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Okay, so here's the dance floor.
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And Lani and I have already, this is
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minutes or a few seconds before the first
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dance is going to start.
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We've already tested out a bunch of lighting
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scenarios.
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We're going to start with the side light.
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So one light coming in from the side
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that you can see Lani's holding over here.
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We've set our exposure for these chandeliers.
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And we've also decided which direction we're going
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to shoot.
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So we're either going to be shooting this
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direction or back towards where the camera is
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right now.
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We're not going to be shooting this direction
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to the left, because then we're going to
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have this big white tablecloth in the background.
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And we're also going to try not to
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shoot this direction.
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That being said, if there's moments or if
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there's stuff happening there that's of interest, we
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can easily switch our position and start shooting
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that direction.
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But generally speaking, we're going to be shooting
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into the depth of the room, because then
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we're going to have that depth working for
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us.
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One of the things I'm also very aware
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of shooting here is I'm going to, and
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I fail at this as you will see,
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but I'm going to try as much as
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possible to keep the heads clear of all
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these highlights.
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There's all these distracting highlights and they're beautiful
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chandeliers, but when they're intersecting with people's heads
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during the first dance, they can be really,
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really distracting.
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So they had a waltz, uh, meaning they
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were moving around the dance floor quite a
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bit.
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Um, it was quite, quite tricky to shoot.
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And you can also see it's quite bright
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in there.
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I've got a 16 to 35 on.
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I'm mostly at 35 here, but I realized
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that I'm probably going to be cropping most
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of these photos in post.
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So I don't want to get too, too
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close during that first dance.
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Okay.
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Now we've switched to a different lighting technique
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here.
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So Lenny's backflashing the couple now, and I've
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just got one single backflash, no fill light
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and I'm backing up.
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I'm just trying something.
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I thought maybe we could use the floor
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and cast their shadows on the floor with
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that backflash.
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Didn't really quite turn out the way I
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hoped it would, but it's a three minute
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dance.
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We may as well try something new.
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Okay.
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So now we're moving on to the father
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-daughter dance and we're going to start this
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one off the same.
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We're going to start it off with a
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side light.
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There was lots of really nice moments during
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this dance between her and her dad.
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He was super expressive, but it's, you guys
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have no idea how painful it is watching
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this footage and seeing all the things that
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I'm missing when they're turned away from me.
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So I'm just, I've decided where to shoot
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and I'm just waiting for them to turn
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into the light.
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Okay.
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Now I've just signaled to Lenny to go
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in behind with the flash.
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So he's going to backflash them, but I've
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also got my front flash on now.
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And now I'm actually really happy with the
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results.
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This is the first point during the dances
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where I'm like, this is the lighting scenario
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we should have started with.
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So we got a front fill light and
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a backlight as well, telling him to turn
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it up a bit.
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So we're constantly making these adjustments through the
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dance.
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Lenny's working his ass off, trying to keep
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that flash out of view of my camera.
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And I'm in the wrong spot with my
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camera here.
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I should have been square to them.
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But by the time I realized it, it
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was a bit too late.
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So sometimes being committed to shooting in a
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certain direction bites you in the ass.
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But all you can do is hedge your
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bets.
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And of course, because it was COVID, there
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was no sort of reactions that I was
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looking for on the side of the dance
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floor that there might've been during a regular
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wedding.
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So that's the first dances.
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I hope that was helpful for you guys
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to see.
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Mostly helpful in seeing our big mistakes and
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where we could have improved and maybe taken
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some better shots.
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And make sure you watch the next chapter
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where we really deconstruct our lighting setups on
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the dance floor, because that'll explain where we
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put our lights and why we decided to
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put them there.
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