Five years ago, I filmed my first wedding. I think I was headed in that direction all my life. After many years in fine art and photography, I was immediately captivated by videography. I live in the country and was introduced to videography by a free lance camera operator for National Geographic. We met at a block party. He had a Canon XL1. I couldn’t believe a camera could cost $5,000. I wanted one. I bought one. What was I thinking? To justify it, I started filming everything. Church functions, plays, concerts, and best of all, weddings.
I have to be honest. The day of a wedding I’m a mess. I’m nervous. Anxious. Maybe even a bit testy. I live a couple hours away from everything, so there’s plenty of time in the car to fret and milk that anxiety for all its worth. Did I bring everything? Will my equipment work properly? Will I be able to find the place where the bride is getting ready? Will I get there on time? What kind of mood will she be in? Will my other camera operator have any problems? Will the officiant agree to wear a wireless mic? Will they mute it and forget? So it goes. When I finally arrive at the bride’s prep location, I introduce myself, get out my camera, and fade into the background. I’m a video journalist. People soon forget I’m there. Once I’m behind my camera, all the tension and anxiety disappear. I’m in my element.
I only film a few seconds of the bride getting her hair done. I don’t film her having mascara or eyeliner put on. There’s something about watching a video where the bride has a sharp object near her eye that creeps me out. I do like to film eye shadow, lipstick, and blush being put on. If she already has these things applied, I ask her to pretend to apply them again. I love it when the mother helps her with her jewelry. Even though I’m a video journalist, if it feels right, I’ll ask the bride or others to do a toast or put their arms around one another and throw their heads back in a joyous laugh. I ask about the “something old, something new, something borrowed, something blue” and film the items so I can put the description and the items together in post.
I ask permission to arrange the bride’s shoes, jewelry, or maybe her veil and do some reveal shots and pans. I love to film the dress hanging in front of a window and film it from many different angles, panning this way and that. I make sure that each pan takes at least 15 seconds. When the bride puts on her gown, I film the dress being zipped or laced. I follow the photographer and bride, filming from a distance. I don’t want to duplicate the photographers efforts, but if the poses have some action in them, I get that. For instance, the photographer may ask the bride and her bridesmaids to walk toward her and pass her. The photographer is looking for a couple of images in there. I want the action of walking and the joy they express as they laugh and talk. I keep in mind what I’ll do in post production. If I plan to use layers, I’ll film some things off to one side or another. I play around with my exposure, letting some things be over-exposed.
After the bride is dressed and has come downstairs (I love to film her graciously descending stairs, asking her to pause at the bottom and look up at the camera and smile – I know! Not very video journalistic of me.) That’s about the time I take my leave and head for the church. I’d rather film her arriving than leaving.
I film the ceremony with at least three cameras. I may hide a fourth camera in a planter with the sole purpose of getting only the unity candle lighting. I seldom film alone. I want to enjoy my work and I can do that much more easily if I bring someone along. It makes the day more fun and eases the work and the stress. I like to have my camera facing the bride. The other camera operator can film from the back or the front left. I start out in the center front so I can film the bridal party coming up the aisle. My B camera operator is on the groom. Once the bride arrives at the groom’s side, I quietly move to my tripod and work from there. I communicate with my other camera operator via Eartec headsets. If I know I’m going to be moving my camera, I say, “Are you safe?” If they are, I tell them “I’m zooming in to waist up” or whatever. What would you call that kind of conversation - “video speak”?
When the ceremony is nearly over, I hurry to the back and get them recessing. We may or may not stay behind for the formals. Once again, I’m not interested in filming posed shots. I am interested in filming the “flavor” of the formals. There’s a lot of joy and congratulations and hugging during that time as people wait for their turn in front of the camera. Children are releasing pent up energy by running or falling asleep in the pews.
Finally, we’re off to the reception. One of us is setting up equipment for the “Introductions” while the other is waiting for the bride and groom to arrive. Once they arrive and are safely lead to a side room somewhere, we begin filming the cocktail hour. I like to film small clusters of guests laughing and talking. I look for a mix of close-ups and medium shots. I get any musicians present. I roam about filming place cards, decorations, the outside of the building, arriving guests, tables being set, candles being lit, drinks being poured. Through this whole day, the bride is hovering somewhere above the earth and I’m capturing what she’s missing. It’s a once-in-a-lifetime day.
We try to film from two distinct angles, while respecting the photographers. I communicate with the photographers, coordinating and informing them of what I need, finding out how I can help them get what they need. During the cake cutting, I have my second camera operator hover in the distance, getting video of the whole scene. I follow the bride and groom’s hands as they cut the cake, serve it, and bring it up to one another. During the bouquet toss, I get low to the ground, in front of and to the left of the bride, filming up so as to get her throwing the bouquet, it soaring through the air and being caught. Same with the garter.
Before I know it, the day is nearly over. If there is no send-off planned, I ask the bride and groom to come out into a hallway where we film them walking away from the camera, turning, kissing, waving, walking off. I do a lock-down shot, so I can fade them out. I keep filming after they’re out of the shot. That gives me the footage I need for the fade. Other times I’ve had them sprawl on a couch or on a stairway, looking tired, but happy. They kiss. I have them step away and film the vacated area.
Filming weddings is a big responsibility. If you never get past the stressed part, maybe it’s not for you. If you experience apprehension and stress, but find that it ebbs once you get going, you’re doing fine. If you find yourself moved by events of the day, you’re getting warmer. If you’re proud of your finished product, better yet. If your client is moved by your work – BINGO!
In March of 2008, I had the honor of being presented with a Gold Award for Best Wedding Video at the Baltimore Videographers Film Festival. I work hard. I believe in what I do. It felt good to see that someone else thought my work was worth the recognition. At the same time, it was humbling. The goal of my work is to capture the moments of life and give them as gifts. When we record life the way we do, we give away the gift of making it brand new over and over again.
