Wedding videography. video art

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wedding videography

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Remember one thing: rules are for breaking. There is a huge number of video works, where everything that is written below is not performed (sometimes). But it doesn't hurt even the most out-of-control experimenters to know what they're violating. So:

Golden Section

Who has not studied drawing or architecture, sounds incomprehensible. This FAK is not for theorists who wish to search, the search works. Practitioners do this: mentally imagine one side of the Rubik's cube, squeezed into the viewfinder. We got a rectangle divided by two horizontal and two vertical lines. All the most important things in the frame should be located on these lines. If we shoot a close-up - the eyes are on the upper horizontal, the centerline of the face is on one of the vertical lines, the gaze is directed towards the other. We decided to shoot the newlyweds who are dancing, looking at each other in profile, try to "string" them on both vertical lines, eyes along the upper horizontal. Looking at the diagonal of the screen is also a good technique.

Size plans

You need to know this in order to imagine how to combine them during installation. As a non-editing option, know how to shoot the next scene. More on that below, but for now let's just say: different plans are needed, all kinds of plans are important. They are:

Details. This is a button, a hand, a corner of the lips, an eye. Here and below it is understood that this is a detail of the object about which the story is being told. If the microplot (and not the movie, theorists - in the garden!) is about the maneuvers of a space cruiser, then the detailed plan can be a display of a radar installation the size of a house. That is, "detail" does not mean "something small". Although, in our case, this is a necklace on the bride’s neck, the groom’s nervously drumming fingers, a misted glass, a ring on his finger, a tear on his mother’s cheek (he bent, of course, somehow he didn’t have to catch a tear, but the viewer should see everything else in a good wedding film ) that take up almost the entire screen.
Large. In relation to the main objects of our shooting - a portrait. Them, the heroes of the occasion, the bride and groom. Theoretically, again, a close-up of the center of events is possible, where the zoom will be greatly missed before the portrait. In OUR business, a close-up CAN be equated to a portrait.
Average. Plans were invented during the time of the Lumiere brothers, I am not responsible for them. There are two medium plans. The first (larger), when a person is removed to the chest and the second (smaller), a person is removed to the knees. It is approximately. I'm not sure that someone will understand the phrase "take me the first middle of this car." Ergo? It's all about people. The American film school insists that there should be at least one more, the so-called "milk", and in the future - generational, ankle-deep, etc., but I say an angry "no" to these imperialist intrigues. It will be difficult to formulate such a principle of installation as installation by size. My tactics include concessions to the Americans "à la START-2". You can shoot on the nipples (in American style) and in a different way, but let's not consider this a separate plan. Let's leave the generational-belt-groin to the directors, who, shooting the imperishable, set a specific task for the cameramen.

So: if a person is removed, including the upper extremity of the head to a minimum - nipples, and a maximum - to the waist, then this first average plan person. From "eyes-belt" to "eyes-knees" - second average. Truncated? Did you know? OK, let's wait for the editing to figure out where to put it all. Until then...

General - plan, when we see in the frame of all the direct participants in the event. Of course, not the crowd at the rally. The main character must fit completely, or better with a small margin, in the frame (in the event that he will stand and other people and objects will not cover him).

Far - too, but already in the surrounding surroundings.

Pan

Oh how everyone loves it. Camera here, camera here. Any reception must be justified. And this one included. We live by the event, we pass it through ourselves. In our business we very rarely, at some moments, can afford to be screenwriters-playwrights (a walk, a few fees, etc.). The rest is decided for us. Where the newlyweds sit at the banquet, when and to what music they dance. Who and how much they will want. It’s a pity, but very often the congratulations of the bridesmaids (I’m glad for us men, we sin much less with this) turn into a many-minute recitation of platitudes downloaded from the Internet. Any operator with an experience of a year will read you heels of quatrains from time to time repeated by "best friends". Here is a set of stamps that an inexperienced speaker invited to a wedding will not avoid. “I can’t speak” (it’s already clear, thanks if he doesn’t refuse the microphone). "I myself am from ...", "I know your dad from HerGdeStan, we served there for 25 years", "What do you wish?". A person who has been given the task of making a beautiful film about a bright feeling can really "fall the bar" after the third toast in this style. We will teach you how to deal with such speakers during editing later, but for now, about panning.

Whatever the participants in the events say and do, remember - pan, that is, move the camera in any direction (with or without zoom) with the last exception no more than eight seconds. It happens that, entangled in plans and angles, the operator, as the boxers say, "floats". There is a blunder, there is a blow, the camera is there, and there the girl is picking her nose. The camera is here, and there the witness is yawning. And swearing is a sin, the guests are not to blame for being bored. What are we doing? We leave for the general plan of the epicenter of events. We caught our breath, about eight seconds (according to cinematic principles, 12 seconds is already an extra-long shot), we got it, which is what they say about zooming in with panning. At least for one of the participants in the dialogue, at least for the grandmother (I will also put in a word about them, maybe in the second part). We think, we live.

In the general case, panning is the connection of point A with point B. For which you are given no more than eight seconds, and with "action" about two or three. Masters living with their camera, but in good shape, will draw an ideal straight line between point A and B in half a second or two. By a dot we mean the correct plan of anything that is relevant to our video. From the bride's shoe in the groom's hand (we already know what it is detail) to the greedy face of the witness in another. Connect the dots and learn to identify them. One more point is important - panning begins and ends with shooting a still picture (called "entry-exit from the frame").

What not to do:

after passing point "B" try to immediately turn the camera back, finally play the zoom. Everyone will see your joint. We waited a second or two, like it was intended, then they framed it better. Between the panning and the corrected frame, insert during editing interruption (will be below).
try to embrace the immensity. Longer than eight seconds (maximum!) Never lead anywhere, especially often the operators "hit" when trying to remove the line of guests. Let's go, we realized that with this pace we will only shoot half (and the pace cannot be broken!) - we quickly select some face and carefully stop when we run over. Zoom in so that the viewer does not have a feeling of understatement due to the protruding shoulder, the owner of which he will not see either in this or in the next frame.
imitate the swinging of an elephant with its trunk. If you see that you really need to go back - wait 5 seconds, let the viewer look at a still picture for this time. Of course, this does not apply to iconic wedding moments, exchanging rings or cutting a cake, firstly, you can’t do without editing, and secondly, there are other tricks, the panorama at such moments is not the “highlight of the program”. It is more appropriate to instantly flip the camera with a stand on the installation of some intermediate frame or cut off the flip. At a banquet during toasting contests - that's it.

zoom

Great! We show the table with the bros, and suddenly vzh-zh-zh - Nadyukhin's eye! Full screen! The picture is shaking a little, and out of focus, but cool, the boys will like it. Spielberg is a fool, he does not know that there is a zoom lever on the camera. Is this a milestone for you? Then we will deal with this technique in a little more detail.

The logical meaning of approximation is to show the viewer something interesting, to highlight it from the overall picture. The key word is "interesting". Hitting should not be an end in itself. The start and end points must be. Actually, these one or two seconds of a still image are called "entry-exit from the frame." No one forbids you to continue showing the resulting picture after making a zoom-in/out. But! (See about the elephant trunk). You should not then rush and press the "zoom" lever again. Any frame changes that occur must be justified. If you perform zoom-in/out without panning, that is, the optical axis of the camera is stationary, try to make the initial and final plans differ from each other by two steps. Show the second average - you can drive off to a distant one or run into a large one. In any case, you will show the viewer something that he could not see on the previous plan. Or the environment around the scene, or focus on facial expressions. Zooming in one notch will likely make the viewer feel like you're just moving the camera around to get a better angle.

An exception to the rules for zooming and zooming is some sudden fleeting exclusive, when the task of somehow capturing something sudden, but important (funny, touching, etc.) comes to the fore. Given that at the same time only you have a bunch of tasks for exposure, focus, you will have to push through the guests and chairs-tables - do not complete, shoot as best you can, then do what you can during editing.

A brief summary: hitting - focusing attention on something, clarification. Departure is a generalization.

Sharpness

As such, we are not interested in sharpness. Of course, the picture must be sharp. We are interested in the game of sharpness, which can be obtained in manual mode with an open aperture. A very bright technique to enhance the artistic effect.

From the branches of flowers in the foreground, we translate the sharpness into the background and get the viewer's attention shifted to the object we need. The general rule is that the object that looks sharp at the end of the frame (in this case, the legs of the bride) is the main one in this composition. To enhance the filter used Photoshop "Diffuse Glow".

Emphasizing the sharpness of the perspective of the frame is also useful. In addition to opening the aperture, it is recommended to narrow the viewing angle (use the zoom).

Camera movement

A very difficult move. Without a crane or rails, moving along with the camera and at the same time producing a watchable picture is a super task. But the beauty of this technique makes many of us make steadicams, blush and, holding our breath, wander around the hall with a "moonwalk", invent such camera grips that the creators of "Kama Sutra" would probably blush. General advice - to enhance the beauty of your film, find a way to show the viewer that your camera can move.

Of course, the movement must be justified. Try to carry the camera over a table full of dishes, to emerge from behind a bouquet in front of the newlyweds. Fly around a child standing by a bunch of balloons. At the same time, even the smallest zoom is highly undesirable.

The trick here is to move on bent legs. Short flights of the chamber should be performed with the hands, without moving the legs. Wide-angle nozzles will also be a good help (the wider the viewing angle, the less noticeable jerking will be).

Publication: ixbt.com

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