So I just booked a single cam wedding in two weeks and the few weddings I've done before have all been 2 cameras. Im looking for tips on how to shoot the ceremony, camera position? Dare I move positions? I should probably have a second cam just shooting a dummy angle so I can cut away to it if any problems arise.

thanks guys & gals!

David,

I shoot single cam weddings all the time... My best advice is to go to the rehearsal. So many things can be different then what your used to. Also, that gives you time to talk to the celebrant and convey your wishes.
I usually hang out to the side... but when it comes time for the vows and ring exchange I move to the aisle. I let the photographer and the priest know where i'm going to be at what part of the ceremony.

obviously if you have the luxury of two cams then I would set it up... You dont have to use the footage, but it's nice to have a backup plane if you miss something.

Steve

ALWAYS...........

make sure it says 'REC' in the viewfinder....

:)

ALWAYS...........

make sure it says 'REC' in the viewfinder....

:)This is so true. Great advice.

So I just booked a single cam wedding in two weeks and the few weddings I've done before have all been 2 cameras. Im looking for tips on how to shoot the ceremony, camera position? Dare I move positions? I should probably have a second cam just shooting a dummy angle so I can cut away to it if any problems arise.

thanks guys & gals!Another bit that helps me shooting alone. As your filming be very aware of how each shot or camera movement will help enhance the story or screw you up later in post. Know your limits and work with it. You'll do well.

Monday

My thought would be to have a second cam at the rear on a high tripod, let 'er roll. The added cost of one tape and a bit of wear and tear should be offset by the peace of mind knowing you've got a safety cutaway "just in case".

I'm sure the "one camera" budget shoot has it's attractiveness in this economy, but if you're used to shooting with more than one, and the equipment is available, why not do it? Other than taking a little more time to edit (more "good shots" to choose from, hopefully), the additional actual cost to you is minimal vs. the added comfort of knowing there's a backup... at least that would be my take on it.

If they ask why you have two cameras, just say #2 is a "backup", because you're a commensurate professional!

My advice would not to try and make a single camera shoot look like a multi-camera shoot. Rather re-design your programme as a single camera programme. Shoot the key moments as best you can, making sure the sound is superb - ideally two radio mics but certainly a radio on the key person and a good short gun for the other.

Hopefully what you'll have from this is a series of separate, edited cameos. What you then do is to produce afterwards is a container from which those cameos shine. Maybe a talking head by you or by a notable figure from the wedding - how about the groom's father? He can speak as one of the honoured guests who otherwise had nothing important to do. Allow him to reflect in either a tallking head or perhaps if he's not confident, as an interviewee.

I've even rescued a programme that unintentionally became a single camera shoot by recording the bride and groom's own reaction as they watched to what could be salvaged.

The important thing is that we're all engaged in making memories; constructing a programme of recorded incidents which will prompt other recollections.

My view is that situations like this are ones which sort out the followers in our business from the leaders, the creative programme makers. Of course we all hope we're in the in the second group and the other guys are not. Oh were it true!

Good luck.

ALWAYS...........

make sure it says 'REC' in the viewfinder....

:)

I'm surprised a cam manufacture hasn't yet developed a more obvious indicator of whether the camera is in REC or STBY mode.. something like electrodes attached to the inner thighs of the operator that will unleash painful shock if the camera isn't in REC mode when action is occurring. I would buy this camera for this feature alone!

I said this before but here it is again. Some of us that have been around since the stone age shot nothing but 1 camera weddings because of the price of gear so here's my take.
First to me it doesn't matter how many cameras you use if all but one is unmanned. In that case you need to shoot as if there are no other cameras running. Why? Well, cameras get blocked, framing can be off, batteries die, cameras jam...all sorts of reasons. So my suggestion is this. If you shot with 1 camera make ANY moves you might make, tilts, pans, zooms SLOW and steady. No sudden moves. If possible get the processional from the front of the aisle looking back to theback. When the bride is handed off to the groom and they make their way up to the altar, make a slow pan to keep them in frame, and make your move to whereever you are going to shot the remainder. In this case honestly, I would shot center aisle rear of church. From there you can get the B&G (yes it their backs but you get what you can) the lectern for the readers (if there are any) and if it's like 99.9% of the weddings I've done, the B&G stand facing each other when they say the vows and do the rings. You are now also in postion to get the recessional when the ceremony is over. Just move slightly out of everyones way so they can get past you.
IF you do have and use a 2nd camera and have a good shot from it (preferrablly a face shot but again you do what you can) then great but remember to keep everything slow. Pans,tilts, zooms, moves-as if there is no other camera running. Remember unless you screw up royally the B&G know they are getting a 1 camera job and you can only do what you can do.
OH yeah, don't yell CUT-AGAIN in the middle of the ceremony. The officiant may get a bit peeved. ;-)
Good luck have fun

I would never do a single cam wedding. It's too much pressure and a heck of pain during editing.

If it's unavoidable, I would suggest shooting a lot of Roll-B fill-in shots. For example, shots at the audience that are still, looking forard before the ceremony starts. And in the reception, shots at people clapping, or looking in one direction when nothing's going on. In post, you can use these fill-in shots to replace scenes that you are moving around and unsteady shots.

Don and Taky nailed it. A single camera is doomed by your inability to move, or cut-away without missing something. I doubt you'll have much luck faking the audience reaction shots, as there are always people milling about/yawning/talking/picking their nose before the ceremony. I do this anyway, but I'm lucky if I get 4 useable seconds of people looking like they are paying attention to the ceremony.

If you have any friends with good cameras, you might consider inviting them (ask the bride/groom just in case) to help you cover the ceremony in exchange for some beer (NOT at the wedding!). Give them instructions to stay the heck off the zoom and keep their meaty paws off the tripod. They are your backup camera, but you should still assume that they are not getting anything good and its ultimately your job to capture the important stuff.

hey guys thanks for the comments, really helpful stuff so far!

I'm wondering what makes it difficult to edit later Taky? If it's one camera of the ceremony then unless something bad happens it should be all one shot. And if it's not all one shot then it's just a matter of pairing end to end because (hopefully) you'll make a move when nothing's going on. Seems pretty easy to me. If there's a balcony then I'd be happy shooting the entire thing from the balcony other than the processional, which I can probably get with a dummy cam hidden at the front.

As for audio is it acceptable to only mic the groom and officiant? Or perhaps just the officiant and then the wireless mic, or lectern? I only have two wireless mics.

Thanks again for the comments guys, I appreciate it.

editing a 1 camera ceremony is not hard IF you make slow thoughtful moves. While it might be boring to some, face it, the majority of CEREMONIES are religious and frankly (IMO)aren't there to be made something they aren't. Save that for the highlight/recap.
It DOES become hard when one makes wild crazy fast and/or unnecessary moves, pans, tilts and zooms. Honestly, and this is NOT directed to ANYONE here on DVi, I think everyone should learn how to do weddings with one camera so one can learn how to use what ya got instead of thinking 'no problem, I've got 5 other cameras running, I can use the footage from one of them'. Once one learns how to do that, then adding the other cameras just gives you more options in post (hopefully)
Again, nothing directed to anyone here, the above comment is really aimed at people just getting into the business.
For those that live in the Chicagoland area if you ever shoot at 4th Pres downtown, talk to me about # of cameras and position after you've done a job there. ;-)
Anyway, just one old timers thoughts

Don and Taky nailed it. A single camera is doomed by your inability to move, or cut-away without missing something. I doubt you'll have much luck faking the audience reaction shots, as there are always people milling about/yawning/talking/picking their nose before the ceremony.

Contrary to what was recommended in previous posts, I whip pan, cut away, and move quickly during the ceremony. I try to make my one camera shoot look like three. But don't try this yet unless you know what you're doing. I'm still practicing and trying to perfect the technique.

3 cameras at this wedding? Nope. Only 1 handheld video camcorder. on Vimeo (http://vimeo.com/4543721)

David, I have to step back and ponder: if you probably are charging LESS for a single camera shoot, and you've got the second camera anyway, and you usually shoot with two, and you're planning on using two anway, and it's more hassle, more stress, more difficult in the edit, and you have to ask for advice here about dealing with this, and the results won't be as good.... and... and... and...

WHY offer that package for less money at all????

Warren,
I do agree with you it can be done as you describe if one knows what they are doing (not for newbies IMO) and I also believe a lot depends on the style of edit you're doing. If you're doing a long form doco type style then I think slow and steady is the way to go, but if you're doing short form cine style and know when you can make that whip pan crash a zoom or make a move, absolutely, go for it, but that comes from practice practice practice.
Just goes to show, there's no right or wrong just different.

I guess I don't understand the logic that some have expressed. Sure, I understand that a "single camera" wedding is by definition low budget. I also understand the need to keep the editing time to a minimum so that the job doesn't become a losing proposition due to excessive time spent editing.

However, to me a two camera wedding shoot means two shooters, each with a camera, and a single camera shoot actually means one manned camera. It doesn't exclude a second unmanned camera. As far as a second unmanned camera for backup cut-to footage, it often makes the editing job easier, not harder. Since it is a lower budget production, you may not want to spend extensive time in editing weaving the footage from the two cameras together but there is something in between extensive footage "weaving" and having some safety cut-to footage. There is nothing more time consuming when editing than trying to figure out how you are going to cover for some garbage footage when you don't have anything else to use. What are you going to do if you trip and fall down during the vows? - Drop in a photo montage of the engagement party!?

You will also feel like you have both feet nailed to the floor if you don't have cut-to footage available. I don't care who you are or how many weddings that you have shot, there are way too many unanticipated surprises in wedding shoots to play the he-man hotshot with one camera routine.

Whip pans in a single camera wedding shoot! I really disagree. They destroy the mood and give it an "Uncle Charlie" look. If you are rolling an unmanned second camera, you can whip pan and fast zoom when necessary to capture the shot because you can cut to your unmanned footage when you edit to cut out the fast pan or zoom.

I will share just one example of the benefit of not having both feet nailed to the floor when you know that yours is not the only camera rolling in a wedding shoot. I had the privilege of running a second camera for a real pro in the business. During the vows, he noticed one of the the bride's maids tearing up. (An experienced wedding videographer knows this is common in a wedding and watches for it.) Because he knew that he had two other cameras rolling, he was able to pan over and zoom in on the tearing bride's maid and capture her "moment". He dropped that in at the appropriate point when he edited the footage. That sort of touch adds a great deal to a well-shot wedding because it helps deliver the mood. A whip pan and fast zoom to capture that in the middle of the vows!? Sorry, but I wouldn't want to pay for it.

You still have to be careful though; you can't assume that the cut-to footage is going to be good. Things happen. The pro that I shot with in the example that I just gave didn't "whip pan" to cover the tearing bride's maid. He did a smooth pan and zoom to shoot her. By doing so he knew he would still have good footage even if I were to have shot garbage footage at that moment. One of the things that he told me prior to that shoot was to always shoot like you are the only camera because you don't know what is happening with the other camera(s).

Think of the final product as an extended highlight reel instead of a 00;00;00;00 to 00;60;00;00 video of the ceremony. It should help you shoot in a format that captures everything important while still retaining a cinematic touch on a one man shoot.

Run a second camera anyway. Even for single cam packages I use a second camera, period. It is just so much easier in post and the results are just so much better.

Single cam packages are for those trying to save money, and get me jobs that I would otherwise lose on dates that are open and have the potential for going unfilled.

Think of the final product as an extended highlight reel instead of a 00;00;00;00 to 00;60;00;00 video of the ceremony. It should help you shoot in a format that captures everything important while still retaining a cinematic touch on a one man shoot.

Sure that's a style and if that is what you sold and the bride bought, that's OK. But you will spend more time editing and cleaning up the "extended highlight reel" than you will spend on a straight narrative roll with any needed cut-to rescue footage. It still doesn't answer the problem of what to do if during a key part of the ceremony you or your camera is wracked by the spasms of a giant burrito fart and you have useless footage of the vows for example? Why don't you try yelling "Cut - Retake" during the vows at a wedding and see what happens. Being a hack starts with an attitude just like being a pro does - It's just that they are two different attitudes.

I guess running a second cam is a good practice judging by how many of you do it. And it's not much extra effort to add a shot or two. I was thinking of hiding the camera near the front and then shooting the rest from the back, because I think I can get pretty much everything I need from the back EXCEPT the processional. So one cam to capture the processional then cut to my regular footage. Thoughts?

Martin,
I'm offering this package because it's the only package I was able to offer in their budget. And it won't be more difficult if it goes properly. I don't anticipate doing anything other than a doc style coverage of the event.

Good approach. The layout of every wedding venue differs so your camera placement necessarily varies as well. As you consider the camera locations there are a couple things to keep in mind. Florists have a habit of delivering and setting up a "wad" of flowers and putting them in exactly the wrong place from your point of view - Read blocked shot. The other thing to remember is that everyone stands up during the processional - another shot blocker if you don't anticipate that.

I wouldn't put my second, unmanned camera upfront. Ninety percent of your video will be from the back, not the front.

Put your second cam in the rear in the balcony. As suggested, be down front to the grooms side, get the processional, then after the hand off of the bride, or shortly thereafter move to the rear center aisle and you can get fantastic shots of the ring exchange, etc. I put the the wireless receiver on the rear camera, not the main. You want a direct line of site for the wireless mic to the cam with the receiver.

If you put your unmanned camera down front 90% of the footage will be useless and defeat your purpose, and the chances of getting anything really great are really lessened.

You can try it the other way, but most of the time when I hide a camera upfront it doesn't do much in the end.

The other benefit of the 2nd cam is the additional audio, which is absolutely critical, IMO.

**Move as if you are in slow motion all the time!

When I shoot a wedding with multiple cameras it's easy to go crazy with whip pans all over the place however even this is never a secure way of shooting. Zoom slowly, pan slowly, hold it steady as if your life depended on it - every shot should be usable. Be patient, I can't hold one shot for too long without getting bored, don't get bored if you are shooting with one camera always keep your style flowing, slow pans even if you know you are going to cut them away, don't go hunting with your camera.

VERY good advice Nick....

While I've used an unmanned cam forward, it's hit and miss - lots of things to block your shot, and it's sort of a waste unless you get really lucky with your placement. I've got it down to using two cams in a crossfire positioning, and set right they nail the bride and groom vows and rings wonderfully. But they would miss the processional entirely!

I'd go with the wide safety shot on a high tripod (6'+) or from the balcony (I don't like the balcony since you've got no way to access during the shoot except by a remote... tripod doesn't need to be great, just TALL - Sunpak 7500's or the variants thereof are cheap and 75" + off the floor).

60-70%+ of your ceremony is best shot from the back, but the processional/here comes da bride is not a wise shot to be left to an unattended camera...

My typical shoot, I'm up front until the handoff, then rotate to the back by the unmanned on the tripod, with maybe a quick visit to zoom the crossfire cams in tighter to catch the bride and groom for vows/rings. Even if I had a second manned cam covering the front it would still be hard to get from one side to the other, thus my crossfire cam approach - it's been working well.

But I still would want that wide shot from the back for cutaways... you should have a backup cam around anyway in case of equipment failure, what better than to set it on a tripod right where you'll be most of the ceremony, and let 'er run? Costs next to nothing - cheap insurance!

I shoot alone all the time. I have an unmanned camera at the back of the room as high as possible set wide and I shoot all the ceremony from the front from the groom's side. When the B&G go to sign the register I get a few shots of this and then very quickly move the camera from the back to the front, set it running and then position myself at the back, fairly central to get the B&G coming down the isle. I find this gives me enough cover.

what I also have is a little Panasonic GS230 3 chipper that I have on a monopod and use this to get some reaction shots of the congregation during the boring bits (if it's a church wedding) such as the sermon. They don't like you to move around too much if you're at the front so that's a little cheeky but I get a few useful shots

Hope this helps

Pete

Ok, I'll chime in and ask something here since I have a single man/two camera shoot next month for the first time.

So I was planning on setting up the 2nd cam in the back as high as possible on a fairly wide shot. Only as wide as needed to get the wedding party in the frame. Here's my question: is it typical to have yourself in the shot if you are up front and in the aisle moving around all the time? Wouldn't that be a shot killer? Maybe I'm just not understanding fully.

I definitely want to get a grasp on this before the end of next month.

Thanks.

You will be in the shot, but that is fine. So will the photographer. There is no way to avoid it. You just want to keep your movement to as little as possible.

You can theoretically crouch down with your tripod adjusted low so as not to be in front of the groom, but other than that there is not tons you can do about it. I have shot from down on my knees before, which is a good way to stay out of the way.

You will be in the shot, but that is fine. So will the photographer. There is no way to avoid it. You just want to keep your movement to as little as possible.

You can theoretically crouch down with your tripod adjusted low so as not to be in front of the groom, but other than that there is not tons you can do about it. I have shot from down on my knees before, which is a good way to stay out of the way.

Thanks Jeff.

Is it rare to be able to get up behind the officiant, shooting out towards the crowd? The last wedding I attended was a small wedding shot by Mark Von Lanken when they came back to Illinois a couple months ago. He had two cameras up in the balcony.....one centered and zoomed in a little and the other off to the side and zoomed out more. Mark had the 3rd camera up front behind and a little to the side of the officiant/B&G. He just stayed there on a tripod with little movement. He got the procession and B&G's faces the whole time.

In my experience it is very rare. In Cincinnati half or more of our weddings are in Catholic churches and you can almost never go behind the priest, or anywhere on the altar. Some churches, particularly African-American ones, are extremely liberal, but I get to very few of those, unfortunately.

I've seen more than one wedding video that Mark has done with a shot from behind the officiant and I alway marvel at that. But I also think in his area of the country churches are more liberal with things, mostly protestant. But I have seen some protestant demoninations that are even touchier than the Catholics about these things.

I recently got a shot from behind on the side where there was an aisle that went down one side of the altar to the rear of the church. The priest was not happy with me being there, but I was so still and kept a solemn look on my face, and I think the "damage" was minimal. I got a great shot and he was friendly enough afterwards.

In my experience it is very rare. In Cincinnati half or more of our weddings are in Catholic churches and you can almost never go behind the priest, or anywhere on the altar. Some churches, particularly African-American ones, are extremely liberal, but I get to very few of those, unfortunately.

I've seen more than one wedding video that Mark has done with a shot from behind the officiant and I alway marvel at that. But I also think in his area of the country churches are more liberal with things, mostly protestant. But I have seen some protestant demoninations that are even touchier than the Catholics about these things.

I recently got a shot from behind on the side where there was an aisle that went down one side of the altar to the rear of the church. The priest was not happy with me being there, but I was so still and kept a solemn look on my face, and I think the "damage" was minimal. I got a great shot and he was friendly enough afterwards.

haha. That reminds me what my photographer friend told me about something similar. He said "don't ask for permission before, ask for forgiveness after".

I could never do that. haha

in most catholic churches I've shot in here in Chicagoland if you ask for forgiveness later, you will im most cases get kicked out and banned from the church. Don't laugh, I know people it's happened to, and frankly I don't blame the officiant. It's his house his rules. Now having said that, I have worked in some churches that are quite liberal and OK with being on the altar but in my experience, in this area 95% of them, it's a no-no.

Your friend was right though, IMO. I discreetly avoid all contact with the church people when possible, keep a very low profile, and then at the last minute do what I need to do. If they approach me I keep it light and friendly and avoid asking questions. I will remark how lovely the church is, how wonderful the bride and groom seem to be, etc., and all is usually fine. I have even gone so far as to complement the wedding coordinator on her dress, and what a great job she seems to be doing. But there are those who have very strict rules, and when I'm told to not do something I don't do it.

I always try to stay discreet and be sensible. I have heard horror stories about videographers/photograhers that actually will climb onto the altar during a ceremony.

You seem concerned enought about the right things Brad, as you get more familiar with the rythym of weddings it will get much easier, but it never becomes a walk in the park.

I'm actually in the process of learning still phtography. I'm beginning to believe shooting stills is easier, once you acquire the skill set for shooting with a still camera, which is not easy.

Video is a pain, and I am frankly getting tired of it. Customers are almost always more concerned with their still photos, but when its over they are much more interested in their video. It is often an afterthought prior to the wedding, but then afterwards it is all they want to see.

They are not often interested in the planning stage for the video, and act as if there is nothing to it, but will spend two or three sessions talking with their photographer.
I can't believe how many times after the wedding they ask if I got such and such, cause the photographer missed it.

Sorry for the rant! I don't know where that came from!