All language subtitles for How to Film a Wedding - A Complete Behind the Scenes in 4K

Well, good morning. Happy Sunday to you.

This is a much different Sunday
than normal

because I'm shooting a wedding today.

Yesterday, I had one.

And today is the second. Back to back.

Weddings aren't easy, but I love them.

So let's get to work.

I am really excited about today's

behind the scenes because today
it is not me having to fill myself.

So let me introduce you to Ricky.

He's going on. And so good to meet you.

Nice to meet you, Scott.

Rickie Fowler. Hey, how's it going?

So Ricky is behind the camera.

Ricky, point the camera yourself.
Say hi. Hey.

Yeah, there he is.

So this is really exciting

because we finally get to take you along
for a little bit of a behind the scenes.

And I don't have to try to do it myself,
which is not easy at all.

First thing, we always do
is we try to get to the salon together

and just introduce ourselves to the bride.

And then we film.

And then Pablo will leave
in like an hour or so, and we will

and he will go to the next location.

Now, this couple, like most couples,
I actually

haven't met this couple in person.

So my first indication of who the bride is

when I get in is hopefully that
they're wearing some sort of identifier,

like a white shirt
or something that says bride.

And usually they're the first

people that come up to me and say hello,
which usually is my in general indication.

We'll need to bring the whole case
and let's just bring what we need.

Okay.

Bride prep, without question, there's one.

We're shooting it together.
There's two things we use.

We use a 50 and a 7200, and that's it.

We make it really easy.

Pablo always uses camera two.

I always use camera one
for no other reason but ID after the fact.

Because then when I bring in his entire
camera, I notice we always check

before we start shooting.

Sensors are clean because a single
piece of dusts shows up really well in 4K.

When you're cleaning, sensors
always point the camera down

so the dust falls out
and not around into the camera.

We always check that we are all shooting
at the start of the day

in 24 frames
that we are on the same profiles

and that we are where we want to be.

Good morning, everybody.

Are we at the right place

where the videographers
there's a lot of us

right now,
but you will not see us all day.

How is everybody? And I learned.

Nice to meet you.
You having a good day so far? Yeah.

I'm Scott. That's Pablo.
And that is Ricky.

Ricky is the assistant
and he shoots a lot of behind

the scenes stuff and all that
kind of stuff in here from the wedding.

Yeah. Okay, cool.

Typically, in a bridal prep solution,
the situation will get here in just kind

of an exam and figure out what we're doing
and figure out what shots we want to get

when they're not really fully
in makeup and hair yet.

We don't want to shoot too much

because we won't really use
a lot of footage

because women don't really like shots
without makeup and hair.

Like if you're around 4500 to 5000

ish and then just drop a little out of the
yellow.

It's pretty decent

because it's fairly consistent light.

Luckily, it's not super tungsten
like most places are

really the lights that are creating

more of an issue
are the ones directly over people.

At one space. So

make sure your microphones
are my reminder.

I was forgetting to turn it on.

So this is

an okay.

Yeah. And we went through it and.

She said they're only there till 12.

Okay, get some like

60 frame stuff.

It'll be better than you being here
and us having two shooters at this time

and so on.

So when Pablo goes to another location,
we use these little slingshots solo bags.

They're like, real small.

He's only going to groom prep.

The next time he's with me, we'll
be together, but he'll just bring a 50.

A 7200
because we both really like the 7200s.

And he'll bring in a couple of batteries
and make it really easy.

Couple of batteries.

Fires have pretty good battery life.

So even in 4K, we I would say

probably get close to 2 hours of shooting
something like that.

It's I don't really know what it is,
but it works good.

But he'll basically go with that
to two lenses,

which he really has 7200 on in a monopod
and then the next time we meet up will be

like two ish

because you're at Groom Prep till 130 ish.

Yeah.

And then we're setting up
for the ceremony at 215.

Yeah.

Where you're going is
where the real prep is.

Just going straight to the. Batting cages.

They're there for the next half hour,
get some shots as quick as possible them.

Then you're just going to tell them
you're coming with them to groom Prep.

Go there, get your shots.

If they're not getting ready right away
and you can get some establishes

just with the camera. Right.

I would say you

bring the magic, but I don't even like to
look at the footage any more comparison.

If it looks like a GoPro

Starbucks, we don't always go to like
bride prep with two people.

The only times we usually do
are for the sake of Pablo

needs to get the gear from me anyway,
so instead of him

like getting it the night before,
he'll just come with me to bridal prep.

I'll introduce into the the couple.

He'll get all the gear he needs and
then he'll go to the next location to see.

And I was going for basically like 5 to 7
second clips.

That's it.

Nothing long and all individual clips.

Were on and.

I was like to really go for sequence
shots,

different angles of the exact same shot.

Eric gives you stuff to cut between

takes all that

kind of sets up the scene

for you and usually in a sequence shot.

I will keep the same clip going next.

He just helps me quickly cut to it.

What I think I'm going to do
is if it's okay with you and your mom, I'm

just going to go that way.

I can get the dress shot and then start
getting some drone shots at the location.

So because when you get there,
I obviously want to get you getting,

you know, in the final stuff
so that give me an extra 15, 20 minutes.

So I'll do that.

I tell her I'll come in.

I'm just going to
just get the dress and main details

and I'll figure out a cool place
to put them. Okay. Awesome.

All right. I'll see you in a little bit.
See you.

Think so? That is bride prep

salon style salons are.

Unless it's a really, really nice
salon, it's not anything

crazy. So.

But I was like to just go there.

I think it also I.

I've never once in any wedding in my life
been beat to a wedding

from the photographer
and that's the way I prefer to keep it

because it kind of gives me
this like somewhat leverage of

I've been with them all day
and they appreciate that I show up early,

even if I don't use a ton of shots.

I still like it, but that's it.

So we're going to go now to

to the house where

she's actually getting ready
and we are going to shoot the dress stuff.

Get that out of the way right away.
I know it's really epic.

Hundred 30 some acres, so there's gonna be
tons of really good shots

with the drone, trying to make sure
they get plenty of time with that. So

let's do it.

So this is this is actually
there's a lot of behind the scenes

I know the other
my actual second shooter is not here.

He's with the guy he's calling
and he's at a big mack truck right now.

It's awesome. Awesome truck.

They said awesome.

So I'm assuming that's the ceremony,
which is super cool.

Waiting for that.

Is everyone walking down and they're
taking people down and tractors or what.

Not. No,
I think maybe just walk right here.

It's super cool. Looking.

My assistant canceled.

Her son cracked his head.

Oh, yeah.

She's got a picture. It's bad.
So she's off the air.

So I'm going to be bouncing.

Yeah, This morning.

I have to go to Justin here.

I'm glad I got that done,
but they're a little.

Yeah.

Well, if we can help in any way,
well, we'll do our best to do it, so I.

Should be okay, but I appreciate. It.

All right, No problem.

You know, there's videographers,
because whatever. I'm this.

Yeah, exactly. Screenshots. Okay.

Nice to meet you.

So they own 135 acres, so I think, like,

that's a off
that's like a lot of what you see.

But this is just a parent's house.

This is not where
anything is actually occurring except for

maybe her getting dressed,
but I'm not sure.

But we're just going to go get
some dress shots.

I always do that right away.

It's a country themed wedding,
so we do our best to get something

that somewhat represents that.

I'm not extremely tall, so

I don't really know how

or if it's possible for me to get it up
there.

Here.

How about you just hold, you can

you can just set that.

You can just set it down
for a second, particularly like to do some

glide camp stuff with the dress.

And I usually shoot that.

I usually use a 12 to 35 for that.

I usually have it at about

18 millimeters,
which is essentially like 3635

ish when I do the glide camp stuff
because it's

I like 35 millimeter and I'm gliding

because it's a nice focal length.

I will get my exposure and white balance

sets first.

A lot of people
ask if I use any filters outside

and the answer is you absolutely should.

But I don't

you don't really get that kind of time
at a wedding to flip around with

and these all day.

So I choose to

bump up the shutter.

No, I'm not telling you
that's the correct way.

I'm just telling
you when you shoot a wedding,

it's really annoying to try to

change gear,

to put an Andy over and over.

That's about correct.

There. Okay.

I also always use manual focus when I am

doing live cam stuff.

I don't ever

let the focus be determined
by what it thinks that I should do.

Also, I prefer live cam over akimbo

because this has no batteries.

I don't need any more batteries
to have to worry

about during a day.

I always do the same shot
a couple of times,

a couple of different directions
to make sure that

I got it.

Sometimes you feel like you got it
when you're shooting it

and you look in post
and realize you definitely didn't have it.

When you're using manual focus
on a similar glide cam

or something, you want to make sure
that you try to keep your

your distance
from where you set the focus.

Also,
I typically turn off any stabilization

on the camera

when I'm using a live cam because it will
sometimes try to adjust itself.

Get that focus.

I cannot tell you enough

how important it is to make sure
that you constantly check focus.

I don't care if you shoot 26 K.

If it's not in focus,

it doesn't look good.

I really like to use some reveals

with slide cam stuff and all that's

once again, check focus.

Okay, I'm happy with that.

So she's brides
going to get dressed right now.

It's just after 1:00.

She's going to get dressed.

We're going to get typically, obviously,
I don't get her getting dressed.

I just get her.

Once she's in her dress and comfortable,

I'll have her get in a good position
to be able to do the final, like zip up

and button up with the bridesmaid
or mom, whatever she prefers.

So I will let her get dressed
and then I will go get some final shots.

Then they'll just be hanging out until

3:00,
I guess, which is a long time for a dress,

but it'll be plenty of time to get

some really good drone shots
because there's so much land here,

which would be sweet. So that's what I do.

I'm going to switch lenses.

Actually, 12 to 35 is a good focal length
if you're not really sure exactly

where something's going to happen
because you obviously have a range.

I like the 50 for those shots
or for the 7200, but I can guarantee

that's gonna be too tight for the
if we're doing it in that room.

So that's what we do.

Pablo is on his way with the,

with the groomsmen I believe,

and I think they're
coming to the same location.

So everything lives in this one
Pelican case, which has wheels,

which is really sweet.

And then all the audio lives in the other
small pelican case.

So the good thing is, all my life,
my batteries, my cameras, my lenses

all live here.

The other case for audio
we just simply bring with the

small Pelican case, and

then I have a large roller case
for all the tripods, lights and all that.

But it's nice
because everything's three cases.

The only additional case
is the Inspire, obviously, which is like

the size of all four of those cases
combined because it's massive.

But I only take that out when I need it
and that's it.

The good thing about that,
this 12 to 35 lenses that

I can completely handholds any shots
I want because between

the stabilization on camera
and the lens, it's ridiculously stable.

So I can handheld.

I use I like a monopod just that
I like the feel of it better.

But I could just pop this off
and get the shots I need with no problem

and no stability
issues at all, which is fantastic.

Oh, Josh, Lauren,
you want me to get to go, you love?

Yes, It's all in the same box.

What's my water? Go. That's

so if it's possible,
can we shut this light off?

And can I get you by this window
more? Yeah.

So we're not using that

bright orange light.

You're going that.

Okay.

Let's just move this for a second.

To. Smooth these batteries out of shot.

You know, nothing like what I'm doing.

Battery. Well, that's off.

Do you have a straw?

As it was?

It's much better.

Much better.

Just change this quick.

And can you look out the window for me,
please?

You either heard.

It's a little smile.

Is my flash.

It does, actually.

If you don't mind, if you want to, we can.

I'm happy to switch philosophy in a second
and you can get a few.

Will dance all day long.

Tower.

Tower works. Right? Yeah.

That's completely fine.

I understand. Exactly.

You need to get to. That's no problem.

Just like you were just kind of like
glance out as you're putting on, like,

let's just say they're right here,
and then you can.

And then she can jump in
and you can do it.

You can do it again if you want,

just because
this is probably the best angle, you

know. And.

It seems to me.

Like, oh,
I have to walk you to all of it extreme.

I was afraid that Who? Yes.

Wrong

and then right

when you're don't put that one on yet
just go in the motions of doing it

and then that way
she can get you actually putting one in.

We can pretend.

Okay And I just a subtle smile.

Nothing great.

You want to look at me.

Quite a bit.

But you can be happy.

It's your wedding day, right?

And you're doing all the portraits
together of everybody after the ceremony.

The whole bride. Yeah. Okay, perfect.

All right, I'm going to get some shots
around the property and everything.

What?

You guys are doing these shots. Oh,

so typically

the only photos, the only, like, B-roll

I get of actual, like, photos session
stuff is one that couples all together.

And when the

bridesmaids and groomsmen
and everyone are together in one pack.

So since they're not

they're not doing it first looks that

they're doing all their photos
after the ceremony.

So that's
when I'll get all my B-roll shots

of the photo shoot
and also get time specifically with them.

But I don't get any specifically
during this time.

I'd rather utilize this time right now
to get some shots of this property.

So that's what I'm going to
do. Do you have a preference?

Yes. Anything
other than the Inspire is not okay.

That's cool.

Now that I have the Inspire two,
I literally can't use any other drone

because

the quality difference
between them is massive.

Massive, massive difference.

Like not like.

I'm not saying that
because I bought the Inspire

and I want to make myself
feel like I spent like.

But literally
when I look at Mavic footage now,

it literally is like I'm
using a GoPro in comparison.

Like it's not even it's
at this point, it's not even usable.

So if I can't fly the Inspire,
I just don't fly at all.

I use the Mavic for now is like vlogs

or like if I want to bring something
in a book bag with me.

So the case that I have the nice thing
about that case is that it

basically has it ready to go.

The propellers are the only thing
you have to put on.

You don't have to take the gimbal off.

You have to put it in the landing mode.

You literally just put props on

and you're ready to go.

So what's I mean,
what's the quality difference?

I mean, obviously it's just

I mean, they're both 4K hypothetically,

but I really like the
this one shoots in 4K 60

because

I just really like the way it looks.

I also just it's just
that it's just it's hard to explain,

like what the difference is because
they both obviously claim to shoot 4K, but

just the actual difference of the quality
that you get on the file.

And the biggest difference too, is like
this has an actual micro 4/3 lens on it.

So when I'm actually doing shots
specifically with a couple,

I can actually get like agh5
look with depth of fields

and like an actual real actual
look of a camera on a drone.

So it's not like the Mavic
where it's like, okay,

the shots are really good,
but the quality is so-so.

It's like the same quality only, only with

a drone.

So I have an indie filter on this.

I have a 1.2

on it, something like that.

I usually shoot in like

6 to 10 aperture

if I'm doing like
if I want obviously things to be in focus

and if I'm shooting 60 frames,
I shoot the shutter

like 120 ish.

If I want even darker,
I just use a different Endy But

for the most part this will be fine.

Take off, take off

and have

111111111111111.

Monster monster.

Okay,

so right now
I'm just going to get a bunch of establish

your stuff of the actual

property here.

Typically when we're doing actual

drone work,

we will do two to remote controls.

So one person will control the camera,
the other will control the drone.

But obviously, when I'm by

myself, I just do it myself.

But you can get you get
a lot of flexibility of

just how

awesome it is
when you can use two controllers

because you can really focus
on the flight path

and let somebody else focus on which shot
you can get.

The biggest difference to that
that you notice a lot

in the Inspire is it

is a huge difference in your overall

like dynamic range it's it's credit only

different like so much better
when you especially

when you're doing a lot of aerial
like big mountainous scenes like this.

You just notice a huge difference
in being able to see clouds and sky

while not blowing out the shadows down
below is just such an awesome,

awesome thing.

I felt like the
Mavic you really had to make the decision.

Like, did you want to you want to see
the sky or do you want to see the ground?

And this like being able to see
those both is just

gorgeous.

And the other thing that's important
if you have an inspire,

is the fact that
because it's like a legit camera,

you want to make sure
that things are in focus because things

can actually be out of focus of this
because

it's a true camera rather than

kind of the phantoms are everything's

kind of just in focus, so
you don't really have to worry about it,

but it matters a lot on this one.

I really want

what are you guys doing now.

To become shots.

Of this? Yeah, but.

She's. Doing it.

She's doing that with the girls much.

So she's doing that with the girls right
now, Right?

Very good.

And I got some like overall establish or

in general that's that's photographer

right there

gentlemen, I guess.

How you doing?

I won't bother you
when you're eating a lot.

Scott, Good to meet you.

How are you? Ryan? With you.

Hey, how you doing?

Good to see you. Doing all right? Yeah.

So drink. Some moonshine.

Photo by Richard Farms.

Yeah, I. Yeah.

So that sounds good.

I mean, do you take, like, breaks.

And maybe in a few hours?

Is that as often
everybody has an incentive to trust.

A lot of it.

All right, well,
then I'm going to go. I'm going to

drive my car down to there to unload crap.

And then I don't know where I'm going.

Apartment, car, but
I'm not going to walk it down the hill.

It's like a long hill, like I'm
not carrying my equipment down it.

So I'm just going to go unload my stuff,
get it out there,

and then set up some stuff
for the reception, our ceremony.

And then that way, when you get there,
we'll be kind of ready

to roll.

Let's take an Audi commercial with like,

they like the way the way the thing's
turned, it everything.

It's like,

that's a funny

the good thing this is

this will be a really cool
ceremonial location

that's cool thing
is that there's like 180 people coming

and they don't really have
a clue where they're parking.

So that could be fun.

But see,

how you doing?

Oh, wonderful, Excellent.

Just photographer, videographer.

Okay. Did you have. I do this?

I heard you guys go,
What the heck is that thing?

Yeah.

All right. Yeah, yeah, yeah.

It always scares everybody
when you're not expecting.

And around this area.

I'm doing.

So I'm going to just get this stuff
like I said over there for now.

I'm going to.

I guess I'm going to go put my car.

Just on the opposite side of the.

Hey there. Yep.

And then that's that.

And that one will probably put like legit
in the cornfield.

Almost can be touched anyway.

So once I get it set, like
it doesn't have to be in it, but just.

Like a leg could be in. Yeah. Yeah.

Either that or maybe because of the way
this angle is,

because the way that this is like
actually raised,

we could put the safe camera back here
and wide might look better.

Actually, it's like, just do.

Yeah.

Because normally this would be in

this gas would be in the shot,
which is why I don't want it.

But they're going to be above everybody
because of the way this is levels

we could put it right here and high
and then that way

the safe shot is nice really cool
the whole time.

Yeah. That's fun.

So normally what we would do,
I don't know if Scott explained this,

but basically normally what we would do is
we would just set up three cameras.

The first was going to be on this side,

which is usually just a wide
shot of everything.

The other one's
going to be on the opposite side.

That's usually my camera,
which I usually man.

And that's
going to be a tight shot of the group.

So while he's having like his reaction
or his vows,

I'll be on that side
making sure I get him tight.

And then Scott
is usually on the third gh5,

which is

he's going to be usually in motion
and he'll be moving around with his either

like a gimbal
or usually he uses his a Steadicam,

and he'll be moving around from shot
to shot, getting all those shots

of like people coming down the aisle
back and forth each way. And

also, while

the basically a nice center
shot of the kiss and also

when they finish in the or the exit,
he'll be right there ready for them.

So that's usually what we do.

But we also have to set up audio
which will take care of it a few minutes.

Would it be safer if I was like, maybe
here at the end of the I'll go looking in?

No, just too similar to that
and go to the same thing.

I think that's probably
would be the best angle.

You're just going to have to. Fight
the people for a bit.

Yeah.

Or just have a monopod and get your gun
reaction shot like over there

and bring it back
and put it on the tripod.

Yeah.

Like keep the tripod there
but you just go a monopod

over to that angle over there
to get a shot

the whole time they're coming down
the aisle and then just relocate to the.

So have a mano with me then that's cool.

Or we can do what we did last time.

And you can,

you can do a mano of the people coming
down the recessional glide back here.

Oh, Frankie Ferebee, you

okay?

We can do that, and then I'll move anyway.

Get the shot, come back.

Get all the shots,
and then you'll go to your tripod.

Yeah, let's go.

You're probably going to be tapping in
front of you at some point

just to get like the guys from Push,
and that.

Is completely unacceptable.

Let's just get it done.

So get that now.

It's going to, if I.

Usually do well so that I know.

Typically
we have them over over further angles,

but because this weird angle, we're
actually just going to put one back there

that'll basically be fairly tight
the whole time,

meaning the aisle will be basically wide

open like you,
you're have to block a shot in there.

That's what I was thinking.

This one, it's not a big deal
if you pass through a literally

as long as you don't stand in front of it
the whole time, it's completely fine.

To like, bump this up just a smidgen.

I'm skinny if I. Yeah, yeah, yeah.

I'm not you know, it's
not the gas Now, that's cool.

If I.

All right, so this glycan that's going
to be on Monopod while they come down.

Okay.

All right, go.

I can hear me on that.

When they're coming down the aisle,
you're going to then go to that.

I'm going to go like.

I'm gonna put my camera on the mono
for on the try, but for now.

That's fine.

And then you're going to track
them coming down the aisle.

I'm going to go buy them down the aisle.

Yeah.

And then as soon as they as
soon as the bride comes down,

I will briefly follow her down the aisle
and get a safe shot.

Just standing there. That's fine.

And you're going as quick
as you can get back.

Go back, lock it down
and then tell me when you're locked down.

And then as soon as you lock down,
I'm going to take it off the glide camp

and put it on a monopod and get the shots.

I need to get.

Okay.

So we actually have to use the camera
that Ricky so many behind the scenes on.

So we're going to temporarily
change the oryx 100.

You're not going to hear audio.

I'll probably just walk you through
after the fact what we're doing.

But it's time to get the ceremony going.

It's days like today that I'm

excited that I don't have the Sonys

because they'd all be overheating

for an outdoor ceremony.

I always will
adjust to the brightness area

because it might go through clouds,
but I don't really care if it's cloudy.

And then I adjust to that
and then it gets bright with something.

It overexpose everything.

So I adjust.

In this situation,
like this super sunny side,

I suggest that if it goes in clouds
and gets much darker,

I'm not going to change the camera
settings.

I'm going to keep it
because I don't want to make sure I know

I can always make things
a little brighter.

I don't want to be blown out.

I'm probably going to

like follow some of them sideways here
because you're going to be tight.

I won't be in your shot.

Are they coming down on the tractor?

Yes, they are like all the way down
the bottom and then getting out.

Yeah, okay.

They're getting out right
where the first line.

Is on the left. Okay.

Oh, but you.

I'm out of here.

So ceremony.

Good. Everything went good.
I mean, it's just hot.

I mean, it was perfectly overcast day
the entire time

up until we get to the ceremony outside.

And we basically are insanely toasted.

Pablo recorded that.

Let's hope he did everything correctly.

You got the tripod broken down,
fresh battery.

That has broken down the road into.

All right, this here, the reception.

The reception starts in an hour.

Therefore, there's
no way they're doing much pictures here.

And we got to get stuff at this reception.

So we're just going to head right there

and start shooting,
establishes the reception,

and then we are going to there
they'll do their photo session there

because they're going
have plenty of sunlight.

So we're just
going to head right over to the thing.

And they should make an umbrella

hot shoot, hot shoe
mount on top of the fire.

That would be a big brother.

So everywhere that I'm going, I'm in the.

Safety duty secure.

Oh, this is going to be fun.

So wrapped up the ceremony,
everything went well.

Outdoor ceremonies can just be tough
because the lighting is extremely harsh.

There's really only so much you could do.

So everything went good
that we are now headed over the reception.

It's only about 10 minutes or so away,
but everything's it's very early

because it's Sunday, it's
an early everything.

So the ceremony reception
actually starts in 45 minutes,

which is not a lot of time at all.

So we're kind of running the last second
here.

Let's go let's bring let's bring.

All the stuff.

Wheels are on that side.

So let's just get this and this can get me

one of these.

We'll see how much room
we actually have here.

Hold this traffic at the reception
location.

It's a place in neutral poli
Pennsylvania called Old Homestead.

Nice place.

Hey, we are

all awesome. Are you Ginger?

I am, Scott.
So good to meet a videographer.

Sorry, I have no right hand here.

Nice to meet you, Paola.

And this is Ricky. Ricky does.

Okay, awesome. We're excited.

This place is beautiful.
Is there a new venue? Right.

There's a new one.

This? Anyone out of here? Beautiful.

So this is where the reception.

Okay.

And then I don't know
where you guys are going to be.

We're going to probably
be getting pictures out in a perfect.

Yeah, yeah, yeah.

Once you go do that, we're going to go.

We're going to set up a few things
that we do for this.

And then I assume
they're going to do pictures later.

They're not there for the reception.

I'm not sure.

So do during cocktail hour.

Okay.

Well, we'll get some stuff set up
and we'll be ready to roll.

Thank you.

I'm going to take a wild guess
and say you're the deejay and

fishermen guy. Scott, good to meet you.

The videographers.

How are you doing?
What's your name? John. John.

Good to meet you.

My name's Scott Pablo from.

The exhibition.

Ginger. Where is the head table?

Laughs against that back end.

Okay, so their backs to the wall, right?

That's all. That's not.

That's not how I like.

Frame it.

They're up against that black box.

Yeah.

So it's not many options for the switches.

The lights are going to have to go over.

They're

going to have to go over there

and they're going to have to stand here
or here.

Actually, I don't want to do here
because you'll see the light reflection

from that angle to they're off this thing,

so we'll do this ish.

I mean, it's
good thing is there's lots of dance floor.

Real bad thing is it's just
a really weird place for the head table.

All right.

Can you get lights,
stands out and get lights on them,

and then we'll start to get them in
position momentarily.

But yeah.

Wait, so you want them there?

And we're moving for the.

Yeah, we're not going to the options.

They're not going
to give the speech out here, but

what's your thinking is through lighting.

Well, typically we light,

we put the lights in an area
that are good for speeches and reception,

but that's only possible here
because we're going to

have to have two different locations
because

where we like,
they need we like the speeches to be.

The couple is looking at the

bride and groom and then we like them from
an angle and two from the other angle.

But that's not going to work
for the whole time

because the lights will have to be
over there and they're not going to be on

stand.

It's going to be right in that right
in that zone.

Yeah.

Then from the other angle of the.

It should be good.

Let me see a camera.

So I use torch

LEDs, which I love,
and I put them high in the stands.

The great thing about them
is that they're temperature controlled

and remote controls,

so I can turn them on when I want

and I can also adjust them accordingly,

all with the remote control
and like said, the

key is you always shoot

from the opposite angle

of lights, never shoot
at the same direction of lights

or instantly looks

like amateur.

What then?

It gives a nice

sound.

What it does is instead of me,

instead of me exposing to this

and bumping up him
so that he can be exposed.

And then the rest of it's
all really expose, which I don't like.

I can drop down the iso, light him up

and get a nice side profile light

that's good to look at and yes, look good.

And if they keep these doors
open the whole time,

that'll play
a big factor into the wedding.

Well it'll just be a whole new
set of lights

on. The lighting changes,
love lighting changes.

It's good right. After we said it.
All right, Kate.

Pablo, can you hook up the find for dead
batteries that are in that little area

and power them up in there
and that little thing.

And I'm going to go get audio
set up for the TJ.

So we use power banks and these little USB
things that can actually.

So instead of having to find power
outlets, it's entirely charged

from the power bank.

So you

can charge batteries wherever you are
rather than having to find power outlets.

Yeah, like the nice air
moving in here is or is it hotter.

For us just the sun or.

Like, Oh, that's funny.

Hey, do you mind if I patch out your line
out to get a feel at all

since you got power to make it so easy?

Nice and super clean.

I love it
all good. That is that gas too. I can.

I can get another piece
to reroute and clean for you.

A few don't too. I can get some.

I just like to respect your clean ness.

I love the clean. This.

Yeah.

So when you are

plugging into power systems,
you can always basically

go out of their line out with Excel
and it works really, really well.

What I always make sure that I do is

however, they are keeping their cables
nice and clean.

I run the same with them, so
if they're nice and clean it gets a pull.

I always will run clean the exact
same way.

It never ever mess up their look,
especially even if they are messy

and it's wrapped around 100 times.

Just wrap it around a hundred times
with their cables.

You never want to change what they did.

So once they get it all set up

at any time, it's powered speaker powered
speaker will always have an XL.

Our line output,

which will basically just be mirroring
the same thing that's going in.

I really like the speaker
as my main source of audio

coming from there
because that way anything he sends to

the speaker
will always come to me as well.

If you run out of their actual mixer,
you can take the chance of them

not sending you something
that they're actually sending.

So I like to run directly on the speaker.

It's just safer
and you don't have to worry about them

forgetting which happened to happen
at our wedding recently.

Luckily I left the audio and noticed it,

but they gave me a line
out of their mixer.

I thought it'd be all perfect and ideal,
but they never turn the output on,

which is not what you want.

So getting it out of here gets me a mirror
of exactly what they're getting.

Yeah,

I can get my.

There's nobody. He's over there now.

Pablo,
can you bring me the gaff tape please.

From the audio compression.

Just give me two small pieces.

Hit record and put it on holds.

Never take the chance.

And I always just set it up right away
and turn it on and record that way

no matter what.

I don't forget later on to do it.

I don't care if it's one massive file
that I don't need.

I can delete what I don't need,
but I like to make sure this recording

I set it up and begin to get

batteries are charging.

Batteries for charging.

I have a 72 200 here
with a new fresh battery as well.

So question for you is
now is now an okay time?

I don't want to do subject
for the speeches.

Normally we have the couple
we have the person giving the speech

saying the sound of the dancefloor
and they look at the head table.

But this is clearly
a very different setup than normal,

and I really prefer to not
have them stand next to them

just because I don't like the way
it looks with them.

Looking at the whole time at the person
giving the speech, My thought was

that you see with the lady, with the

that's feet with a tray right now is

if they stand on the other side
of the table in the midst of everybody

and like, but like facing the couple
and looking at that area,

it would actually look really nice
and photos and video based on the fact

that the people would be in the background
really, really nicely rather than them

saying because that because they had that
big huge white box sitting there,

like if they were standing like this, I'm
going to stand there looking

to take a stance like this,

because it would allow me.

It would allow me to,
because what I'll do is I will

I specifically light
the speeches they look

so they look really, really sharp
on the actual speeches.

And it's really the only place I can
think of that will like in this room

that's not entirely unnatural,
like the head table,

because normally I would say
it'd be easy to do it out in

a big dance floor, which I would do it
that way, but they'd be so far away.

The only other thought would be like,
as I know this would be okay with it.

It would be if we want to bring them,

like bring them out for the speeches
and have the person be in the center,

but they will carry.

They won't care
either way then for you to be fine.

Is that okay with you?

Because then what
I'll tell them is you'll all tell them.

You'll go there and announce
from there. Like who?

The people are giving the speeches.

And I'll go. There
with the microphone. Exactly.

And I'll tell them to just look for you.

You have the.

Best man first, the maid of honor.

So they'll just come with me. Yeah,
And I'll just tell them. Just look for it.

Just look for him.

He will be there, ready to roll.

Explain them. Perfect.

That's awesome. Appreciate it.

And what's the order? You're.

Is everything straight after another dance
is right in the toes right away.

Yeah.

So they get done with all the dancing,
you'll have everybody seated

and then your first dance. Okay, this is

perfect.

Okay, so you'll just.

Once they're done doing their dance,

you'll have everybody sit,
and then you can just go now.

So I'm from that area.
Have a perfect awesome.

So the really important thing that I do
is make sure that I let everybody know.

Photographers, deejays,

people give me speeches, everybody
what I want to do for the actual set up.

So no one's surprised by like suddenly me
throwing it out about this.

I had to go get some photos.

Still not on your stomach.

Yeah, they're on their way.

While you're doing that,
I got to talk to you. You can.

You can

for the speeches.

So that's okay for the speeches.

Since those are really,
really important part of, like,

what we get for the film, say,

in normally my situation would be
that I would set them up

in the middle of the dance floor
and they would look at the head table.

This is clearly a different setup.

What I'm going to table
against the back wall with a white box

behind it, like a electrical box,
which is kind of weird.

So what we're going to do the
I talked to D.J.

is ready and I'll talk to people
giving the speeches you see with

the guy in the back was had
is standing right there eating.

Yes. The person giving
this speech will be basically face

the opposite way, looking at them
in the middle of everybody.

Okay.

And just for that specific thing,
I light them from from one angle.

Look, it'll it'll be the same color
temperature as the actual lights

and it will look anywhere you shoot.

Besides that angle will look really,
really good for it.

So he'll go
and announce them from there and say,

so-and-so is going to give a speech.

They'll come to that area
and then it would be perfect.

And then the rest of it,
they're obviously they're doing

first dance, no parent dances
and going right into the speeches.

So it'll be awesome.

So we All right,

so now I'm going to find the person
giving this speech

to make sure that they're
aware of what's happening to

on the right side of the table.

Like,
look where I was shooting this problem

there and get it
and basically set it up about that level

and then put one to the left of the digit.

I can almost kind of at the front of where
the where

that little table thing is over there,
whatever that thing is,

we're not going to like the dances
because it's can do absolutely nothing

because there's too much
light flooding in.

So it's just going to be like,
let's use the natural light,

like we would use the other light.

So just set that up,

maybe set that up that corner
like behind the gift table

so that you can use the natural light
rather than shooting into it.

I think what you could.

Do is I'll use the natural light
for the beginning of the entrance,

but then for the rest of the entrance,

I think you can actually glide with them
through the wood there.

Yeah.

And that's I'm thinking but if you shoot,
if you shoot like shooting at us

this direction. Right.

If you shoot at us
shooting this direction.

Yeah, yeah, yeah.

And I will glide with them all around
because all these people over there

by the bar at that time, they're often

see I just put one just set one basically
far corner like just against the woods.

So it's not in the way of people
and have a lot of it.

Yeah.

And the same 7200

that we put on this for the entrances
we'll just carry and bring to the speeches

over there.

So that's another two tripods.

But just keep just one camera moves

and the other one will be the seven
that will be the 24 to 70.

I'll glide with it for the dances
and the entrances and I'll give you it

and you'll get the reactions with that
same camera, but not the glide camera.

So what we do every time. Yeah.

Okay.

So a lot of people like to know
how to make sure that people stay

where they're supposed to.

When you give a speech,
let me show you exactly how the key is.

You just tell them
where you need them to stand.

They won't leave.

If you ever have an issue
where they don't stay in a certain spot

or they don't go to that spot because
we haven't talked to everybody talk.

The deejay, the photographer,

the person giving the speech
and they won't leave the area.

Are you you're giving the speech, right?

Yes. You again. You good? You ready?

I was just asking them. I was
I was wondering.

Where I'm going to be.
I that's that's I was going to say

so right here.

They're going to put you I don't like you
standing next to the couple

because it doesn't look good.

So he's going to put you right here

and you're going to talk to the couple.

Okay.

So he's I'm going to have you really well,

I'm going to make you look amazing on it.

And I'm going to make
you sound even better.

So the key is for me,
you're going to as much as you can.

You can have a little freedom.

And obviously like talking,

try not to leave this whole zone and like,
go over there.

I don't do public speaking.
I'm going to look right. I'm fantastic.

Even better my ass now.

And the key and the key is
just be really confident and like,

even even if you're not confident
speaking, just don't do this

because we won't hear anything. Exactly.

So just be confident
and keep it consistent.

I'll light you
so you'll also be a bright light.

So you'll actually probably not even see
people, which will be fantastic for you.

You'll feel good.

But just stand here
like you're talking to the couple.

Don't pay attention to anybody else.

It's literally

the DJ will announce you from here,
so you'll know where you're going to come.

You'll come up to him,
get the mic from here,

and then just talk as much as you can.

You obviously want to talk
to the couple, right?

If you have something to say to people,
you can kind of glance around.

But your main thing obviously you're doing
is talking to the couple.

So just really you can focus on them
and no one else is even here.

And I'll make you,
even if you're not a perfect

speaker in the film,
I'll make you sound amazing.

So you just you just be confident.

Sounds good. Awesome. Thanks. That

sounds so clean.

So clean.

I love it.

I love it.

I know.

Once again on the live cam,
I never shoot out of focus.

Even if you have great autofocus, it's
still hard because there's so many people

and faces that it wants to grab everything

but usually what you're getting.

So I usually choose a length and then
I just basically stay at that zone.

They want to just actually
just get over here

and not be as concerned with their
all get that

many. Have a seat.

I'm taking that camera from you
and putting it right in that tripod.

You're taking this from me
and getting the reaction shots

probably over there.

But just leave the tripod here.
Give me that.

Can that camera is going to swap
to the camera over there. Okay.

And just do that with that. Yeah,

that's no.

This is just.

Because I saw one.

So let's give it out to the.

Do is stop.

You don't do a lot of it.

All right
so one particular season this time

for two reasons reason it's our first

since we've run a group.

Just so you know
there's going to be a like

for the people to give it the speeches
right here.

Sorry line see it for like 5 minutes.

Know.

Excuse me, folks.

Yeah.

Okay. There you go.

I know

five or six years old.

And the fact that regarding the together,
you look at your eyes.

I know we have to.

They're all going to.

Like.

I like to basically frame them
very dramatically

and I frame them to the right of the shot
and panel frame to come up.

To the

left of the shot.

Okay.

So something important
to itself, important to understand the way

that I did this reason
I told Pablo to go on the other side.

If you're not familiar with that,
the golden 90 degree rule is make sure

when you're shooting with two cameras,
specifically, that kind of thing,

you're on the same side.

Because if I frame them
so that they're to the right,

I want the couple of frames to the left.
So they're talking to each other.

If he's on the opposite side of me
like you was, he would be framed right?

They'd be framed right.

And they both would be facing the same way
in the shot, which looks really bad.

So I always make sure
that you stay on the 90 degree rule.

It'll make sure
that they're talking to each other

and not both looking at somebody
that doesn't exist. Get it.

Got this camera's fine.

So give me that actually.

Here, bring that.

Bring both tripods back
and I'll use that and just get me a light.

Near to

the room.

Thanks, guys. Appreciate it.

It's great.

Also, I'm always I always make sure

I always make sure I'm
just insanely friendly to people

because I've said it over and over and
over when you were a kind person in life.

But in general, when you're a kind person
to other vendors, they will always,

always want to work with you again.

So even if the situation does not go
as planned, I will still always be nice.

You will never see me change my attitude,

even if something is not going as planned.

The kind of people you will always aware.

And in business.

Now we're going to take shots.

Any detail shots we always light
because we like to look how we want them

to look and to go in and roll with light,
just like you saw in the speeches.

If you get your color temperature correct,
as Pablo is doing, getting it correct,

you're not really going be able to notice.

That is correct in
that camera. But he will get

to a blend between date a little bit
a little warm inside it.

Oh, yeah.

Yeah,

yeah.

Right there.

That's good.

Like that.

And this is a good song, by the way.

So then I will get my exposure
to his light.

Stabilization on these things is stupid.

Good.

So I literally can do recreated
slider shots

with just my hands better.

So I don't want.

People in the shots.

I'll always do it again
if they got to my shot.

And roll around.

Out there before 30

because it's going to go behind them like,
yeah, probably 30.

The best.

Luckily the best
place is at the very top with So let us go

because the higher up you go, the longer
the more sun you get to guy though

let if we have time, they will let us with
the cart go all the way up

to the very top.

It looks it looks amazing up there.
I say we do it.

It's just a matter of I mean, it's like a

father would take

six, 7 minutes to get to that,
Like just driving alone.

I've just done out there.

I've walked this course. I freaking sucks.

Well, see, the amazing thing is
they have this incredible you can't see.

You can only see the one piece of the lake
right there that goes all the way over.

It's a massive lake.

So if we get them on the 10th, see,
that's the 10th holes.

We get them on the ten key box.

I can just glide along the water
all the way to them.

It'll look majestic.
Like that's what I want to do.

Keep that ready to go.

Oh, that's your 72 idea.

You keep down and ready to rock on this.

Make sure that when you go out there,

then you have battery life.

I know

it's setting beautifully.

Not the second go.

Now, I would say 20 minutes is it's
you look absolutely beautiful.

And I'm thinking that we'll get
we'll make it really quick and simple,

but there's that ten two box
that is on the water.

I want to glide
all the way down the water.

What do you guys like
on the tee box? Really nicely.

And then we'll hop in a car, get a quick
one a little bit higher with the sun set.

The photographer is going to come with us
and we'll do it all real quick. Okay?

And then and we'll be done
and it'll be so worth the 15 minutes.

Okay. You'll love it. Awesome.

So 15 minutes is great.

Ginger. Like 15 minutes.

We're going to take them.

I want to get like one shot
on the 10th tee box

because I want to come over the water
really, really nicely.

Okay.
She said they're okay, but 15 minutes now.

Like even if the food's being served
at that time.

Yeah, she's.

And then we'll meet Tom 15 minutes,
then we're going to come back.

The photographer.

Yeah. Yeah.

So she coming home? Yeah.

I have to go brief.

You coming in? Ideal situation?

Yeah. Can we get the.
We have to have any carts.

Yeah, I'll get another part.

You guys will have to drive one
that's five six on mine.

I used to do it seven days a week.

I played that. Let's call some experience,

have prep that bad boy.

It needs two batteries
and I'm going to bring an extra set

of batteries to

that.

I'm going to leave this case right here.

We're just going to carry the drone

and you're just going to bring Monopod
7200.

That's it.

That's our CS.

Good Caesar, Good on top.

So the Inspire has very big batteries
and it uses two

at once and I have eight of them
and they're

big and expensive, but they're worth it

and it doesn't fly
as long as like the other drones do.

It flies maybe

20 minutes ish,

but 20 glorious minutes.

We can't forget these batteries.

Yeah.

What?

All right, well,
we're coming down this way,

so just run out there
and make sure that they come over here

to drive their car or whatever.

Just get them out.
Just get them. Just get them over here.

Come on, Come on.

It's going to go quick.

All right.

We're going in the 10th tee,
which is a fantastic hole

with a lot of water to the right
that I've been in many times.

All right.

So we're going to do we're not to do
all of it like fairly quickly.

And you.

Want my voice lowered.

Now. Don't need the flowers with you.

Give me all you're going to stand.

Just watch your legs.

Do not get cut in the first place.

You come right over here.

To my sleeves to again.

But it doesn't matter.

Just give me half.

So usually what I have them do,
if it's okay with you,

they're just going to just be in love
and do their thing.

Just.
You guys look beautiful. Just like this.

Oh, my goodness.

And I've sung Get That Sun is amazing.

Oh, you moved.

I'm. I do.

One more time.

And there's floating.

She keeps moving.

It's her fossilized. Are you comfortable?

Are you fairly tight on them.

If I come down a little bit. Are you okay?

Are you okay?

Sure.

Okay.

Keep looking at each other.

Be in love.

The easiest thing we could ask.

The folks on.

Pub. I'm going to come real low.

Probably in your shot.

This is ridiculously good.

That water looks like a green screen.

The reflection over top.

It is ridiculous.

Just keep being in love.

Keep it going.

I'm you so

it's just ridiculous.

Oh, my goodness.

Oh, my. Gosh.

Blue, Holy blue.

Never even more thought about that
reviewing.

No. Well, one of you
are going to also putting in a contract.

I mean.

No brainer if you

if you are filming weddings
and you were not eating,

you're done. Yes.

Sorry to say. Yeah.

And we always at basically at this time,
we always not

that we could change anything anyway
if it wasn't good, but we always just like

to look at our footage and just get a,
get a feel right now for ah,

we really want it where we want to be
or is there something else we need to

somehow figure out
how to get more of our better off to fill?

Basically the film.

This is an 8 to 14 minute film,
so it's the longest one we offer,

meaning there's lots of stuff we need.

So when we're initially reviewing,
it's not like we're saying, Oh,

we need to go reshoot that.

It's more of if we felt like

going
to a restaurant, we don't get a chance

to actually,
like shoot as many establishes as we want.

All that

we'll get a feel for, okay,

If we don't have enough establishes
of this or this or this,

we got to figure out
how to get more established or something.

This I know we have a lot of
because we just shot a lot of it.

Can I have your rings here
and I'll bring them back to you?

You got it. Thank you so much.

What?

I want to use this wood over here

because it'll it'll get the country feel
okay.

Put it shield on.

Lower the intensity.

We're going to get it real close.

Yeah. Now we're talking.

Now we're talking. Maybe.

Yeah. And

probably
can go a little more than that for

the focus is so pristine
when it's this close though,

it's a really like

I said, right

from that angle and don't hit the fence
so it doesn't shake it.

But just like
give me a little movement of light,

what I'm saying and

okay,

you can roll back.

Okay.

Well, I hope you enjoyed this is a little
bit of a different behind the scenes.

Hopefully it was much more helpful

because I didn't have to film myself,
but everything went basically as planned.

But as you can see in a wedding
and one thing

that I absolutely learn every time I do
a wedding is the fact that it's

you can only plan so much,
you can only do it so many times, doesn't

no matter how many weddings you've done
and how well you've done them,

they really decide what the actual days,
like the speeches, the ceremony,

the way the day flows,
you can plan to a tee

and still things happen
that you don't expect.

And the great thing about the wedding

industry is it really teaches you to work
kind of on your heels.

And if you can't handle the pressure,
it ain't the business for you.

But I love it because everything else
outside of a wedding seems like cake.

But I hope you enjoyed hope
it was helpful.

Leave a comment below if there's
anything else that I could answer for you.

There was a lot
and this is a long behind the scenes.

I hope it was super helpful.

I'm super thankful for Ricky
for coming out and getting some shots.

This was awesome.

If you want to film
some behind the scenes stuff,

first of all, you got to check with Ricky.

If he approves and lets you take the spot,
then you can do it.

Reach out to me on Twitter or Instagram.

But thank you so much for watching.

Smashed it like Ben if you like it comment
if you want to see more like this.

But if you come and say
you want to see more,

you might want to offer your services.

So thanks for watching.
We'll see you soon. Goodnight.