Ceremony Coverage / Audio Old Post and Suggestions for Current Setup

[Craig McKenna]

Hi All,

Thought people would find this of interest. I'm trawling old boards to find audio solutions throughout the ages! :)

This is one really interesting post (mainly because he uses a Mini Disk! :)) from 2002, which I think I will borrow for the forthcoming (still haven't shot yet) season.

Originally Posted by Creative Cow User Perry W Richardson

Ok. This is how I generally shoot and get audio. One camera in front with on camera mic. One manned camera in back with wireless mic receiver. transmitter on groom. (this way I don't pick up the sounds of the camera person. One stable camera in back with on camera mic. Gets the "ambience" I may mix in in post.

I'll also hide a minidisk with a lav mic near the altar or sometimes hook it into the sound board (only if I've had time to test it WELL beforehand.

That leaves me with four good audio sources. If one goes bad, I'm still ok. If 2 go bad I can cope and if three go bad I probably won't satisfy myself, but the client will be happy. This, or something similar is what virtually every videographer I know does as well.

Having used a similar solution for when I recorded a proposal, the idea of having a lav mic nearby, plugged into one of my recorders, sounds like a great idea for a back up. If I hide it in the flowers or somewhere close to the bride and groom, I should pick up really acceptable sound as a back up over my current solution of simply placing recorders closeby.

My current solution, which has served me extremely well for recent weddings (but may not forever), has been the lav to recorder on the groom, shotgun mic for readers and recorders closeby, with on-camera shotgun mic for ambient.

This season, I've considered simply placing a H1 as another back up in the groom's top pocket. Has anyone tried this, and how acceptable is the sound? I would be using the recorders built in mic.

Secondly, I've used the first aid tape as recommended in previous threads, and now have residue on my mics' wires. Do you recommend an alcohol wipe to get this off, or something else? Are there any non-residue inflicting tapes out there that also do not cause any residue afterwards?

Thirdly, what positions do you place your cameras if you're a solo shooter? So far, I have been placing tripods to the right and left at the front, manning the one facing the bride, whilst I've also had one on a light stand at the back, hoisted up, gaining an overview of the ceremony. Major issue with this one is that the background can often be windows, and in this case, it's never particularly useful.

Finally, what focal length do you choose for your manned camera on the groom's side? I have been using a 24-80 FF equivalent, and mainly shot at 80mm in 4K, so I can zoom in post. However, I just don't FEEL enough. I feel like the best ceremony I shot was at 150mm, and whilst the image was incredibly close to the bride and groom, I also felt their emotions more during the edit. I'd be interested to hear people's thoughts!

Craig

[Steve Burkett]

I use 4 cameras, I man 2 with 1 on wide and another on close up. On the close up, I'm using a 35-100mm lens, 35mm equivalent is 70-200. I tend to go for portrait shots for the close up, head and shoulders. Sometimes I zoom closer to the Bride if there's some emotion there to capture. I know some videographers keep it on medium angles, but I like close up shots as the subtle emotions the couple are feeling become more evident and sells the moment more.
Additional cameras are placed at the back, 1 on wide, another more closeup.

For audio, I have a lapel on the groom, a zoom h4 nearby, a zoom on the lecture and another zoom placed at my discretion.

Each Ceremony is different so I don't have one solution for all. I prefer to be placed on the Groom side for Bride reaction shots, but sometimes this isn't possible. Churches here just vary too much and the instructions one gets from the Vicar/Priest will vary from church to church, often depending on how bad other Videographers have been.

[Robert Benda]

For me, the on camera mics are ambient and fail safe.

I've got lav to pocket recorder on groom, pastor, lectern, and have a Tascam DR-40 to recorda line out, if the sound system is available, or I could rig up two wireless lavs.

The pastor and groom's mic work as back ups to each other. IF the pastor won't be near the couple when they do vows (I've had a few who step into the aisle, 20 feet away), I'll put a 2nd recorder on the groom as a fail safe.

If clients don't want a visible mic, look up the 'matchstick microphone' which is tiny and good quality at around $130.

---------------

I'm 4 cameras also (3 DSLRs and a GoPro in the balcony, if they've got one). If I shoot solo, I move between camera spots so they're pointed where they need to be, in advance.

Aisle cam, and the two others are up front on the out sides. During the processional, I'm crouched at the front of the aisle (opposite side of the groom) to get faces coming in.

---------

For focal lengths, I change lenses during the ceremony. So my rear camera is often a full frame at 85mm, and up front cameras start at 18-135 STM, then use 55-250mm STM lens (on my canon 70Ds, so a 400mm equivalent).

Why? So I can get a lovely over the shoulder close up of both the B&G during vows and American churches are big.

These exact lenses are used because STM are smooth and silent focusing on the 70D. For things like the processional, its glorious. Tap the bride's face, and she'll be in focus the entire walk up the aisle.

[Craig McKenna]

Originally Posted by Steve Burkett

I use 4 cameras, I man 2 with 1 on wide and another on close up. On the close up, I'm using a 35-100mm lens, 35mm equivalent is 70-200. I tend to go for portrait shots for the close up, head and shoulders. Sometimes I zoom closer to the Bride if there's some emotion there to capture. I know some videographers keep it on medium angles, but I like close up shots as the subtle emotions the couple are feeling become more evident and sells the moment more.
Additional cameras are placed at the back, 1 on wide, another more closeup.

For audio, I have a lapel on the groom, a zoom h4 nearby, a zoom on the lecture and another zoom placed at my discretion.

Each Ceremony is different so I don't have one solution for all. I prefer to be placed on the Groom side for Bride reaction shots, but sometimes this isn't possible. Churches here just vary too much and the instructions one gets from the Vicar/Priest will vary from church to church, often depending on how bad other Videographers have been.

Have you ever been burned in terms of your lapel on the groom? And if so, what's your back up solution for that? The zoom closeby?

I've had similar experiences within the church, even after being really polite.

Otherwise, thank you for sharing your way of filming the ceremony in terms of camera setup. I think my next aim is to secure a nice tight shot of the bride as well.

Originally Posted by Robert Benda

For me, the on camera mics are ambient and fail safe.

I've got lav to pocket recorder on groom, pastor, lectern, and have a Tascam DR-40 to recorda line out, if the sound system is available, or I could rig up two wireless lavs.

The pastor and groom's mic work as back ups to each other. IF the pastor won't be near the couple when they do vows (I've had a few who step into the aisle, 20 feet away), I'll put a 2nd recorder on the groom as a fail safe.

If clients don't want a visible mic, look up the 'matchstick microphone' which is tiny and good quality at around $130.

---------------

I'm 4 cameras also (3 DSLRs and a GoPro in the balcony, if they've got one). If I shoot solo, I move between camera spots so they're pointed where they need to be, in advance.

Aisle cam, and the two others are up front on the out sides. During the processional, I'm crouched at the front of the aisle (opposite side of the groom) to get faces coming in.

---------

For focal lengths, I change lenses during the ceremony. So my rear camera is often a full frame at 85mm, and up front cameras start at 18-135 STM, then use 55-250mm STM lens (on my canon 70Ds, so a 400mm equivalent).

Why? So I can get a lovely over the shoulder close up of both the B&G during vows and American churches are big.

These exact lenses are used because STM are smooth and silent focusing on the 70D. For things like the processional, its glorious. Tap the bride's face, and she'll be in focus the entire walk up the aisle.

I am tempted to start double mic'ing the groom. I don't know if that's overkill though, so was wondering if anyone had tried a pocket recorder in the pocket and listened to the results. I'll have to do a test sometime.

That's really impressive in terms of the continuous focus. I envy your ability to move during a ceremony. Often, I am locked in a corner with nowhere to move! :)

Tempted to get a GH4R for continuous recording, and then I no longer need to worry about the 30 minute time limit.

Thanks again, Robert!

Does anyone else use surgical tape to put loops on their mic wires? If so, how do you clean your wires afterwards?

Has anyone tried just a pocket recorder in the groom's pocket as a back up?

[Robert Benda]

Forgot about your pocket question...

Putting a recorder in the groom's pocket gets you similar results to anytime a mic rubs against fabric... a lot of noise.

For looping mic wires, I use black gaffer's tape, not surgical. Much cleaner.

Anytime I attach tape and know I'll want to remove it, I fold a corner so I always have a spot to grip and pull off.

[Chris Harding]

I always hide my mics on the groom otherwise it's so easy for him to accidentally brush it off and the clips are not that secure anyway. With us doing outdoor ceremonies it's essential to protect the mic from the wind so it always goes inside his waistcoat between that and his shirt or under his tie.

Makes a huge difference to the visuals where you have a clip on mic that looks ugly!!

My method uses gaffer tape ..Ours comes in 2" wide rolls so I split a roll down the middle so I have 2 rolls 1" wide and then tear off two strips about 3" long ...Each strip is folded diagonally three times so you end up with a triangle of tape with adhesive on the outside. I fold it with a bit of slack so it also serves as a shock mount .. the mic capsule is then stuck to the centre of one triangle with the top of the mic at the triangle apex and the second triangle is also put the same way so you have a mic sandwich. This give a double sided mount with sticks to the inside of the waistcoat and onto the shirt ... my cable loop is a very loose loop about 2" in diameter and that gets mounted inside the waistcoat the same way so there is no clothing noise. Gaffer tape leaves no residue after the ceremony is over on all materials and is cheap and simple.

With outdoor weddings you get no wind noise either!!!

[Steve Burkett]

Originally Posted by Craig McKenna

Have you ever been burned in terms of your lapel on the groom? And if so, what's your back up solution for that? The zoom closeby?

Oh a number of times and my zoom placed very close to the couple and vicar is my backup in such cases. I've had no issues last year though; had a couple the year before; mostly down to the mic dislodging slightly from the input, which I've now remedied by having a screw in mic.

I don't have a 2nd device on the Groom - that just feels too much. Sometimes the Groom takes convincing to have the lapel mic placed on him, let alone a backup.