Original subtitles

The thing is that on the getting ready

of the bride, I like that to become

really, really small.

I try to get you to become put

your mind a little bit to go down,

so you don't be invadant.

Because you know that I saw photographers that

come inside really, hey, hi, hi, hi, photographer

make here, okay, after I will go there

and make some picture, I will change, I

like maybe we can post.

This kind of way is not good.

The good thing is when you come inside

really, you've got to become small, you've got

already equipment and everything.

So your voice is better to put it

down.

It's a moment where the bride is really,

is really nervous and she's excited and you

don't want to break this moment, you want

to become small.

So hi, hi, Kelly, how are you?

How is doing?

I begin to shoot here.

And yeah, like this down, down with the

voice.

This is good to give you, she will

have confidence with you.

It's better, I find.

Another thing, what we are looking every time

it's for nice light, because you want to

make something a little bit, it's, it's, it

looks beautiful.

So we look for nice light.

Sometimes the bride, it's usually with the makeup

artist, they are in a room with a

mirror with some yellow light around in the

mirror.

I say, look, Kelly, could we make a

small part of the, if not everything, a

small part with a natural light.

You sit, you sit in front here with

the natural light.

And that is, you have the best way

to start to make your shots.

And every time to say, to be small.

So when I come inside, I put my

things in the corner.

Sometimes I, I forgot them or how, where

I put them, but I try to put

them in a place where, where it doesn't

disturb because there are already many things.

And the first thing, what I do, I

take out my 50, 50 millimeter and I

make the white balance.

And the first thing that I do, I

take out here, this is the light, what

I think that I will shoot.

I see where she is and I make

the white balance.

I go here in the camera set.

All right.

Okay.

And I have the camera is setting for

work.

Now I don't need so much shots.

Uh, I'm not the one who cares so

much about, uh, the details like rings, uh,

like shoes, like dress.

Uh, I, I don't care so much about

this for sure.

When the photographer, you know, the photo for

the photo is really important to, to catch

all this moment, uh, the, all the details.

Um, but, uh, you have the photo, why

you want to have this also in the

video.

I want to have the motion, nice shots

and everything.

Sometimes I make it high shot, uh, the,

the, the shoes where they are or as

more corner of the dress, uh, um, only

because I have nothing to do.

I don't look for it.

If, if I forgot to, to take a

shot of the dress, I say that, okay,

it's not a problem.

I never, she done 20 photographic picture of

the dress.

It's okay.

No, I, I don't care so much about

the details.

I want to see skin.

I want to see eyes.

I want to see moments.

Uh, and I want to try to take

this things, uh, in the nicest way is

possible.

Um, what I'm looking in the, in the

getting ready is, uh, uh, reflection things.

So like there, there's a mirror.

I will look about it, uh, where, how

I can shoot with the mirror because the

mirror and all the reflection things gives us

some shapes and some interesting things where you

can play with.

Um, and another things, what I'm thinking is

to shoot and 360 degrees every time when

something happened, I wanted to have a visual

that goes around the subject.

And most of the time, every time in

the getting ready, I am alone.

Uh, my second shooter is outside to make

maybe a drone shot or the slide or

something, uh, uh, of the location to see

where he, where, where we are.

Uh, but, uh, in the getting ready, we've

got to be small and we don't have

to be a lot of people.

We have, we are every time in two,

uh, me and Ana and, uh, um, we

don't like to be in many people in,

in that moment.

Um, as I said, it's a holy moment

that they're getting ready.

It's a, it's a moment full of emotion,

nervosity, all the parts of through the getting

ready till the first look, uh, it's a

really precious moment and you've got to fill

with content.

So you've got to bring at home, uh,

much material about this, not too much, but,

uh, you've got to have a interesting shot

for the film because the preparation is the

one fundamental part.

And this is one contact that help you

to tell the story because the best, uh,

there's the preparation and during a speech, it

fits really good as you feel to see

the preparation.

Every time when the bride and the groom,

they come to book us and they say,

I want to book you for six hours

on the ceremony and, uh, and the party.

I'm sorry.

Ceremony, party.

Look, uh, me, we, we'd like to tell

our, your story.

I find that the most important part is

the getting ready till the first dance.

So this, this is for us.

It doesn't matter if a six hour between

this moment, if there are seven hours, eight

hours, but don't cut away the getting ready.

Don't cut away the getting ready because the

getting ready, you know, to make a film,

you need contents.

You need a lot of contents.

You, you, you can't, you, I can't make

a nice video of a standard sound of

a civil wedding because there's a bear, you

go out and shooting what you can tell

for there's not content.

The, the, the wedding day, it gives you

a lot of content and you've got to

take them all the getting ready, the first

look, the going out for the first time

as bride and groom together to the, um,

the first speech, the first dance, the hugs

with the parents.

These are all moments that you've got to

care and look for.

So I, I begin to, to move around

the environment here and I don't take a

lot of time.

I take, uh, sometimes, uh, two, three minutes

and I've done normally.

I try to be fast, try to be

fast because I don't want, do you know,

I'm a man, I'm a barber.

This is, this is a really, there's everything

sweet here, nice and, and the most of

the brides, they are, they are shy.

They, it's, it's an intimate place and you

are a man.

You know, for a photographer, the girls, they

have much more success than the women, with

men, I think, because it's a bride day

and this is a really important moment.

It's really important.

Okay.

I try to make, uh, to explain to

you what I'm doing.

I like to shape a little bit here.

For example, there's, I see that she has

a fantastic light coming from the window and

I try to play with it.

I, now in this moment, I'm using the

50 millimeter macro.

Do you shoot on there?

Do you keep it, are you going, there's

two stops on there at the moment.

Would you, would you look for zero on

your exposure or?

In this moment, I trust my eyes.

I try to what I see.

I, I watch that, not that everything is,

uh, in, in, I find in the, in

the right position and in the, in the

right light.

And I try to make a little bit

of composition.

The most of the things you will see

is tomorrow in the part, uh, show, watch

how I move and how I, uh, what

I try to explain you everything.

I like to see the hands, uh, the,

the hands of are really important part because,

uh, it's something that happened.

There's a concentration.

I like to see the, the makeup artist

in the concentration way.

So I begin to turn.

I see already, but for me, for the

50 millimeter could be better is, uh, it

becomes too small.

The subject is too, too small.

Then I know that I, now I make

the shot, but I would like to have

a shot where I crop this moment where,

so I will make the shot.

Now, after I will go there, I take

my 135 millimeter and I will make it

again and everything.

I try to do it fast because when

you have the shot is done, it's done.

You don't have to become in love or

to, to continue to stay one hour to

make the same shot, make the shot and

go away.

Now let me work.

And sometimes I introduce a little bit of

movement that could help you to, to have

a little bit of transition.

This is an old shot that are much

more nicer with the 135.

Every movement want to do in this moment,

do it soft, do it slowly.

Don't be an elephant in

60 frames per second, 60 frames per second

in this moment, but normally in 50 plastic

light.

It's everything with the monopole.

Yeah, it's a little bit too bright.

I go a little bit down with the

ISO.

I introduce a little bit of movement and

the 10.

So here again, the movement, this kind of,

of movement with the 10, it could help

me to, to add a transition in the

later.

I change one second, the lens and they

come again.

Sometimes, sometimes in changing the lenses, it could

be good also to remake the white balance

because different kind of lenses has also a

different kind of white balance.

So I will make it again here with

the 135 millimeter, the white balance.

It's good to check the focus every time.

Do you use peaking?

No, I don't use peaking because I don't

trust in this camera, the peaking shot.

That's nice.

The, the hands have a really nice light

and very often I, I like to, oh,

this was nice.

I really like to wait at the moment

when the bride, she sits on the chair

because I find that to tell a story

a little bit, sitting on the chair, on

the preparation chair.

I like to wait that moment.

I don't ask her to sit on the

chair, but I try to be in that

moment.

If you see my video, there's often the

part when the bride, she's sitting on the

chair because I really like it.

So now I have the 135 millimeter and

this gives me a little bit of the

possibility to go near without going too near.

And I can play a little bit with

the tails, like the lips.

I have the 50 millimeter marker also.

I could go near, but every time, look

what kind of bride you have, what kind

of person you have, because there are person

that they, they want their space and you

can't go with the camera like this.

It's disturbing.

And for the reason that we don't have

actors, if they feel you, you will see

it.

So try to don't make yourself be an

elephant.

Okay.

And this kind of things are putting something.

I like it.

I like it really much.

This time I would lost it because, and

I would don't ask to do it again.

Now I asked to do it again to

wait for me because I want to explain

and everything.

But this is a moment that happened.

You've got to be there for me.

In my opinion, there are things that I

would like to see it.

So very fast, you try to focus in

the place where you want it and you

record.

I don't find it with the 135 millimeter

of this shot, but it's okay.

We use it what we got.

It's every time like this in the moment

when, when the bride, she must address, I

go out, I go out.

The girls are more lucky.

They can stay inside, but I can't stay

inside.

It's okay.

And I wait there and I try to

hear when Anne, she said, okay, now you

can come.

In this moment, I see, for example, that

the room, it's really, really small, really tiny.

The 50 millimeter, it's a little bit too

tight.

I would go to the 24, but I

don't want to have so wide angle.

So I take the 35.

So now I will change and I take

the 35 millimeter.

I will make again, this is, I don't

do it every time.

Normally I do it only one time, but

only to, here

we have in this camera, the possibility to

have a little bit of stabilization, has a

stabilization on the sensor.

This, this camera, you can use it with

the camera in there.

You can use camera in the hand sometimes.

You see it, that is handled, but it's

an emergency case when you are fast or

something like this, you can use the camera

also in the hand.

You mean the Kelvin?

The Kelvin, I use it every time with

the Canon.

At the beginning, I try, I begin with

the Kelvin, this one, but it didn't work.

I had the video every time really green.

With this one, with the Canon, yes, with

the Canon, I use only Kelvin.

I, every time with my eyes, what I

feel, I use the Kelvin.

For example, in the, in the reception, in

the location, that the most orange light, if

I use the white balance, it's too bluish

and it don't reflect what we are seeing.

Sometimes I'm doing, I watch the white balance

that for me, it fit more.

So I try to watch the, watch the

setting, but I don't use the Kelvin with

this camera.

I'm, I had not so good success with

the green.

It's really greenish.

Ready?

Okay.

In this moment, when she's dressing, I try

to go a little bit more up and

I have a 35 millimeter.

Hey guys, in the film tomorrow, we will

be all in the video, but okay, to

understand the feeling.

Normally there are all people from the waiting

in this position.

Okay.

So now I'm a little bit overexposed.

Be careful with overexposing because you can't so

much take, no, when you're overexposed, you can't

take it back.

You can forget it as a shot.

So be careful, have your skin tone and

the dress.

It must be inside.

You don't over, you don't have to overexpose.

Be careful.

Okay.

I don't use it.

I use my eyes.

I, I find that everything what you put

on the screen is disturbing.

You don't understand what are you doing.

So I will have the dress, the zebra

on the dress and I hate it.

I wanted to, I want to love the

shot, what I'm doing.

I want you to like it.

I want to enjoy what I'm watching and

record it.

So I trust really much my eyes.

As I say, this is not the right

way.

Sometimes the right way it could be to

have picking a point, a zebra to understand

it, but I don't use it.

I don't use it.

Okay.

Let's try to shot this moment.

Let's try to introduce movement.

Follow every time the hands, the hands, the

hands they say so much.

I don't press stop.

I record every time.

Okay.

Let's go to the groom.

So one thing, so what I'm doing sometimes

when, when it's like this, a moment like

this, a little bit waiting is trying to,

to find the details, like, but they are

not the details.

Details is like what I use for transition

B roll shots.

For example, I find that it's nice to

see a little bit of the church.

Maybe I can make a shot of the

church movement.

And this is, I find nice to make

it also in the stairs, in the stairs

house.

I use in this moment, the 35 millimeter

for the groomer.

I find good also the 50, but the

35, it gives me a nice perspective.

And most of the time the bride, I

shoot from up to down and the groom,

I shoot it from down to up.

Hero shot.

This is the hero shot.

I don't know.

It's a feeling.

After I had the, the, the procedure, put

away the jacket, the jacket.

And I saw that if you take somebody

from down to up, it's more dominant.

And when you take from up to down,

it's more delicate.

I find that it fits good with the

bride.

That's like a flower.

But the man, he wants to be important,

macho.

But to tell you the truth, I, I,

I never thought about this.

I read it after, but every time if

you watch my videos from the first video,

it's like this.

The first video, it was like this, because

I wanted to, to see from, from down

to up.

I, I used to, every time because I'm

alone and getting ready, I used to, to

make the jacket two times, to ask her

to, to put the jacket two times.

I, I use to ask this moment to

make it two times because I like two

points of view and there's a kind of

movement that doesn't need to be acted.

So it isn't something that you've got to

make, you feel it that somebody's faking it.

So you can, you can make it without

problem.

Hey, can you make it to another one

time?

Yes, there's no problem.

And they put it.

Now you will see.

One, I make it one total.

Yeah.

Come here.

This part, I like it.

So, as I said, I, I try to

find him a position, a place where to

be.

And after I try to, to, to shoot

it.

T-shirt, it isn't for the groom.

Okay.

Normally I would like to jump really fast

back to take a total here.

Excuse me.

Yeah.

He's going to put the, the flegan fast.

Now there's the moment of the jacket.

As I say, I asked her to put

the jacket two times.

Let's make a composition central.

I never done it.

Wait, wait one second.

It's really good.

I try to make something.

I, every time take the focus because I

can't see and okay.

Okay.

And again, and maybe here we can introduce

a little bit of movement.

Okay.

You can put, be

careful with your shadow like I've done now.

Okay.

And we have the, the groom.