WEDDING CINEMATOGRAPHY

Rob Adams & Vanessa Joy

the

AGENDA

GOALS OF THIS COURSE
TO SHOW YOU HOW I RUN MY CINEMA BUSINESS - ALL

ASPECTS

HOW I CREATIVELY AND EFFECTIVELY FILM A WEDDING
HOW I BUILD MY EDITS - AND TELL A STORY
HOW TO MAKE MONEY BY GETTING YOUR WORK TO A NEW LEVEL

GOOD CINEMA IS NOT EASY - YOU HAVE TO WANT IT
TAKES FLEXIBILITY
YOU HAVE TO BE ASSERTIVE
MUST BE DILIGENT (STAFF, TECHNIQUE, STEADINESS, PLANNING)

the

AGENDA

NOT TRYING TO SCARE YOU
YOU WON’T BE GREAT AT FIRST
PRACTICE ALWAYS MAKES BETTER
MUST BE TEACHABLE AND TAKE CRITICISM

I BUILT MY BUSINESS IN A RECESSION
STUCK MAKING $3,000 TO $4,000 PER WEDDING
NOW CHARGING UPWARDS OF $11,000 DOMESTICALLY AND UP TO $15,000 FOR DESTINATION
MEASURABLE GROWTH AND INCOME

the AGENDA CHOCK FULL OF INFORMATION YOU WILL WANT TO BUY THIS COURSE WILL MOVE QUICKLY BUT THROUGHLY A COMPLEX PROCESS MADE EASY TO DIGEST TOOLS TO HELP YOU GET STARTED AND ELEVATE YOUR BUSINESS .

THIS IS FREAKING HUGE! • SCHEDULING THE WEDDING DAY .WHAT I USE AND WHY • SETTING UP YOUR CAMERA CORRECTLY • STABILIZERS • AUDIO DEVICES AND MICROPHONES .ENSURING YOU GET WHAT YOU NEED • IDENTIFYING THE REAL STORY OF THE WEDDING DAY • EQUIPMENT .the AGENDA DAY ONE : PREPARING TO FILM THE DAY • ESTABLISHING PACKAGES AND WHAT YOU WILL OFFER • WHAT TO TELL CLIENTS ABOUT THEIR FILM AND HOW YOU WORK • WHAT I SHOW TO CLIENTS AND HOW I APPROACH THE SALE • MANAGING CLIENT EXPECTATIONS .

INTRODUCTION TO SEQUENCING • MULTI-CAMERA FIRST LOOK • MULTI-CAMERA CEREMONY (PRE AND POST ALSO) • FACE-TIME FOR RECEIVING LINES AND COCKTAIL HOUR • LIGHTING AND FILMING RECEPTIONS • MULTI-CAMERA INTRODUCTIONS AND SPECIAL DANCES • LIGHTING AND MULTI-CAMERA TOASTS • PARTY DANCING AND CREATIVE LIGHTING • CAKE CUTTING AND THOSE AWFUL BOQUET AND GARTER TOSSES • AUDIO FOR EVERY PART OF THESE EVENTS • USING NATURAL AUDIO • RECORDING GOOD DIALOGUE .the AGENDA DAY TWO : FILMING THE WEDDING DAY • BRIDE AND GROOM PREPS .

the AGENDA DAY THREE : THE DREADED EDIT • ORGANIZING FOR THE EDIT • BACKING UP AND STORING A LARGE AMOUNT OF FOOTAGE • PREPPING YOUR EDITING PROGRAM • SHORT-FORM EDITING .USING MUSIC EFFECTIVELY • SCORING THE FILM • COLOR CORRECTION AND COLOR-GRADING • EXPORTING AND FINALIZATION • CLIENT PRESENTATION • BRANDING AND MARKETING • PRICING AND PACKAGING .STORY-TELLING PLANNING • EDITING THE PIECES • MUSIC THEORY .

the AGENDA WHAT YOU GET WHEN YOU BUY THIS COURSE MY CLIENT COMMUNICATIONS AND BUSINESS PACK THE EFFECTIVE CONTACT FORM CLIENT QUESTIONNAIRE TEXT-EXPANDER SNIPPETS FOR EASY FORM EMAILS WEDDING SCHEDULING FORM WEDDING DAY ESSENTIAL SHOT-LIST PRE AND POST-EDIT CHECKLISTS VENDOR RESOURCE GUIDE PRODUCT DISCOUNTS FREE UNIQUE MOVIE POSTER TEMPLATE .

the AGENDA WHAT YOU GET WHEN YOU BUY THIS COURSE MY CLIENT COMMUNICATIONS AND BUSINESS PACK THE EFFECTIVE CONTACT FORM CLIENT QUESTIONNAIRE TEXT-EXPANDER SNIPPETS FOR EASY FORM EMAILS WEDDING SCHEDULING FORM WEDDING DAY ESSENTIAL SHOT-LIST PRE AND POST-EDIT CHECKLISTS VENDOR RESOURCE GUIDE PRODUCT DISCOUNTS FREE UNIQUE MOVIE POSTER TEMPLATE .

LAYING THE FOUNDATION BEGINNINGS IN WEDDINGS STAGNATION THE COMEBACK WHERE I’M AT NOW .LET’S GET STARTED WHO AM I? MY BACKGROUND .

HELP THE INDUSTRY .LET’S GET STARTED STARTING OR RE-STARTING YOUR CINEMA BUSINESS HAVE A BUSINESS PLAN ESTABLISH YOUR IDENTITY (ARE YOU A VIDEOGRAPHER OR CINEMATOGRAPHER?) DON’T JUST SHOOT AND EDIT .BE A STORYTELLER .MAKE A PLAN FOR THE WEDDING DAY DEFINE A SIGNATURE STYLE AND LENGTH TO YOUR FILMS DON’T GIVE RAW FOOTAGE .

BOOKING YOUR JOBS MANAGE CLIENT EXPECTATIONS THE SINGLE MOST-IMPORTANT THING YOU WILL LEARN ON DAY 1 EDUCATE YOUR CLIENTS .THE CLIENT DOESN’T KNOW WHAT THEY WANT.SAY NO BY SAYING YES . USUALLY TELL THEM WHAT THEY WILL WANT AND GIVE THAT TO THEM ALWAYS UNDER-PROMISE AND OVER-DELIVER START SHORT (5-7 MINUTE FILMS) AND WORK YOUR WAY UP (25-35 MINUTE FILMS) THE CLIENT DOESN’T KNOW WHAT YOU DO AND DON’T HAVE NO RAW FOOTAGE .

BOOKING YOUR JOBS CONSULTATIONS THEY ALREADY SEE MY FEATURE WORK AND MY PRICING BEFORE WE MEET WE ARE A NO-PRESSURE STUDIO SHOW THEM NEXT TO NOTHING AT THE CONSULTATION WALK THEM THROUGH A FILM .GO OVER IN DETAIL AND MAKE YOUR NEEDS CLEAR .DON’T MAKE THEM SIT AND WATCH A WHOLE FEATURE GIVE THEM A HIGH-END EXPERIENCE .AN AIR OF MYSTERY THIS WORKS FOR ME SCHEDULE THE DAY .

LIMIT ADD-ONS .ESTABLISHING PACKAGES WHAT WILL YOU OFFER? OFFER ONLY WHAT YOU CAN DELIVER STRUCTURE YOUR PACKAGE BY FILM LENGTH DECIDE WHETHER YOU WANT TO DO CLEAN-UP EDITS DON’T OFFER REVISIONS CONSISTENCY IN THE WAY YOU FILM THE DAY SET THEM UP FOR AN UPGRADE LATER KEEP YOUR MENU SHORT.

PREPARING TO FILM EQUIPMENT (TOYS) CAN’T MAKE MONEY WITHOUT SPENDING MONEY A MINIMALIST APPROACH HD-DSLR (WILL BE AROUND A WHILE) ADVANCED DIGITAL CINEMA CAMERAS (CANON C-100/C-300/C-500. PANASONIC AG-AF100) MONOPOD AND TRIPODS SLIDERS AND FLYERS . CANON 1DC) LARGE FORMAT SENSOR VIDEO-CAMERAS (SONY FX-700.

MANFROTTO 535 LEGS AND 504 FLUID HEAD RENT IF YOU CAN! IT’S A GREAT WAY TO TRY EQUIPMENT WWW.PREPARING TO FILM EQUIPMENT (TOYS) SLIDERS .CINEVATE ATLAS FLT ($800-900) .LENSPROTOGO.MANFROTTO 561BHDV ($270) TRIPODS .KESSLER STEALTH ($1000) FLYERS .GLIDECAM HD-4000 ($500) WITH X-10 ARM ($1500) AND VEST ($500) MONOPOD .COM .

PREPARING TO FILM WHAT’S IN MY BAG? CAMERAS CANON 5DM2 (3) CANON 7D (1) GOOD ALL AROUND FOR WEDDINGS WOULDN’T USE FOR COMMERCIAL SHOOTS 5DM2 DECENT IN LOW LIGHT .

30FPS for Glidecam .ON-CAMERA REFERENCE SOUND PICTURE PROFILE .PREPARING TO FILM SETTING UP THE CAMERA 24FPS (FRAMES PER SECOND) .NEUTRAL .60FPS for SLOW-MOTION KELVIN WHITE-BALANCE MANUAL EVERYTHING AUDIO SET FOR THE MIC I’M USING .

PREPARING TO FILM WHAT’S IN MY BAG? LENSES 50MM 1.0 100MM 2.8 .8 70-200 2.8 (3) 16-35MM 2.2 35MM 1.4 24MM 1.4 135MM 2.2 (2) 85MM 1.

PREPARING TO FILM LENS CHOICES WHILE FILMING DIFFERENT LENSES CREATE DIFFERENT MOODS AND EVOKE DIFFERENT EMOTIONS LENS COMPRESSION EFFECTS THE LOOK OF YOUR SHOT VARY YOUR LENSES GREAT STARTING CHOICES (50MM. 16-35MM) . 135MM.

NOTHING WILL RUIN A FILM LIKE BAD AUDIO WITHOUT AUDIO. SELF. YOUR. YOU DON’T HAVE A STORY SPEND ON AUDIO BEFORE YOU SPEND ON IMAGERY . UP.PREPARING TO FILM THE CARDINAL RULE(S) OF AUDIO BACK.

4 CHANNEL FIELD MIXER FOR TAPPING INTO SOUND SYSTEMS COUNTRYMAN B2 LAVALIERE MICROPHONES (2) TRAM TR-50 (2) WIRELESS MICROPHONE KIT .SENNEISSER EW-SERIES SHURE 58 HANDHELD MIC .PERSON RECORDING ROLAND R-44 .PERSON RECORDING TASCAM DR-07M2 (2) .PREPARING TO FILM AUDIO RECORDERS AND MICROPHONES .YOU CAN’T AFFORD TO BE CHEAP ROLAND R-05 (3) .FOR THE DJ/BAND SPEAKERS .

SENNHEISSER MKE-400 WE USE THIS AUDIO FOR SYNCHING AND FOR AMBIENT SOUND .PREPARING TO FILM ON-CAMERA AUDIO GET AN EXTERNAL MICROPHONE RODE VIDEOMIC PRO.

ROLAND R-44 RECEPTION BAND/DJ .TASCAM DR07M2 CHURCH SOUND SYSTEM OR PUBLIC ADDRESS (PA) SPEAKERS .ROLAND R-44 (TAP-IN AND P.ROLAND R05 CHURCH PULPIT . PARENTS (IF NECESSARY) .ROLAND R-44 BEST MAN.ROLAND R05 .2 MICS (FIRST LOOK AND CEREMONY) . MAID/MATRON OF HONOR. SPEAKER) .PREPARING TO FILM AUDIO-PLANNING :: WHO GETS MIC’D AND WHY GROOM .ROLAND R05 OFFICIANT .A.

1/4”. AND HEADPHONE CABLES A GOOD PAIR OF QUALITY HEADPHONES .PREPARING TO FILM AUDIO ACCESSORIES YOU WILL NEED XLR CABLES MICROPHONE SIGNAL SPLITTER HUM REMOVER BOX BACK-UP RCA.

THE AUDIO PIPELINE MICROPHONES SOURCE LINE RECORDERS .

HAVING A GOOD ASSISTANT IS BENEFICIAL AND MAKES A HUGE DIFFERENCE .PREPARING TO FILM CREW GOOD CREW IS HARD TO FIND .YOU HAVE TO TRAIN THEM STICK WITH THE SAME CREW AS MUCH AS POSSIBLE 2 MAKES IT POSSIBLE. 3 MAKES IT IDEAL.

2-WAY RADIOS) I HIRE PHOTOGRAPHERS AND TEACH THEM CINEMA . EYE-TO-EYE.PREPARING TO FILM CREW SHOULD KNOW THIER ROLES EVERYONE HAS ASSIGNED TASKS AND KNOWS EXACTLY WHAT TO DO CREATE A SYSTEM AND STICK TO IT COMMUNICATE!!!!!!! TEAM COMMUNICATION (HAND-SIGNALS.

GROOM’S REACTION AND FLYER RE-ENACTMENT CREATIVE ANGLES DURING PROCESSIONAL (SLIDER/FLYER) .BEAUTY SHOTS CAKE CUTTING .ON THE SPEECH-GIVER PARTY DANCING .BEAUTY SHOTS AND REACTIONS .VOWS SIDE RIGHT PHOTO SESSION (BEAUTY SHOTS) RECEPTION INTROS AND DANCES (BEAUTY SHOTS) TOASTS .PREPARING TO FILM WHO GOES WHERE AND DOES WHAT UNIT 1 BRIDE’S PREP FIRST LOOK .

CREATIVE SHOT ON THE FIRST RUN SIDE ANGLE PROCESSIONAL/GROOM’S REACTION .WIDE SHOTS AND REACTIONS .GUESTS AND BAND/DJ (BEAUTY SHOTS) CAKE CUTTING .REACTIONS AND WIDES PARTY DANCING .VOWS SIDE LEFT PHOTO SESSION SLIDERS AND CLOSE-UPS (BEAUTY SHOTS) RECEPTION INTROS AND DANCES REACTIONS AND WIDES (BEAUTY SHOTS) TOASTS .PREPARING TO FILM WHO GOES WHERE AND DOES WHAT UNIT 2 GROOM’S PREP FIRST LOOK .

MAIN ACTION (BRIDE WALKING UP) CEREMONY .VARIOUS SHOTS OF GUESTS CAKE CUTTING .PREPARING TO FILM WHO GOES WHERE AND DOES WHAT UNIT 3 BRIDE OR GROOM’S PREP ASSIST FIRST LOOK .MAIN-ACTION AISLE CAMERA (FRONT AND BACK) RECEPTION ROOM SET-UP AND FACE-TIME INTROS AND DANCES .BRIDE AND GROOM REACTIONS PARTY DANCING .MAIN ACTION (MEDIUM SHOT) TOASTS .MAIN ACTION (MEDIUM SHOT) .

PLAN.IDENTIFY THE STORY BUILD A CONSISTENT CREW AND COMMUNICATE! KNOW YOUR ROLES . PLAN . AUDIO QUALITY BEFORE IMAGE QUALITY YOU WILL BE A STORY-TELLER PLAN.RECAP WHAT WE LEARNED TODAY MANAGE CLIENT EXPECTATIONS .DEFINE YOUR STYLE AND LENGTH DON’T CHEAP-OUT ON AUDIO.

. WHAT WE WILL LEARN ON DAY 2 EXPLORE A FULL FEATURE FILM FILM A WEDDING .YOU WILL GET TO SEE HOW I APPROACH EVERY PART WHERE TO PUT YOUR CAMERAS HOW TO GET GOOD AUDIO HOW TO CAPTURE THE STORY ...COMING UP.

WEDDING CINEMATOGRAPHY Rob Adams & Vanessa Joy .