Techniques for Weddings Cinematography

Techniques for Weddings Cinematography 

A marriage is one of the most special occasions in a person's life. A lot of planning goes into making it a successful event. It is an occasion to remember and what better way to immortalize it than to have it all captured on film. However, you do not want just another boring video. With a lot of planning having gone into making the occasion a success, it is only fair that as much planning goes into putting together a unique film. We are talking about cinematography here. This is very different from taking a video. Cinematography involves a lot of creativity, it is an art and the resulting film is not just the capturing of an event, but tells a story and conveys the poignancy of the ceremony and celebration. The shooting technique and the image quality in cinematography are different to that of a video.

Here are some pointers:

Begin by attending the rehearsal. This gives you a chance to check out the place for the layout, the lighting and to plan how you want to take your shots.

Spend some time with the bride and groom to get an idea of what kind of shots they would like and who they would like to have in them. Most often they may not know exactly what they want, so do discuss the style of shoot you have in mind.

Get hold of the schedule of events for the day of the shoot.

If you are using more than one camera, make sure the settings of the white balance are synchronized. Discuss before hand as to which camera would cover which area.

Most importantly, make sure you have enough battery power and storage devices to see you through the whole event.

The bride and groom will start out from two different places and you will need to make sure that there are cameras in both locations.

Get to the venue earlier than the actual ceremony to be able to get pictures of the décor and the arrival of the guests.

Capture moving and spontaneous moments such as:
a) The intensity of emotions on the faces of the parents of the bride. 
b) The smile on the bride's face as the groom puts the ring on her finger. 
c) The groom's face as he waits for the bride to arrive. 
d) The ring bearer kissing the cheek of the flower girl.

The most important part of putting the film together is the editing. Some of the special effects that can be used are:
a) A mixed media style of formats 
b) A grainy documentary style 
c) Sepia tones 
d) Soft filters 
e) Slow motion with soft music

Preserve the ambience of the occasion. Use fonts, colors and music that enhance the storytelling. It may be a good idea to use the color theme of the bridesmaid's dresses for the fonts and titles.

Together with a lot of creativity and the tips given here, it is possible to create a memorable and poignant film of that special day of celebration, a film that will last to the end of time.

A wedding is one of the most special of occasions. Every couple would like to have that day captured like a film. 


Article Source: http://EzineArticles/8322875

Increase Your Earning Potential by Becoming a Legal Video Specialist

Increase Your Earning Potential by Becoming a Legal Video Specialist

Legal video is a fast-growing specialty area for independent videographers and small video business owners. And a good place to start in legal video is by taping depositions – a person’s testimony that may be introduced as evidence at a trial. It’s fairly easy work; shoot a subject being interviewed and capture what he or she says. 

There’s little or no post production, no music, voice-over narration, titles or motion graphics. In fact, most video depositions require just basic equipment. But that doesn’t mean there isn’t skill involved. Video depositions are considered legal documents and must be done a certain way in order to hold up in court. No untrained operator with a cheap little camera and a built-in mic is going to get this kind of work.

A legal video production business is a recession-resistant one. When times are tough, there’s a natural increase in lawsuits which, in turn, results in more work for legal video specialists. The video deposition business can be an ideal sideline for the videographer who is available during normal business hours since most depositions occur on weekdays between 9 am and 5 pm.

No Prior Legal Experience Necessary
The good news is that you CAN get this work. There is no prior legal videotaping experience necessary. If you enjoy using your camcorder, and have some basic dependable equipment, you can do it too. (For those of you who already own a ton of equipment and a wealth of experience, you may even have to unlearn a bit because depositions are legal documents and must be done a certain way.)

If you’re up to learning a new way to earn some good money – we’ve got what you need to succeed.

Golden Rules of Movie Making

Danny Boyle has directed hit films in a wide array of genres—from the cautionary drug saga Trainspotting to the inspirational, Oscar-winning drama Slumdog Millionaire. In 2010, Danny Boyle enumerated his 15 Golden Rules of filmmaking exclusively for MovieMaker Magazine, just as 127 Hours hit theaters. His latest film, Trance, is still trolling around in theaters.

1. A DIRECTOR MUST BE A PEOPLE PERSON • Ninety-five percent of your job is handling personnel. People who’ve never done it imagine that it’s some act, like painting a Picasso from a blank canvas, but it’s not like that. Directing is mostly about handling people’s egos, vulnerabilities and moods. It’s all about trying to bring everybody to a boil at the right moment. You’ve got to make sure everyone is in the same film. It sounds stupidly simple, like ‘Of course they’re in the same film!’ But you see films all the time where people are clearly not in the same film together.

2. HIRE TALENTED PEOPLE • Your main job as a director is to hire talented people and get the space right for them to work in. I have a lot of respect for actors when they’re performing, and I expect people to behave. I don’t want to see people reading newspapers behind the camera or whispering or anything like that.

3. LEARN TO TRUST YOUR INSTINCTS • Ideally, you make a film up as you go along. I don’t mean that you’re irresponsible and you’ve literally got no idea, but the ideal is that you’ve covered everything—every angle—so that you’re free to do it any of those ways. Even on low-budget films, you have financial responsibilities. Should you fuck it up, you can still fall back on one of those ways of doing it. You’ve got Plan A to go back to, even though you should always make it with Plan B if you can. That way keeps it fresh for the actors, and for you.

4. FILM HAPPENS IN THE MOMENT • What’s extraordinary about film is that you make it on the day, and then it’s like that forever more. On that day, the actor may have broken up with his wife the night before, so he’s inevitably going to read a scene differently. He’s going to be a different person.
I come from theater, which is live and changes every night. I thought film was going to be the opposite of that, but it’s not. It changes every time you watch it: Different audiences, different places, different moods that you’re in. The thing is logically fixed, but it still changes all the time. You have to get your head around that.

5. IF YOUR LAST FILM WAS A SMASH HIT, DON’T PANIC • I had an obsession with the story of 127 Hours, which pre-dated Slumdog Millionaire. But I know—because I’m not an idiot—that the only reason [the studio] allowed us to make it was because Slumdog made buckets of money for them and they felt an obligation of sorts. Not an obligation to let me do whatever I want, but you kind of get a free go on the merry-go-round.

6. DON’T BE AFRAID TO TELL STORIES ABOUT OTHER CULTURES • You can’t just hijack a culture for your story, but you can benefit from it. If you go into it with the right attitude, you can learn a lot about yourself, as well as about the potential of film in other cultures, which is something we tried to do withSlumdog Millionaire… Most films are still made in America, about Americans, and that’s fine. But things are changing and I think Slumdog was evidence of that. There will be more evidence as we go on.

7. USE YOUR POWER FOR GOOD • You have so much power as director that if you’re any good at all, you should be able to use that to the benefit of everyone. You have so much power to shape the movie the way you want it that, if you’re on form and you’ve done your prep right and you’re ready, you should be able to make a decent job of it with the other people.

8. DON’T HAVE AN EGO • Your working process—the way you treat people, your belief in people—will ultimately be reflected in the product itself. The means of production are just as important as what you produce. Not everyone believes that, but I do. I won’t stand for anyone being treated badly by anyone. I don’t like anyone shouting or abusing people or anything like that. You see people sometimes who are waiting for you to be like that, because they’ve had an experience like that in the past, but I’m not a believer in that. The texture of a film is affected very much by the honor with which you make it.

9. MAKE THE TEST SCREENING PROCESS WORK FOR YOU • Test screenings are tough. It makes you nervous, exposing the film, but they’re very important and I've learned a great deal from using them. Not so much from the whole process of cards and the discussions afterwards, but the live experience of sitting in an auditorium with an audience that doesn't know much about the story you’re going to tell them—I find that so valuable. I've learned not so much to like it, but to value how important it is. I think you have to, really.

10. COME TO THE SET WITH A LOOK BOOK • I always have a bible of photographs, images by which I illustrate a film. I don’t mean strict storyboards, I just mean for inspiration for scenes, for images, for ideas, for characters, for costumes, even for props. These images can come from anywhere. They can come from obvious places like great photographers, or they can come from magazine advertisements—anywhere, really. I compile them into a book and I always have it with me and I show it to the actors, the crew, everybody!

11. EVEN PERFECT FORMULAS DON’T ALWAYS WORK • As a director your job is to find the pulse of the film through the actors, which is partly linked to their talent and partly to their charisma. Charisma is a bit indefinable, thank God, or else it would be prescribed in the way that you chemically make a new painkiller. In the movies—and this leads to a lot of tragedy and heartache—you can sometimes have the most perfect formula and it still doesn’t work. That’s a reality that we are all victims of sometimes and benefit from at other times. But if you follow your own instincts and make a leap of faith, then you can at least be proud of the way you did it.

12. TAKE INSPIRATION WHERE YOU FIND IT • When we were promoting Slumdog Millionaire, we were kind of side-by-side with Darren Aronofsky, who was also with Fox Searchlight and was promoting The Wrestler. I watched it and it was really interesting; Darren just decided that he was going to follow this actor around, and it was wonderful. I thought, ‘I want to make a film like that. I want to see if I can make a film like that.’ It’s a film about one actor. It’s about the monolithic nature of film sometimes, you know? It’s about a dominant performance.

13. PUSH THE PRAM • I think you should always try to push things as far as you can, really. I call it “pushing the pram.” You know, like a stroller that you push a baby around in? I think you should always push the pram to the edge of the cliff—that’s what people go to the cinema for. This could apply to a romantic comedy; you push anything as far as it will stretch. I think that’s one of your duties as a director… You’ll only ever regret not doing that, not having pushed it. If you do your job well, you’ll be amazed at how far the audience will go with you. They’ll go a long, long way—they’ve already come a long way just to see your movie!

14. ALWAYS GIVE 100 PERCENT • You should be working at your absolute maximum, all the time. Whether you’re credited with stuff in the end doesn’t really matter. Focus on pushing yourself as much as you can. I tend not to write, but I love bouncing off of writing; I love having the writers write and then me bouncing off of it. I bounce off writers the same way I bounce off actors.

15. FIND YOUR OWN “ESQUE” • A lesson I learned from A Life Less Ordinary was about changing a tone—I’m not sure you can do that. We changed the tone to a kind of Capra-esque tone, and whenever you do anything more “esque,” you’re in trouble. That would be one of my rules: No “esques.” Don’t try to Coen-esque anything or Capra-esque anything or Tarkovsky-esque anything, because you’ll just get yourself in a lot of trouble. You have to find your own “esque” and then stick to it.

About Seventh May Infotainment

ABOUT US

From a small town event management firm, to the Economical Capital of India, Mumbai, Seventh may Infotainment is all set to make a mark in the Entertainment Industry.

With a team of young and creative individuals and enthusiastic minds, Seventh May Infotainment Produces and helps in making films of all lengths and types i.e. Short films, Documentaries, corporate films, Advertisements, Music albums of all sorts like Fun, Romantic, Devotional, Classical Music Albums, Wedding Videos and Feature films in Hindi ,English and all Indian regional languages.

 We produce,Marathi content under the banner called ‘SAPTTARA’.

 Theater or Drama is a very famous art form in Maharashtra and a Marathi play called ‘DEKHO MAGAR DHYAN SE” was arranged and staged by us. We could thus arrange any dramas for your Club and societies  for Annual gatherings and Festivals.

We believe useful information which looks Small, but has the power to make positive changes in society and an individual’s life, must be shared with people to improve their lives. All sorts of information which ease one’s life will be gathered produced and made available through our blog and Video Channel i.e. seventh May Info.

Every individual must get a good dose of entertainment. For that we produce quality entertainment videos for our digital Video channel Seventh May Fun. We welcome all to share their original entertainment videos through our entertainment digital video channel Seventh May Fun.

OUR TEAM:

NITIN K GIRI Director, VIJAY MISHRA Director

ROHIT YEOLE “GURU” Photographer, Cinematographer

SIRAJ AHMEDWriter and Creative Visualiser

Karan Singh Designer and Make up Artist

SERVICES

We Create:

Short Films, Documentaries, Corporate Films, Advertisement Films, Music albums, Devotional and Classical Music albums, Wedding Videos and Feature films.

We welcome Corporate and Individuals to make their Feature films with us on their Idea or Concept or join us on our projects. We provide full production support right from concept development to the release of the film.

We do all kinds of Photography which includes Product or Table top,Catalog, Fashion, Portfolio, Events and Wedding Photography.

We do digital release of films, Music albums, and Devotional and Classical Music albums.

We do web Designing and hosting along with Digital marketing which includes SMO, SEO, bulk emails and viral.

 Our Upcoming Video Channels are

SEVENTHMAYINFO

SEVENTHMAYFUN

SEVENTHMAYMOVIE

SEVENTHMAYPROMOS

SEVENTHMAYSHORTS