Original subtitles

All right guys, how to work with filmmakers.

This is a somewhat of a dry topic

but it's an important one, especially if you're

not experienced, you haven't shot many weddings or

the only experience that you have with filmmakers

is negative.

And there's a lot of things to consider

in this scenario.

So first of all, I've got to establish

first that we need a proper timeline to

do our job.

Okay, so let's say for example you're photographing

a wedding and I discourage working on an

hourly rate unless you're in a place like

Las Vegas where you have two, three hour

gigs, it's a short shotgun wedding and that's

basically it.

I'm talking about the traditional kind of a

wedding where it's, you know, a ceremony, a

reception, you've got time for location portraits, you

do a groom's coverage, a bride's coverage or

grooms and grooms and brides and brides depending

on same sex weddings or whatever you're basically

doing.

And if you limit it to let's say

a three, four hour shoot, then you've got

no time for anything.

And all of a sudden if a filmmaker

comes along and they want their time to

do what they do, then you've lost it

even more.

And then all of a sudden you start

complaining, you get anxious, you get, you feel

under pressure and it's all the filmmaker's fault

or whatever it may be.

So what we need to do is understand

that we don't come first, the videographers don't

come first, the couple comes first, the family

comes first.

So what do we need to actually educate

ourselves with and educate each other and as

in filmmakers and photographers, how can we all

get along that we can all get our

job done right and everyone's happy.

So we can't assume anything is the point,

we can't assume anything.

In other words, my strong encouragement to you

is that in your collections, don't just do

an hourly rate, include the groom's coverage, the

bride's coverage, the ceremony, locations, up into the

first hour of the reception and so on.

And of course, you know, you've seen me

in different episodes talking about pricing structures and

what to include in all those different things.

Perhaps, Melissa, if you can go maybe find

the how to price your wedding collections, that

might be a good little reference point to

this particular episode.

And also the time for everything episode or

we may have had that in writing more

than a video.

So what I'm getting at guys is you

have to create a timeline that is actually

perfect for you and perfect for the client.

In other words, the client are going to

book you based upon albums and photographs they

see on the internet, on their Instagram, on

your website and things like that.

And you may have had two hours to

photograph the bride and then all of a

sudden they give you half an hour and

then the filmmaker wants, you know, most of

that and all of a sudden you've got

nothing.

So it is an education process and don't

freak out that they're not going to book

you because you need more time.

Maybe you're conscientious enough and you educate them

enough that they're like, wow, this photographer's thought

of everything.

This is really important for us.

So my suggestion is that you, I personally

for most of my career, I've always, I

don't ask for, I tell them this is

what I need.

You need to be ready two hours before

you have to go for the ceremony.

So for example, if it's all at the

same venue, the wedding, as in the coverages

at each individual, again whether it's a groom

or bride, two grooms or two brides, whatever.

If let's assume it's a heterosexual couple, so

you've got the groom and the bride and

let's say the bride is about to leave,

let's say the ceremony's at three o'clock

and she wants about 10 minutes to go

to the bathroom, have a drink and then

walk towards the ceremony's going to be.

So you'll be there at say 2.45,

as in you'll leave at 2.45, which

means that you will get to her place

at 12.45. That'll give you two hours.

Then you minus 15 minutes because, you know,

you've got to pack your bags, go to

a different hotel room, which means 12.30

you'll need to finish at the groom's, which

means you have an hour and a half

at the groom's, which means that you'll be

there at 11 o'clock.

Does that make sense?

Let's just redo the timeline.

You've got groom's coverage here at 11 o

'clock, you've got 12.30 you leave the

groom's, 12.45 you start the brides and

2.45 you finish, then the ceremony and

so on and so on and so on.

Now it's important, we're going to sort of

chop and change a few different things in

this conversation because it's sort of not an

easily cohesive conversation to have because there's many

things that we have to talk about.

You're first going to ask, have you booked

a filmmaker yet?

And they might say, no.

And then you might say, well, who are

you thinking of actually, you know, hiring for

your filmmaking?

And they even might say, so-and-so.

Never actually say, oh, don't get them, they're

terrible.

And also you want to basically ally yourself

with someone.

And I'll talk a bit more about this

later on, but if you have a filmmaker

that you really enjoy working with and is

conducive of working with you and your style

and is unobtrusive and things like that, then

that's a really good place to start.

But we'll talk about that in a moment.

I'm talking about your perfect timeline and what

is it that you need to actually do

an incredible coverage and at least meet their

expectations, let alone exceed them.

Now, if the filmmaker, whether you know who

it is or not, whether they're booking them

or not, you need to find out, are

they an unobtrusive style?

Are they more a directive style?

What do they need?

For example, they might need 20, 30 minutes

at the groom's coverage independent of you.

And it could be after they get ready

and before you take the photographs of them

properly.

You might ask the bride, say, hey, what

do you need at the bride's coverage?

It could be the filmmakers might need 45

minutes, which basically means that if they need

time independent of you, you've got to find

out where in that mix that they want

to be at.

In other words, usually filmmakers need action.

They need sort of movement.

They need motion, which basically means that they're

probably going to want a little bit of

the bride finishing off getting ready, putting earrings

on, putting the dress on, zipping it up,

getting mom to hold the dress, maybe a

reveal, who knows?

You've got to find out what they need.

And don't dismiss it as not important because

someone on the other side of the world

is probably having this conversation is how to

work with photographers on a filmmaking educational website.

And again, we'll come to that perspective in

a moment.

So timeline is really, really important.

And maybe having a relationship before the wedding

day with the filmmakers, if you've never worked

with them, is important as well.

So I would say, ask the bride and

groom to have your pre-wedding meeting first,

as in all the details of the wedding

first.

And then you could possibly even ring the

filmmaker when they're there with you, or even

if it's interstate or overseas, you can do

a Skype phone call, and then you can

go from there.

And like I said, it's all about communication.

It's understanding what the needs are of the

filmmakers.

And don't dismiss them as irrelevant because that's

not, one, that's just not nice.

Two, the couple are expecting a really good

video.

I mean, filmmaking has changed dramatically over the

years.

It's become more cinematic with the introduction of

the 5D Mark I.

All of a sudden, filmmaking got exposed in

a lot broader way to photographers and people

have changed careers and all these different things.

It's become more cinematic.

When I started, they wanted the whole day.

It was a two, three-hour video, and

a short version would be half an hour.

These days, most couples just want a five

-minute video.

So they don't need much.

But what you have to understand is that

if you just pose only, and you pose

every single scene, and there's no movement, filmmakers

are going to struggle to make that look

interesting because really, they're just filming poses.

They're not filming a moment.

So you'll find that the way I photograph,

I'll often, yes, I'll do my poses, I'll

do my looking away, looking down, looking whatever,

but then I'll get them to interact, look

at each other, have a laugh, have some

fun, look away, have a giggle, make them

laugh.

All they need is that split second, that

one or two seconds.

So that's important to understand that filmmakers need

motion.

And if you're a photographer that directs everything,

I mean, even though that I direct a

lot, I do add movement and motion because

that's what they need.

And you have to understand that.

So based upon that, if you basically emulate

a style that I do, for example, which

is a combination of photojournalism at the ceremony

and at the reception, but then you mostly

direct the grooms, the brides, and maybe location

portraits, then the ideal filmmaker, as far as

photographer's perspective or concern is basically one that

is unobtrusive, that works over the shoulder of

the photographer and doesn't rely on steady cams

going right in front of the photographer and

all that kind of stuff.

And I'm saying, if they want that, that's

okay.

You just have to allow for it and

make sure everyone has time and there's no

friction, there's no challenges.

And then the couple get an incredible video

and the film, and then we get our

incredible coverage as well.

So just know that just because we're biased

and it's photography that we believe is the

most important thing, we can't dismiss filmmaking is

irrelevant or not important to the couple because

these days, sometimes the people are spending a

lot more in filmmaking than our photographers because

there's three or four people at the wedding,

there's lots of different angles, tripods, monopods, jibs,

all that kind of stuff, and you name

it.

So you've got to work out what you

believe that suits your style, what is the

ideal filmmaker and harmony and chemistry that you'll

have that makes the day go really, really

cool.

Personally, I like one, like I said, to

be unobtrusive, almost without sounding disrespectful, to be

subordinate to me, as in, let me direct

the whole day and then you'll get magic.

So that's important, like fly on the wall

approach, over the shoulder of the photographer or

whatever it might be.

Now, let's talk about this for a second.

If you, if let's say you don't have

a filmmaker that you refer a lot or

refers to you, then find one.

How important is that?

I mean, you could get so much work

from a filmmaker that it becomes part of

your business.

In other words, find a filmmaker that suits

your style, your personality.

In other words, if you agree with me,

someone unobtrusive, someone that has a longer focal

length, someone that can shoot around you, don't,

we don't duplicate shots.

You're not, you know, getting each other's shots

in the way of during the ceremony reception,

we'll come to that.

All those things, find a filmmaker that suits

you, that does that style and ring them

up and say, hey, hey, John, I'd love

to, I'd love to work more with you.

I really believe our styles really worked well

together.

If you remember, we did John and Mary's

Wedding only a month ago.

And I really hope that you enjoyed working

together.

And how about we create a referral system?

When you get couples who don't have photography

and they book you, refer me and I'll

do the same for you.

And make sure that you do refer them

because there's nothing worse than creating a referral

base where one party is referring the other

and that's crickets for the other person.

And that's not very fair.

So find someone that you like working with,

refer them, refer them and then your styles

don't conflict and life is good.

Now, let me tell you a bit about

history about how I started.

When I carried the bags of a successful

photographer for about a year and a half

or so, no pay, and then started to

get paid and start to do some shoots

and then started to shoot for weddings, my

boss, Peter, he asked me to work for

him full time.

He had a partner called John.

So Peter and John paid my wage and

I was the studio manager in this busy

studio.

So I was working there for three and

a half years.

And it was great because our styles complement

each other.

Now, what had happened was that I started

my own business after three and a half

years and then John preferred me than my

boss.

And I just sort of said, look, I'm

not having an affair with you.

You have to leave your husband, so to

speak, before we have an affair.

And then it's not an affair.

I just believe monogamy.

In other words, I don't feel right about

doing the dirty on my boss.

If you feel like you want to leave,

then you've got to leave and then perhaps

I'll open up that door.

Cut a long story short, we became partners.

For those of you who don't know, my

studio name was called Xsite, spelled X-S

-I-G-H-T, Xsite Photography and Video.

I registered as a business, Xsite Photography, he

registered Xsite Video.

We both joined in on the trademark and

the pattern, we gave each other permission to

call the business name.

I don't know how it works here in

America, but we did Xsite Photography and Xsite

Video and it was great.

Then what had happened was we had two

locations.

So he already had a location, I had

another one.

So we covered the north and the south

of Melbourne and it was fantastic.

Eventually, he left his studio, came with me,

so we could halve the price of rent

and utilities.

Also, what made us big among just hard

work and doing beautiful work was we shared

the expenses of marketing.

We hired a receptionist, we paid half their

wage, we paid half for marketing.

So in other words, there could be a

filmmaker who's struggling just as much as you

right now, who would kill to have a

little office in a first floor of a

suburban street that's quite popular.

The rent might be $2,000 a month,

you halve it, all of a sudden you

get a studio manager that can manage all

your bookings and phone calls and maybe some

basic accounting and bookkeeping.

All of a sudden, you've got this incredible

business because you're doubling your referral base and

you're looking after each other and you work

in harmony together.

So we became one of, if not Australia's,

probably one of Australia's largest studios at the

time and it worked very, very well.

Again, there was no, hey, can we redo

this, can we redo that, and that's basically

it.

Now, let's talk about this.

So let's talk a bit more about what

happens if the filmmaker wants to direct.

So they want to take control, they want

to have the bride doing up the earrings,

they want to put their cameras in there,

whatever, whatever.

And let's say you didn't refer them, they

had already booked the filmmaker and you get

to the wedding day and you get the

sense that that's what they're going to do.

So what if it's too late?

What happens if you didn't receive this beforehand

and you're sort of stuck?

Well, here's what I normally do.

Whether I've actually communicated with the filmmaker or

not beforehand, on the wedding day, I'll say,

guys, if you don't mind, do you mind

if I direct the first series of shots?

Because this might just be the easiest wedding

that you'll ever film.

Because what I do, I'll post people, I'll

like people, but I'll always allow motion at

the end of it.

And because I know, this is me talking

to the filmmaker, I know that all you

need is three, four seconds, whether it's someone

moving, someone leaning forward for a kiss, laughing,

giggling, looking away.

I know that that's all you need.

And they nod, yes, thank you.

So then I start directing a couple of

shots.

I always add that motion at the end.

And yes, it is the easiest wedding that

they've ever actually filmed.

Sometimes I've already got my shot and I

know they're still filming and I'm directing and

I've stood up, the camera's even off my

person, and I'm like, yep, keep on moving,

walking this way, love that, yep, interacting, crack

it up, look at the best man, and

fade to black.

And I just make this joke.

And the filmmakers love me because I do

make their life easier.

I've lit them, I've posed them beautifully, I've

flattered them, and the motion is just there.

See, we have to understand that filmmakers might

shoot five hours of footage, but might only

need five minutes.

So if I was doing a tutorial on

filmmaking, I would say just don't shoot anything,

it's not important.

Only shoot the motion.

If the couple want a photojournalistic approach to

their film, as in more documentary style, then

don't film the static poses.

Once you know how I work, like towards

the end of it, then you'll see the

motion and so on.

So I thought before we discuss the more

intricacies of filmmaking and all this kind of

stuff, I want to show you, Melissa's and

I, a wedding video.

Matt, who shot our film, he did our

wedding film.

Now, just for those who are hardcore copywriters

and all that kind of stuff, just know

that the actual music that you're about to

listen to is commercial music.

You'll recognise the song, it's Hallelujah from Jeff

Buckley, one of our favourite songs.

He and we, we have a license in

Australia that allows us to use commercial music

only for domestic clients as the end user.

In other words, he was allowed to produce

this video for us because we paid royalty

to the Commission of Music or whatever it

is in Australia.

I'm not too sure if there's an equivalent

here, there probably is.

Once you get over a certain level of

commercial quality kind of music, then you've sort

of got to be careful and buy a

license.

But usually for the domestic users, like just,

I want it for my wedding video, no

problem.

If you start using it to promote or

sell videos, then that's a little bit different.

So that's a whole other conversation.

But just know that the license was purchased

to use this for us.

I'm showing you this one for fun.

I want to show you, and it might

be fun to actually relieve our wedding day,

that was over eight and a half years

ago.

But I want you to pay attention to

what was being filmed and let's diagnose it

together to understand the needs of a filmmaker.

So let's roll the tape.

That's a private joke.

The minor fall and the major lift.

The baffled king composing hallelujah.

Your faith was strong, but you needed proof.

You saw her bathing on the roof.

She tied you to her kitchen chair.

She broke your throne.

She cut your hair.

And from your lips she drew her heart.

I ask my family and friends present to

witness that I, Kiriakos Dionis, take you, Melissa

Rebecca Tirado, for my lawful wedded wife.

Whenever I think of you, I picture your

beautiful smile and your contagious laugh.

You are a gift to everyone you meet,

but you're a treasure to me.

You have such a beautiful warm heart and

a generous spirit.

You are not only gorgeous, but you have

a gorgeous soul.

I'm literally addicted to you.

For the first time ever, I found my

true soulmate, you.

I love you with all of my heart

and with all every fiber of my being.

And I want you to know I will

always protect our family.

With everything that I have.

I just can't wait to become your wife

and your partner for the rest of my

life.

Jerry and Melissa, do you promise that you'll

be kind, faithful, affectionate, considerate, and a true

companion during your life together?

We do.

I declare you to be husband and wife.

Oh, maybe

there's a God above, It truly

gives me great joy to see a couple

so madly in love, so perfectly suited, and

so stunningly compatible in every way.

If anyone has ever lost faith in love

and romance, all they need to do is

look into you.

You're an incredible artist, as you know, but

the relationship that you guys are going to

be building, and have built in particular, I

think may be one of your greatest works

that you're going to leave behind, because just

being in the presence of you two is

touching people in these truly beautiful places.

I'm so honored to be here, and so

humbled to call you both friends, and I'll

always love you absolutely unconditionally, so thank you

for letting me be part of this.

You're my best friend, you're my favorite person

in the world, you've taught me that unconditional

love really exists, and you've shown me what

it feels like to have that kind of

love, and I'll forever be grateful for that.

Wow.

I haven't seen that for a while, I

knew I'd get a bit emotional watching it.

Just beautiful.

I just want to go spoon with you

baby now.

Let's get back on track here.

You saw that that told a complete story

by really just one song's worth.

You think about it.

Now, this video probably, in difference to most

videos these days, there was a lot of

direction there.

When Melissa was getting ready, when I was

getting ready, that was all directed by the

filmmaker.

We had taken, I, you probably have seen

the photographs that I've taken of Melissa and

I took of each other in a mirror,

so I had done that independent of the

filmmaker.

The filmmaker then came to me and said,

hey, let's get you putting on the belt,

putting on the shoes, let's get you fixing

your hair.

Melissa, walk out this way.

So you can see that I don't regret

doing that.

As a photographer and as a groom and

as a couple, I'm like, I was very

happy to be directed by the filmmaker.

It's not all just about the photography because

the motion of video and all those different

things actually mean the world.

So my suggestion is that you need to

understand that everyone's got a job to do

and don't underestimate actually what the filmmaker is

doing and how much the actual couple want

it.

Now, yes, usually if a couple are going

to book at least one thing, it will

be photography.

It usually will be photography only and not

film.

And sometimes they'll get both and that's basically

it.

But also, don't forget too that, well, actually,

I was going to say a thought, but

I want to come to that in a

moment, but you saw how most scenes did

not last for more than a few seconds,

even though that most were directed.

When it came to the ceremony and the

speeches, that was all photojournalistic and that was

fine.

What you'll find, though, like we basically had

a second day coverage, a second day shoot,

and that was more the fashionable approach and

that was just of us.

And to be honest, I preferred the actual

photojournalistic stuff a lot more than I would

the kind of stuff that I direct for

myself, as in for other couples.

So that's a really, really important thing.

Now, so let's just go back to it.

You want to do your homework as to

the kind of filmmaker, again, that suits your

style.

Find out that person, sort out that person,

and that's who you refer and so on.

But I also want to talk about having

a game plan.

So let's say, for example, you find it

a little bit challenging at the groom's home

or the bride's home, maybe locations and all

things like that.

You haven't actually spoken to them.

There's really, you haven't really thought about it.

When it comes to the filmmakers, what you

need to do is discuss a game plan.

So let's say if you introduce yourself as,

hey, I'm Jerry, whatever, you know, this might

just be the easiest day that you'll have.

I'll put them in beautiful light.

I'll pose them beautifully and always allow for

motion.

So it may just be the easiest wedding

that you've ever filmed.

By that point, they'll probably, they might say,

oh, fantastic.

Well, don't worry about it.

I don't even direct them at all anyway.

You just do your thing.

That's what they'll normally say.

Some people who direct say, okay, well, let's

see.

We'll see how we go.

Then I'll direct a couple of shots and

I'll turn to the filmmaker and say, hey,

does that work for you?

You know, you can attract more bees with

honey than anything else.

So don't just puff your chest up and

I'm the photographer.

Look at me.

I'm the award winner and you're nothing.

No, they've got a job to do as

well.

So my advice to you is actually work

with the filmmakers as much as you can

before the wedding, even before you book.

Hey, who are you thinking of getting as

a filmmaker?

You'll basically say, well, so-and-so, or

do you need a referral?

Do you refer them?

Then you create a timeline and you suggest

a timeline that's conducive of you and the

filmmaker doing your job.

So when you get to the wedding day,

the game plan is this.

Ask them, hey, let's say the filmmaker's Joe.

Joe, where are you thinking about standing during

the actual ceremony?

They might say, well, I'm going to basically

be right at the back of the church

before the processional.

And where will you be when the bride

walks down the aisle?

Now, some filmmakers will be, in fact, with

a little, what do you call it, monopod

or a, Joe, what do you call it?

A gimbal.

They might be there with a gimbal and

walk down with the bride right behind.

And all of a sudden, not only are

they in your way, the groom can't get

a glimpse of his wife-to-be or

all the parents and all of a sudden

that's just not right.

So you want to shut that crap down

very, very quickly so that you will get

the shot.

And the funny thing is we have zoom

lenses and we have different focal lengths.

So it shouldn't be too much of a

problem to do this.

But if you ask these questions before the

wedding day, you could shut that down even

before the wedding day starts.

In other words, hey, make sure your filmmaker

does not stand in front of you as

you walk down the aisle because you want

him to be able to see your man

and vice versa.

So please ask them that question and then

you eliminate that.

Great.

There's another problem done.

Where will you be during the ceremony?

Well, I'll be, there'll be a fixed camera

here and so on.

So if there's a fixed camera in the

middle of the aisle, which almost certainly there

will be, just say, well, there will be

times where I have to go in the

middle of the ceremony, the middle of the

aisle and photograph the couple during the kiss.

Will that work with you every so often

or will you come up during the important

parts of the vows, the ring exchange and

everything?

If they say, well, look, that's going to

be tough.

Well, how about I'll take my shot and

I'll move on?

Or if you move the camera up, I'll

squat down.

Will that work for you?

So what I'm getting at is we're just

trying to work together.

Also, whenever you're actually photographing a ceremony, really

be mindful of where the actual filmmaker is.

The filmmaker, as anyone would, will get the

actual better vantage point and want to get

over the shoulder of the groom or the

bride or both and be able to see

the vows and so on.

You'll want the same thing.

So really, because they're more stationary, they're not

going to move around as much as we

do, you've got the freedom to move around.

So you've just got to be respectful and

mindful of who's in front of you and

so on and so forth.

So we'll come to that a little bit

more.

But work out, hey, with the recessional, where

are you going to be and so on.

Have a game plan.

The reception, where will you be standing for

the speeches?

Will you be getting reactions?

I want to make sure that we're not

in each other's way.

Those conversations should be very sweet, should be

very easy.

And like I said, it is not us.

It is not the filmmaker that's most important.

It is the couple.

It's their needs are absolutely first.

Now, what I want to do now is

if we were a news station, it would

be unfair that we are biased to only

one way.

So in other words, we should not just

be talking about, well, it all should be

about the photography and not the filmmaker.

Melissa has done a bit of research to

actually get some feedback from filmmakers that are

having the exact conversations about us as we

are with them.

So, Melissa, we'll take it to you and

if you can talk about some filmmakers' perspective

and maybe it gives us a bit of

insight.

Yeah, so I'm actually part of some filmmaking

groups on Facebook and that kind of thing.

And everything that we say about, or as

much as we talk about videographers and how

we have a hard time with them, they

say they have just as hard time with

photographers as you can imagine.

And I think that we don't always realize

what we're doing that is making their jobs

more difficult, right?

Because it is a high-pressure situation.

We're trying to get our job done.

But sometimes we may be unconsciously making their

job even harder.

So that's why I wanted to bring some

of these things up because perhaps this isn't

even anything that you realize that you are

doing, but it might make you more aware,

which then will make you a better person

to work with as well.

And as Jerry said, the more we can

work together with the filmmaker, the better it's

going to be.

So if you can be a better partner

in that sense as well during the wedding,

then filmmakers are going to be more likely

to want to work with you as well.

So here are just a couple of things.

Jerry mentioned it briefly, but they do need

to get action in front of their camera.

We have the ability with stills to move

around and just take one frame or a

few frames, but it's just still photography.

Whereas they could be needing a five-second

shot, and in second number three, you're constantly

walking in front of their camera.

So they've just almost got their scene, and

then boom, you walk in front of their

camera again.

Boom, you walk in front of their camera

again.

Here are some quotes that I've picked up.

These all just in the last week that

have been said, okay?

Somebody said, this photographer did this at my

wedding this weekend.

It was so bad, and he kept stepping

in front of me so many times that

a guest actually went up to the photographer

and told the photographer to please stop standing

in front of the filmmaker.

That was a first for me.

That was one quote.

Another quote said, you know, we were doing

the couple's portraits, and usually what I do

before the wedding is I say, hey, once

you get your shot, would you be able

to not move them for just a couple

of seconds so I can get a few

seconds of that shot as well?

The photographer said, I guess, and then he

completely disregarded that.

We spent so much time planning for shots

like the bride's reveal to the bridesmaids.

We said where we would stand and everything,

and then as soon as she came out

of the room, the filmmaker changed his mind

and stood directly in front of me the

whole time.

I have never experienced that ever in my

life.

So you can see these examples of photographers

that are stepping in front of the camera,

and I've seen it so many times.

You're just not aware of your surroundings.

You're only concerned with the shot that you

need to get.

But they need to get the same thing

as well.

They need to get their shots, and it's

equally as important.

So just be aware.

Just as you would be aware, I hope,

of not standing in front of the parents

during the ceremony for a long period of

time, not standing in front of the groom

while the bride is coming down the aisle.

I would hope that you would also try

to be aware of where the filmmakers are

so that you can pay attention to them.

And even if you say, well, look, I

don't worry about it because they have two

filmmakers, sometimes we have two photographers.

It doesn't matter.

Just always remember, be as kind to other

people who are working as you would like

them to be to you.

It will always be a better tactic to

take.

Here's another one.

Does anyone have a photographer driving them crazy

at a wedding today?

I've got one that was way too good

to not post.

This photographer was just too damn hands-on,

wanted to do everything herself from tying the

groomsman's ties to pinning the flowers to putting

on the bride's jewelry, and then she just

said, it just goes quicker this way.

Then we can fake it later for the

shot.

That drove me absolutely crazy.

I wanted to say just back off and

let them do it.

I'm pretty sure they know how to put

on some earrings.

So for us, because we've done so many

weddings, it might be faster for us to

do that, but keep in mind, the filmmaker

cannot use any footage of you putting flowers

on somebody's lapel or whatever it is or

putting earrings on.

Let the couple do that first.

If they're having a hard time, then you

can fix it.

But just to see their perspective on it

kind of thing.

Someone replied to that comment and said, what's

worse is when it's a husband and wife

team and you find the wife that's constantly

busting around the bride all day long.

So from the filmmaker's perspective, they've got one

person in the photography team that is constantly

in the shot.

The couple doesn't want to see that in

their film.

When they're looking, like you saw our wedding

video, like if I had a photographer in

the background constantly fussing on me, that photographer

doesn't mean anything to me.

So just be aware of what they have

to do to get their job done as

well.

First look.

We've had that issue before where you're both

trying to get a first look going.

A videographer said, I will never let a

photographer direct a first look again.

Here's how it went.

Okay, stop.

Now walk slowly.

Now stop.

Wait.

Put your hands over his eyes.

Hold on.

Don't move.

Okay.

Now turn around really slowly.

I'm sorry, but this does not look good

on video.

Please let me capture the raw emotion first

and then you can retake all the photos.

Yes, I can take those shots over again

too, but I've already lost the raw emotion.

Just a different perspective on it.

Just so you can see the frustrations that

they might be feeling.

Then there was one crazy one where Sunday's

wedding consisted of the photographer having to leave

early due to dehydration and the photographer told

the bride that I would be able to

cover it for them.

The bride is now mad at me because

I didn't take any photos during the rest

of the wedding.

So that's obviously a crazy situation and I

bring that up because the point is this.

There are unprofessional shooters in both fields.

So when you hear us talking about filmmakers,

oh, this filmmaker, he was so rude or

she was so rude, so hard to work

with them, remember that there are unprofessional people

in every industry.

And so just because you may have a

bad experience on one weekend, please don't paint

that as a broad brush for all filmmakers.

Not all filmmakers are like that.

Same thing is they may have this experience

where the photographer just left and said the

filmmaker would cover it for them.

That's not professional, obviously, but what if that

filmmaker then assumed that all photographers were like

that or had a bad taste in their

mouth for all photographers after that?

So just remember that, you know, you're always

going to find those people that maybe make

things difficult, but that doesn't mean everyone is

like that.

So I wanted to give that perspective, that

little bit of a different perspective so you

can kind of see what they struggle with

too.

The key is this, as Jerry said, it's

just communication.

Talk to each other beforehand and then when

you make a plan, we're going to stand

here, you're going to stand here, stick with

that.

Don't then let everything fly out the window

because you're feeling the pressure.

Remember that we all have a job to

do and people will love working with you

just as much as you love working with

them if you kind of keep that respect

going throughout the whole day.

All right, great perspective.

That was sort of like a CNN report

from the opposition.

Here we see what's going on.

So in summary, guys, today we've been speaking

about how to effectively work in harmony with

filmmakers.

And as I said, there could be another

training website somewhere in the world where a

filmmaker is saying the same thing about photographers.

And I know there's been friction between you

and a filmmaker and vice versa.

Here's the thing, everyone has a job to

do.

It doesn't mean because you're a photographer that

the photography is more important.

To a filmmaker, the filmmaking is more important.

Guess what?

It's not about you, it's not about me,

it's about the couple getting that beautiful story.

So don't be selfish.

Being selfish, it's no way to act on

a wedding day or an event or anything

like that.

Communication, education is the key.

Remember, if you do like to pose, filmmakers

just want that extra few seconds of motion.

They want a little bit of feeling, a

little bit of movement, laughing, crying, whatever it

may be.

Those raw moments, that's what they live for.

And all of a sudden, if you stand

right in front just to get that perfect

shot and they were already there, that's no

way to do things as well.

So remember, guys, that we're all there to

tell a story.

Let's help each other.

Let's not have those ugly moments in front

of the couple.

It's all about the couple.

I hope this gives you some perspective and

a little bit of wisdom based on the

subject, but communication is the key, way before

the wedding to the couple and to the

actual filmmaker, and that's what's going to be

important.

And also, don't forget too, let's say you

do work with an inexperienced filmmaker.

How could the couple, you know, spend only

X amount on a filmmaker and they're so

terrible, they're so inexperienced?

Because guess what?

Perhaps the money that they spent, all they

could afford was a certain filmmaker because all

the money went to you.

That's their budget.

So just know that, you know, sometimes that'll

happen where money is put to a certain

place, and that doesn't mean that they don't

care about the film because they wouldn't have

gotten the first place.

They want the story told.

There are things that photography cannot capture, sound,

motion, movement, things like that.

So just know we all have a job

to do.

If you give respect, you'll get respect, and

couple first.

Remember that.

It's not about you, not about the filmmaker.

It's about the couple.

Let's work together.

Let's make everybody happy.

Then couples will have a great story to

tell, and they will keep on hiring professionals.