're going to be in the aisle of the lens and I'll be there with that, um, storytelling and sequencing rubble show you speak to you while he's going, okay, I'm doing this even saying, here, I'm getting this, does this necessary be able to see it? Um, working with a second shooter, you're second shooter, I will be talking to a lot about this a lot about what I am saying, where I am moving because I know he wants to move their next like how many shots I get here and then I know to move and we kind of had this, like, damps back it's like a little revolving dance and it's funny a lot of people were talking about how when we teach, you know, we bounce off each other kind of seamlessly it's like, yeah, but it's the same way on dh it's really great. Like I said, if you can hire somebody and have them on point like and work for you all the time, you're going to find that seamlessness there, um, same goes for posing and then planning the shots in the positions. That's that camera walking next part where you really see that take place and the camera locking is we're really going to try it again. We're going to move through this and on the wedding that we tend to shoot very quickly were very fast, but we're gonna slow things down. We're going again spoonfuls. We're gonna walk you through it again on dh, all the things that we've pretty much covered on day one, we'll be represented in some way. So, you know, well, refer back to that point, those times out, so we could kind of apply. Now we've given you the information, we're gonna apply it to what we're actually doing it.