All language subtitles for 8 - Church Wedding Ceremony

Sir Anthony.

So we are now in this Dramani celebration.

This is, I think, the most
frustrating part of the wedding,

because you cannot shoot anything

if you fail to shoot the right angle
or to even just press the record button.

You can never ask the priest,

bride and groom to redo
what just happened.

Unless, if you have the time stone,

then you can just reverse the time
skidding.

It's a marvel fan here.

And kidding aside, in this part,

I will tell you the proper placement
of the camera of our shooters

upon arriving in the church,
look for a spot that is close to an outlet

and if possible,
also close to the church speakers

so that you can easily set up
everything in just one place.

Just be

mindful if you place your audio
recorders and microphones near you.

Always be mindful of your voice
or how loud you can communicate

with your team so that your conversations
will be recorded as well.

After finding a spot,

the first thing that we do
is to set up the lights

and the audio recordings
we use at 12 feet long lifespan.

When setting this one up,
because there are times that the speakers

I placed in in high areas of the church,
so at least we have 12 feet long lights,

then you are ready
for this kind of situation.

So what does our audio setup look like?

I used to do recorders

zoom each one and zoom each for
and with a road in digital. Mike

Then a ceremony blink 500 sorry lapels.

This is how it looks like.

I personally am very careful

with the audio part
because my style is more on storytelling.

So audio is so important
in creating a story.

It's so useful in connecting dots to build
and tell a story.

Also simultaneously

set up my laptop and dump the files
that we shot

previously or in the last
part of the dress up or preparations.

You are done setting everything up
like the audio and laptop.

Tell your team to go to their positions
and be prepared

before the ceremony starts.

These are our basic shooter placements.

Obviously, the main shooter is placed

at the center of the aisle
and is usually almost in the front.

Most chairs.

What the main shooter does is take a shot

at everyone that passes the center.

The most important part
is that the main shooter should make sure

they get a shot

of the groom's entrance and the door
opening for the bride's entrance.

Being a main shooter is quite challenging,
especially when you do the focusing

and exposure manually
and you have to record almost everything

you set up for.

You have experience having the door
opening overexposed. It's

okay because all of us have experienced
that when you receive a setting up.

But right now, only minor, minimal errors.

What we usually do is
when the main shooter is in the center,

I've already we practice
that while the door is still open.

We are already making assumptions
where the bride is going to stand.

Better to ask the wedding
coordinators to be precise.

Then we let our assistant stand
where the bride should be and let

the main shooter adjust its ISO

shutter speed
or its exposure triangle settings.

Then once we get the right settings,

the main shooter should remember
to set things because it'll be changed

when the groom and other wedding
personalities walk down the aisle.

So after everything,
when you are ready, the door opening,

the main shooter can just get back
to the settings that he tried or assume.

Most of the time it works, but honestly,
there are still times that we get

a little bit of overexposure
during the door opening because sometimes

the natural light coming from
the sun is changing.

Either it gets dimmer or it gets lighter.

But when the main shooter is already

used to this situations,
he'll be able to adjust

about the focusing.

What we normally do
is set focus on the door

and once we get that focus,
we adjust it a little bit

freely, estimating
how far the bride is from the door.

But sometimes
we get lucky that there is a little hole

or gap between doors
and we can see the bride

if we digitally zoom through the screen

and there we can perfectly set focus.

That's it for the main shooter.

Now, the creative and second

shooter,
what we do is place a reaction shooter

with a long lens on the right side
facing the outer wall,

the creative shooter
or the on the other side.

In this way, we have different angles
and we don't get the record each other

or the shooter
won't be included in the frame.

The second shooter records

the groom's reaction
when the bride is walking down the aisle.

But before that,
the second shooter should shoot random

reactions
of the people in front in the front area

while the interrupts and the principal
sponsors are still passing the aisle.

In this way,

you can have reaction filters
on the editing process.

In our case,
since we already have four camera

setups,
one camera or shooter is tasked to shoot

the groom's reactions
all through throughout everyone's entrance

from after his entrance
and to the bride entrance.

And the second shooter focuses
on the reactions of the guests.

The creative shooter is usually

in the back angle of the subject.

Creative shooters shoot the door opening

from the outside of the church
until the bride entrance.

Usually, if the aisle is long
and there is ample time for back

shot of the bridal walk,
the creative shooters

have more time to shoot for back shot
for at least 5 seconds.

Then after that, proceed on the eye
on the side of the aisle

to take side
angle shots of the bride walking.

They are also tasked to take videos

of the bride arriving in the church
and in the bridal car.

Usually just three shots of the bride
in a bridal car.

Most of the time there's only a few time

left for the bridal shots
right before the door opening.

This part will depend on the street
ness of the wedding coordinators

because they get to decide
when to open the doors.

Just let them know
that when you're still shooting

to avoid having you in the main shooters
frame when the doors opening

is just all about the coordination
between the creative shooter, the bride,

photography, and the wedding coordinators.

But thankfully, most of the coordinators
we have worked with

are giving us enough time to shoot
and ask if our shots are ready enough

to extend
freely off the camera placements.

We have here an illustration
demo of the camera placements.

Most of the churches looks like this,

except for the chapels
that have very small space to move to.

So let's make this as an example,

since this is the most common church
as we have shot,

we have here the main shooter

and the camera direction labeled as

the second shooter, labeled

as letter D or a documentation,

the creative shooter labeled as letter C

during the gum entrance.

Let's suppose it is the gum entrance.

The main shooter is placed here
shooting for the gum

and space in this position
until the right door opens.

Let's
just see the distance from the doorway

and I are divided into four dimensions.

Position is at three.

Four is while the second shooter is placed
here on the side.

Usually gets low angle shot of the gum
walking and meeting with parents.

Doing this will help

you in editing or in choosing shots
because yes,

sometimes
the main shooters shot are not in focus.

So at these you have another angle
to use as back up and also to add

shots, size and placement variations
in the final video.

While the groom is walking,

the creative shooter is on this side

to shoot a tracking shot of the gun,

a tracking shot
is basically a type of camera movement

that is following the subject
on the 90 degree angle.

I have mentioned earlier
the placements of the creative

and second shooter
during the bridal entrance,

like the creative shooter should on be
should be on the left side

facing the observer
and the second shooter on the right side.

But this actually depends

on your agreement
with the creative shooter.

What we usually do
is we change positions in every wedding

so that the angle won't be similar
in two consecutive weddings.

Sometimes the creative

shooter is on the left side,
sometimes on the right.

Same goes for the second shooter.

But for this example, let's suppose that

these are the positioning of the camera's
door opening.

For the door opening,
the main shooter goes to two fourth

or the center of the aisle, sets
the exposure triangle and focuses.

At this time, the second shooter is

now placed here
shooting the grooms reaction

while the creative shooter
is already outside of the door.

Shooting for the bridal portrait
in and out of the bridal cart.

Now we wait for the door to open.

Now, it's

not about the bridal walk or entrance.

After the doors open,

the bride's
parents are waiting on the second line.

The main shooter stays
until the bride arrives

where her parents are
and the receiving happens.

And the creative shooter

is shooting a tracking back angle
shot of the bride receiving.

If there is still enough distance
between the parents and the bride,

the creative shooter
usually gets a shocking shot on the side.

And after the bride
received by the parents, the main shooter

will then go to the front seat to continue
recording, to buy the walk with parents.

Then the creative shooter

will either take a back to tracking shot

or a side tracking shot.

This really just depends on the situation
and the size of the church

and the chair placements.

The bride and parents stop at the fourth

line of this division
and then the groom goes to the bride.

The main shooter continues to shoot.

What's happening, and then the second
shooter will then position here

to get a second
angle of the bride and groom meeting.

After that, both bride

and groom will then go to the altar.

The second shooter will
then shoot random reactions of the guests

because most of the time
this is the most emotional part

where the guests, like the bridesmaids
and newsmen,

sheds tears for the newlywed couple

for the ceremony celebration.

In this part,
the main shooter plays a big role.

It is the one that controls where
the position of the second shooter is.

Just one thing to remember here.

If you are a second shooter,
always remember to be in position

opposite to the position
of your main shooter.

Usually the priest is on the left side
facing the outer.

So if the main shooter is here,

the second shooter should be here
shooting for the actions of the guest.

In this way, you won't have the same angle
as the main shooter.

Basically, the second shooter adjust

to the main shooter's position

during the exchange of vows.

Like what we have mentioned
in the location based topic,

the main shooter usually shoots the grooms

angle while the second shooter
shoots the bride's angle.

Yes, I do.

In all weddings,
the groom is always on the right side.

While the creative shooter
either shoots for a wide angle, shot

off of the vows
or shoots reactions of the guests.

But usually, if the couple
have personal vows for each other,

this is the perfect time
to get reactions from the guest,

because most of the time
it gets emotional again

and the guest shed tears while reacting
to the couple's personal vows.

The rest of the ceremony,
same positioning.

The main shooter control
the positioning of all the shooters

and then the second shooter
will adjust on the main shooters position

at the end of the day.

All of the things that I have mentioned
will serve as a guide,

especially for those sources starting up

or do not have any experience
in shooting a wedding.

But time goes by.

You can create your own
workflow and system in shooting weddings.

There you will be more organized

and always remember this.

Do not limit yourself to be creative.

Express
your gay DVD with no rules to follow.

That's it for this around
when he and thank you so much.