Original subtitles

So here's the room where we're doing the

family formals and the very composition of this

room guided our decision in terms of where

to place the compositions and which direction to

shoot.

Because we knew this room had a lot

of depth from this angle, right?

We could get the compositions as far away

from that window background as possible and also

shoot from a fairly far distance away with

a big lens.

So we could have them pop from the

background and we could use the compression of

a big lens as well.

And we would have set our exposure for

these lights on the wall and the sheer

curtains behind them.

So our exposure, as you'll see, is fairly

dark and then we're using a light to

light up the groupings.

This is like one of the only times

we ever use a softbox is when we're

indoors and the ambient exposure is quite a

bit darker than the flash exposure.

But we want that light to be nice

and soft for these family groupings.

Charging some batteries while we're there.

And here you can see, this gives you

a really good view of how far away

they are from that background, right?

They're about six or seven meters.

So we've got that nice depth working for

us and Lani is shooting way over here

off the screen.

Getting some behind the scenes shots while we're

arranging compositions.

And this shows you a really good view

of our setup here.

So here we've got our B10.

I can't even remember the power, but it

doesn't really matter because it's just tasting the

soup and adjusting.

We've got our B10 over here and that's

our main light source.

Our second light source over here is just

a naked A1.

Actually, we do have a little diffuser on

it, but it really doesn't do much.

And that's just to give a little bit

of fill on the right side of their

faces, so we don't have super harsh shadows.

And Lani shot through this moment of this

little boy running away and crying.

Unfortunately, I don't think any of them turned

out, but that would have been a great

moment for us to capture.

Keep those cameras up for those moments.

Okay, Auntie Kathy.

Auntie Kathy is our shepherd, so she's gathering

all the family members for us so that

we don't have to boss everyone around.

We decide just to do one safe picture

while we were there as well.

Grandma's mantelpiece.

And you can see we don't pour a

ton of creative energy into these.

We make sure they're properly lit.

We make sure that everyone's eyes are open.

We make sure they're composed and well and

that we're not cutting off anybody's fingertips.

But other than that, that's all we're doing.

And we usually do one sort of close

in shot, waist up, and then one further

away shot, full body.

Another thing you'll notice I always do here

is I usually have the bride and groom

stand in the middle.

And anybody on this side of the composition,

I have their right shoulder facing forward.

And anybody on this side of the composition,

I have their left shoulder facing forward.

So they're all sort of leaning in towards

the middle.

You'll also notice that I've used the bride's

veil.

If there's a veil, I always use that

veil over the arm because women tend to

be self-conscious about how their arms look,

especially in sleeveless dresses.

And the veils are just perfect for covering

that up.

Of course, keeping those cameras up for all

these transition moments and these hugs.

So that's family formals for you.

We don't very often do them indoors, but

this is a great example of how to

pull them off quickly in an indoor banquet

space with decent light and nice depth and

compression.