THAT is pretty amazing. Would you say a lot of that trust comes from the work you've already shown the couple, or the way you approach them about shooting their wedding, or both?

I'm curious because when I miss something I get the feeling that people think I'm not doing my job. Like this weekend, I was transitioning from a creative shot (adjusting equipment) and the bride put on her earrings. It happened so fast I didn't even see her do it. I had to ask her to take one out and put it on again, and I really hate doing that kind of fabricated shot. I got the feeling she was surprised I had missed it.

By the way, I wish I could catch you at re-frame, but I guess I'll have to meet up with you at WPPI next year instead. I assume you'll be there?

Monday,

The running shot is crucial to the story even though it might not make sense at first. That guy was to walk the bride in and was waiting for his signal. After all the girls went down the aisle, the signal never came. He waited a couple minutes, then went into the church to check out what was happening and everybody was just waiting for the bride so he ran back as quick as he could to get her.

Patrick

Hi Patrick.. Loved the opening shot of the trees and then revealing the dress.. The shot is now much more purposeful than just a random fly-by of the trees.

When the couple walked in at the reception there were some strong lighting from the DJ booth. Did you guys set those up?

Simply
 

Goosebumps

Patrick - how dare you steal the dress shot I've had in my head before I can actually use it... I'm suing for intellectual property rights infringement.

Actually that was a great shot because you don't see it coming. That was a really long walk your stedicam guy took before he got to the dress. Pretty impressive. Every time I see your stuff lately, it's the skill of the stedicam op that has really stood out to me. Whoever is handling that thing is doing a top notch job.

Thanks Ethan - thats me :)

Michael is training on a pilot and catching up quickly though.

I did steal that dress shot from you, sorry about that, but when I imagined you thinking of the shot I just had to do it.

Patrick

Hi Yang,

Thanks for the comments- I agree about the dress shot. I love shots that reveal something to the viewer right when you think you have it.

The lighting was done by the DJ but we worked with him to optimize flare and color.

Patrick

cudos to you Sir.

I've got a few other ideas floating around up there that I can't quite pull off but would totally rock.

Thanks Monday, glad you enjoyed it.

Jason,

The Cinevate Dolly is very cool, but we reserve that for commercial type work. While the circular dolly shot would be gorgeous, the setup time and eyesore at a wedding is though to take when the circular steadicam shot ain't all that bad. Totally agree with your point about the motion adding emotion. We haven't used the brevis much for the reception, though we did break it out lately for some crazy dancing footage.

I am totally stoked for some of our upcoming Cali wedding that are almost all outside with lots of light = a heck of a lot of brevis opportunity.

Patrick

Feel free to send those over too and I'll give them a try- with proper credit given to you of course.

Patrick

Hi Patrick, may I know what is the mode you shoot most of your video in? I see that even with fast panning using your steadicam, it is still smooth and doesn't have those trail shadows like those I took in 25F (shutter 1/25), I'm in PAL land. You seem to be shooting in 60i am I right? :)

Hi Patrick

SDE well done, from begining to end. I really like how you manage to intergrate b-rolls throughout each locations, almost as if you had a storyboard everytime you do your weddings. I guess it becomes second nature for you guys now.

I notice you use a fisheye lens, what lens do you use? Century? 16x9?

Thank you for sharing your clips with us and more imprtantly, thank you for sharing your knowledge.

Great work!

Now, do you actually use different presets in your A1 to get different colors? Or you do all in post?

Thanks for the comments Carl. I find that an SDE really forces you to go beyond thinking about a shot at a time and to start tying sequences together in your head before they are shot. I can see Mike get a certain shot, think of something that would compliment it, and already know how it will all fit together in the SDE- which is a big time saver. I find that comes with practice and working with the same team all the time. We generally try to have a rough storyboard ready before hand though.

As for the fisheye, there wasn't one, just wide angle lenses, anything from .6 to .8., and none of them are century either.



Alex,
There was a time I used presets extensively. Our current workflow however calls for shooting a slightly flatter image and tweaking in post. I try to retain as much detail as possible and keep it balanced so I have my options wide option when I start putting it together.

Patrick