Lessons from wedding field

longshanks

longshanks

Well-known member
Hi,

I just shot my uncle's wedding with my T2i rig and I'd thought I share my thoughts and what I learned from the experience.

First off, I had a Gini shoulder rig which I configured with my Dfocus and Zoom H4n attached via articulating arm. This was my second live event shoot that I've done with my new T2i rig and I really miss the form factor of the DVX and other prosumer cameras out there. I must tell you all that trying to cover a wedding with just 1 shooter (me!) and run dedicated sound with my Zoom was incredibly difficult and stressful. Obviously, it would have been nice to have a dedicated sound guy and a second shooter, but hey, what are you going to do when your uncle asks you days before to shoot video for his wedding?

I have three lens: Leica 35mm 2.8, Canon 20-35 3.5, and a Nikon 50mm 1.4. For this shoot I only shot with the Nikon and didn't even touch the other lenses. Its unfortunate, but with a follow focus on, you don't have the time to fudge around with the rig to try and swap lenses. Because of time constraints, I didn't have time to pick up some quality ND filters which I desperately needed which forced me to shoot at insanely high shutter speeds, even with the lens stopped down to f16.

Coming away from this, I can really see that having a zoom lens is perfect for the event shooter in mind such as the 7D kit lens (18-135mm) or a higher quality lens that will allow you to change focal lengths and quickly! If I were to do another wedding or live event, I'd definitely ditch the shoulder mount. I didn't find it to be helpful at all but rather cumbersome. I think its strange that so many shoulder mount set-ups are being sold and marketed right now for DSLRs and people are picking them up like hot cakes(me being one of them!)

If I was going to do another live event I'd do a couple things:

1) 18-135 Canon or 17-50mm Tokina
2) Hire a guy for dedicated sound with the Zoom H4n
3) Buy variND filters
4) Hire 2nd shooter with telephoto lens locked down to a tripod of course!
5) Run A cam with a gunstock-style rig
6) Swap A cam periodically with a glidecam

Although, if I was stuck again by myself shooting I use a gun-stock shooters rig, kit lens, variND, and Zoom H4n attached. And if I really wanted to push the envelope, I'd attach my external monitor and top handle for low-angle shots.

I hope this lengthy post makes people think about what style of shooting they'll be doing and getting the right gear to serve their needs, rather than just take up space in their closet.
 
Very informative post. Thanks for posting your experiences.

I do think that it would become easier with more weddings under your belt. I photograph weddings with my brother, and for me, I now take less gear with me than I did a few years ago. I realised that half the gear I carried in my bag was not necessary. We have got to the point that the bag stays in the car and all I carry is spare batteries and memory cards. I've learned that the fast pace of a wedding is not suitable for lens swapping etc. I can't imagine having to deal with sound as well!!

I guess DLSR equipment used for wedding videos will evolve, an the users of the cameras will adapt.

As they say in Ireland, "You'll know for the next time!"
 
I love photography and video, but never will i ever do a wedding event. Way to crazy, and no room for error.
 
thanx for the post. I found it helpful too.

few things I wanted to ask.

The dFocus. How did you like it? I am looking for something like that also to help me focus quicker on the run rather than fumbling with the rings blindly.

Can you post some snippets of your wedding shoot? I would like to see the final results of it despite the difficulties you've mentioned.

And finally, I do have a 18-135mm up for grabs if you're interested.
 
iConquer said:
thanx for the post. I found it helpful too.

few things I wanted to ask.

The dFocus. How did you like it? I am looking for something like that also to help me focus quicker on the run rather than fumbling with the rings blindly.

Can you post some snippets of your wedding shoot? I would like to see the final results of it despite the difficulties you've mentioned.

And finally, I do have a 18-135mm up for grabs if you're interested.
Click to expand...

I'm not so sure I'd use any follow focus for event shooting, too cumbersome when you want to change lenses. But if your doing short films, music videos and setting focus marks, I can see a follow focus being especially useful. You'll find with practice that you'll be able to pull ring focus with no shake, especially if you have support like a gunstock. This goes a long way in letting your hand relax so your not torquing it to pull focus.

The Dfocus is okay and I'm regretting it a little because it began to loosen up towards the middle of the day and the parts flex out making the problem worse. I also encountered a lot of slack in the focus wheel which I think I can adjust to get it tight again. But as the saying goes, you can buy something once, or you can buy cheap twice. The Shoot35 CINE FF is supposed to be really good and I've heard nothing but good things about it. You might consider saving up the extra cash to buy one.

I'll try and post some clips later as I just got back from the shoot the other day.

How much for your lens?
 
If I was shooting a ceremony by myself, I'd have a camera in the back locked down on a wide shot. Then I'd operate a second camera with a (fast) telephoto zoom on a tripod from the side about halfway back.

Once the ceremony was over, I'd shoot handheld with a (fast) wide zoom and an LCDVF or LCD monitor (for low shots). As you mention, I'd never use a FF for event shooting.

Then there's always the HandySLR, which I'd probably use without the rails for a wedding. Looks like a great setup to add some stability without much bulk, and it would allow you to shoot low angle shots. But it is pretty spendy.
 
I've never shot a wedding with a T2i before, but will do about four this summer. Thanks for the observations. Here's what I've been mulling over as to a viable way to cover a wedding using T2is instead of video cameras.

For bridal prep (getting ready):
One Canon T2i with a Canon 17-55mm f2.8 IS USM lens.
The range is excellent for confined spaces and tight spots. The focal range and speed is suitable for getting ready shots. The IS helps stabilize handheld shots. Using a shoulder-mount stabilizer seems overkill and most of the time, the rig is too big to get creative shots. You can use the kit lens, but be prepared to bump up ISO to 800 at the long end.

For ceremony:
Same camera (used in bridal prep) for the processional and as the roving camera for guest B-roll and additional safety footage.

Another Canon T2i with a Canon 70-200mm f2.8 or f4.0 on a tripod. This setup placed in the back to grab the exchange of vows, if getting close is impossible.

Another option is to get a cheap Canon HV20 or the new Canon Vixia S21 for wide balcony shots. This is also good for security coverage and not prone to 12-minute clips.

For photoshoots:
Same camera as for the bridal prep. Add a fader ND filter if the photo-shoot happens outdoors. Another lens I would bring would be the 70-200mm if I'm going to get some shots from a tripod. IS version might make hand-holding possible. The kit lens is great for outdoor photoshoots and may be preferable to the 17-55mm since it is lighter, but avoid zooms as the aperture changes.

For reception:
Two Canon bodies. One on a tripod for coverage and another handheld to get different angles of the crowd, toasts, etc. For receptions which mostly happen indoors and rather low-light, I would bring along the Sigma 30mm f1.4 and either the 85mm f1.8 or 135mm f2.0. The 30mm for roving shots and dancing. The telephotos to shoot the toasts and speeches from a far distance back.

I think a two camera setup like this is feasible for a single shooter to cover a wedding comfortably.

If I were to buy the equipment, it would be:
Two T2i bodies
Canon EF-S 17-55mm f2.8 IS USM
Sigma 30mm f1.4

I would rent:
Canon EF 70-200mm f2.8 IS USM lens
Canon 85mm f1.8
Canon 135mm f2.0
 
It really would have been nice to have a second cam there, but alas no success because of the last minute implications. I know its definitely possible to shoot a two cam shoot with just one person(done it), but this wedding was moving very fast and I can't imagine picking up a second cam off a tripod while juggling my A cam.

Again I want to reiterate that this learning experience really made me want to slim everything down. As much as I want to use primes, its just so much easier to have a wide-zoom lens to change your focal lengths quickly, so you can concentrate on grabbing the shots that matter in the moment as well as the artistic shots that add to the production value of the shoot.

Its important to keep in mind too that weddings(or other live events) in general don't have the same production value as narrative, music video, commercial, etc. So to me, its so much better to have a DSLR set-up that is as close to functional as a prosumer model camera. Better to grab that "key shot" than spend your time fiddling with gear, what a hassle!
 
longshanks

B&H is going for $409
Adorama is $399
J&R is also $409

Mine's brand new, used only once.
I'm thinking about $325 shipped
 
WOW! The whole wedding with a 50mm on a crop body? Talk about limitations. I would highly recommend investing in the Canon EF-S 15-85mm f/3.5-5.6. I own the lens and by far it provides the most flexibility and quality in a non-L lens for a crop body camera. You can shoot handheld with the IS, you can shoot tight with the macro, you can get incredibly wide angle, special purpose type lens shots, and zoom in from the back of the room with minimal change in aperture. Without a doubt, this lens would be the one to take with you on any type of event videography shoots, especially those that prevent you from changing lenses, or carrying two cameras.
 
I would also suggest using a monopod. You get all of your angles and you eliminate much of the camera shake. Super simple, yet very versatile.
 
I've tried using a monopod, and it didn't work well for me. Couldn't do smooth pans, and the static shots were a bit wobbly. Non-IS lens though. I think monopods and DSLRs don't mix well, either that, or I don't have ninja-still hands!
 
KeithAndrews.TV said:
WOW! The whole wedding with a 50mm on a crop body? Talk about limitations. I would highly recommend investing in the Canon EF-S 15-85mm f/3.5-5.6. I own the lens and by far it provides the most flexibility and quality in a non-L lens for a crop body camera. You can shoot handheld with the IS, you can shoot tight with the macro, you can get incredibly wide angle, special purpose type lens shots, and zoom in from the back of the room with minimal change in aperture. Without a doubt, this lens would be the one to take with you on any type of event videography shoots, especially those that prevent you from changing lenses, or carrying two cameras.
Click to expand...

Yeah, I'm not lying to you when I say it was tough! But enough about that:violin:

How do you feel the Canon stacks up against the Tokina? What's the barrel distortion at full wide?
 
Primes are totally usable during a wedding day. You just need to know when to use them and when you have time to use them. For instance, if things are fast moving like a bride getting her dress on, it's best to use a wide to normal zoom (17-50) as you can get the maximum number of wides and closeups without missing a beat. Another zoom that is surprisingly useful during prep is a 70-200. You can stand way back and get those great candid moments without the subject knowing you're filming.

The time to use your primes (at least in my experience) is during down time. This could be while the bride is getting her hair and makeup done, detail shots, reception meeting and greeting, and open dancing. If you have a two camera setup, you can put a wide lens on one for the wide shot and pop on a fast 85mm for closeup shots of the formal dances like the first dance, father daughter dance, and mother son dance. It also works for speeches too.

When working a wedding, I'll change lenses quite a bit so what I do is strap the camera bag on my shoulder, have the lenses I want to use back lens up and switch out on the fly. It's a pretty quick setup and I don't have to go back to my bag in some corner and lose precious minutes.

Finally, I've been slowly ditching my digital lenses and opting for the old manual focus lenses. They aren't as sexy as the newer AF lenses but damn if I don't love the build of those vintage lenses. Not only are they built to last but you can really focus with confidence on those things. Anyway, congrats on your first wedding video and hope this helps for next time!

Chris W
 
I booked several weddings this summer and will be debuting my T2i in two weeks. Gotta say that I'm a little nervous to be relying on a DSLR, this will be my first paid gig using it.

I only have two lenses right now, the kit 18-55 and a Nikkor 50mm 1.8. I think I should be covered with those but might pick up a vintage 30 or 85mm on the cheap if I can.

I'll be swapping around the kit and 50mm for b-roll of the church/reception hall. I'm thinking the 50 will get the most use for that kind of stuff.

As for the ceremony I'll have an HMC-150 in the rear getting the wide shot/audio and float around with the T2i on a monopod. Once, again probably will be using the 50mm but if it's not too dark I may use the kit lense for some flexibility.

I'll try to keep it simple during the reception and lock down the HMC for a wide of the dances/toasts and float with the T2i with getting closer shots.

I know this probably isn't the ideal setup but I think that it should turn out well.
My biggest worry is actually leaving the HMC unattended to but thats a risk I'm going to take. I work for a company that does single shooter weddings and don't have the luxury of some extra hands.
 
super_plus said:
I booked several weddings this summer and will be debuting my T2i in two weeks. Gotta say that I'm a little nervous to be relying on a DSLR, this will be my first paid gig using it.

I only have two lenses right now, the kit 18-55 and a Nikkor 50mm 1.8. I think I should be covered with those but might pick up a vintage 30 or 85mm on the cheap if I can.

I'll be swapping around the kit and 50mm for b-roll of the church/reception hall. I'm thinking the 50 will get the most use for that kind of stuff.

As for the ceremony I'll have an HMC-150 in the rear getting the wide shot/audio and float around with the T2i on a monopod. Once, again probably will be using the 50mm but if it's not too dark I may use the kit lense for some flexibility.

I'll try to keep it simple during the reception and lock down the HMC for a wide of the dances/toasts and float with the T2i with getting closer shots.

I know this probably isn't the ideal setup but I think that it should turn out well.
My biggest worry is actually leaving the HMC unattended to but thats a risk I'm going to take. I work for a company that does single shooter weddings and don't have the luxury of some extra hands.
Click to expand...

Depending on the low light levels during reception, I'd rent a f1.2 50mm and stop down a couple clicks so its nice and sharp. 1.8 is a little slow especially since wedding receptions are notoriously dark.

I think you shouldn't be nervous at all, you have your HMC covering the wides and as long as your getting some tight close-ups during the ceremony it'll be fine.
 
I also just filmed my first one camera wedding. For camera support I used a monopod with a swivel head but I wish I would have had a tripod with me that was quick and easy to setup, level and use - just like the monopod was. Is there such a tripod?
 
I'm in the same boat with regard to shooting with a DSLR (5d). When working alone, I use three cameras for the ceremony, a locked down HV20 from the back for a wide shot, HMC150 locked down in a medium shot on the couple, mainly on the bride if I can't get a clear shot of both, and then I used the 5d to wander around and get nice DOF-ey closeups of the bride and groom, officiant and cutaways from the crowd.

Problems I've run into: I've been running around with the 5d on a monopod. With an IS lens, it works OK but it would be nice to have something more stable than a monopod but that wouldn't need the set up of a traditional tripod. Would a handheld/shoulder rig be steady enough considering I'm sometimes zoomed in to 135MM?

How to shoot the bride's approach? I've been using the HMC150 because I don't want to be adjusting the focus as she is coming up the aisle. Do people have success using a Loupe (Ive got one on the way) and follow focus to catch her approach?

During the reception I try to use the 5d as much as possible because of the low light capabilities but I run into that same shakey footage people being in and out of focus problems (especially since I'm often shooting at 2.8 and below).

My stuff has come out OK, but I'm really working to find the best solutions for these situations.

g.
 
It probably sounds weird, but I swear by the Cheesycam body pod idea. $10 monopod from Radio Shack, plus a good ball head and a quick release on top of that (I use the same quick release receiver on my tripod so I can jump to the tripod when I need it.

This cut off monopod steadies up real sweet using a stabilized lens, and hanging off the back strap and propped against the hip I get no arm fatigue. Panning from the hips around the pod axis can be learned.

One tip. Cheesycam guy doesn't give specifics about cutting the pod. Bear in mind that the smaller diameter shafts need to be 1/2" to 1" longer than each larger one, so that you can build stops to keep the shafts from coming all the way out. I cut slices part way through the shafts and use a rubber mallet to slightly crush them. Then the shafts won't slip out. You'll see when you try it. Just think and measure before you cut.
 
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