click to see their epic conclusion - vimeo.com/61579213
similar to the rings shots of 2007, trash the dress of 2008, i would say that wedding concept films are currently very popular in the wedding film making industry today.
when sameer + priya approached me to re-create their engagement i wasn't sure exactly how to approach it. at first thought, i had visions of wedding concept films that more then often are over dramatized, over/under acted; and/or utilized concepts that to me seem to have little to do with the couples real interests and personas.
ultimately; my approach was to have sameer + priya drive their engagement story via their narrative, combined with the footage to shot to help visually unfold their story. simple + sweet.
the goal was that this would be the first concept film that would be fun, cinematic but ultimately real (as possible).
TECHNICAL + PRODUCTION TIDBITS for my industry friends and colleagues.
shot with one cinematographer over the course of 3 days in NJ (think jersey shore) with a single Canon 5D MK II.
the interviews were shot in natural light during the right time of day with a 5$ bounce card from walmart for fill.
only several key sequences were storyboarded. with most of the sequences designed on the spot.
the opening graphic was quickly animated by mark.
everything shot in 24p mode, unless it was EXTREMELY windy (at sandy hook beach i had to overcrank my footage to via shooting in 30p)
COLOR CORRECTION was via combination of fcp rgb balance, 2-way + 3-way colour corrector + newbluefx + modified mb filters.
for my 'slower' lenses in lower light setttings (ie. f 2.8's); i employ the Cinestyle custom profile. This profile can extend the dynamic range in lower light conditions, but the image is horribly flat straight out of the camera and requires a very strong understanding of colour theory and cleanup ability to make the image feel warm and rich in tone, color and contrast.
-Canon 45 TSE 2.8 - i utilized the tilt-shift heavily for this piece to further certain shots and sequences in which i felt would add an additional dimension in emphasizing the dream like state under which the engagement story was told. this lens is my lens choice in the tilt-shift family as it is closest to 35-50mm (my preferred focal lengths)
-cinevate atlas 30,
-manfrotto monopod 561hdv - best overall value for your money
-additional stabilization in post provided my grateful sponsor NEWBLUE FX stabilizer. it is quicker, faster, more intuitive to use and more cost effective then all the competitors in the image stabilization software market.
to those starting to tackle wedding concept films or even wedding cinematography in general, remember that sometimes less is more; as in more genuine.
i have an abundance of wedding films (including sameer + priya's highlights) and commercials to showcase shortly.
PAST EDUCATIONAL SCHEDULE
COLOR CORRECTION + 1-ON-1 CONSULTATION
adobe HQ - san francisco; usa // bay area videographers association // oct 2012
CINEMATOGRAPHY + COLOR CORRECTION
boracay; philipines // mayad academy //july 2012
myw is honoured to share the stage alongside some of Philippines top event/broadcast talent
CINEMATOGRAPHY + COLOR CORRECTION + STORYTELLING + MAIN FEATURE DISSECTION
university of sydney; australia // exposed down under // july 2012
myw returns to Australia for the first time in 2 years as the lead educator for this annual event
STORYTELLING + 1-ON-1 CONSULTATION
south carolina USA // infocus // jan 2012
*thank you to my friends, colleagues + students alike for the wonderful reception given to me*
STORYTELLING + COLOR CORRECTION + KRAZY COVERAGE + CORPORATE COMMERCIALS
honolulu hawaii USA // filmfoundry // feb 2011
miami florida USA // ray roman workshop // june 2010
This is a short film based on the true love story of Dylan and Joanne. What's interesting about this film is that we try to tell their story in a different presentation style and move more in the direction of a short film than a music video or a dramatized documentary and we think it worked out well.
We had great fun shooting this film. As there were many locations to cover, we had to move and shoot fast. For most of the shoots, we were blessed with good weather. However, it started raining when we were about to shoot the 2nd last scene (Dylan's phone call with his mum in the car). We decided to change the original indoor scene to an outdoor car scene, braving the rain with an umbrella. With Dylan and Joanne in the car on a rainy evening, this further heightens the air of romance of the story.