Highlights and Case Study

Typically, there are two separate films made from the footage my team and I capture at weddings: one short film for social media and one longer film generally for personal viewing. The longer films have more shots of decorations and venue, smaller details, and sometimes voice-over as well (such as spoken vows, personal messages, etc.). Not all weddings are the same and as such all photography and video packages presented to the client are unique to their needs and the conditions of the wedding. 

Naomie and Hunter's wordmark

     Their video opens with a wordmark which I created to accompany any online media from the wedding. While this sort of thing isn't always implemented I thought it would give the video a nice personal touch.

     For this wedding we had two photographers and one videographer (all with different viewpoints), so there was a surplus of photography to accent the video where needed. A photo was also used to create a zoom-out, snapshot type of moment after the couple walked down the aisle.

     I should add that the score was commissioned by local Atlanta composer/musician Future Form. I gave him free range to improvise whatever he wanted before the ceremony, helping with very minor details during the process. For the ceremony, a rendition of Vance Joy's "Riptide" was used (the song they walked down the aisle and had their first dance to).

     At the 4:19 mark, another photograph was used to accent the film; only this time, I used one photograph to create a 2.5D parallax effect. One photograph is chosen, separated into layers in Photoshop (9 layers in this example), and positioned and moved in a 3D space in software (After Effects). It sounds a bit more complicated than it is, but it is undoubtedly time consuming if the effect is to be aesthetically enjoyable. This particular parallax clip took about 3 hours to get just right for about 9 seconds of video. The second and more simpler parallax is seen at the close of the video with the couple and the wordmark on screen at the same time.

     For the photography, there was some substantial Photoshopping necessary to deliver what I felt was a sufficiently appealing product. While this type of dramatic editing isn't always necessary--I would prefer to have everything done in camera--sometimes it is unavoidable. There will undoubtedly be factors beyond our control during a wedding, such as natural lighting, location changes, and time scheduling conflicts during the big day.

     Look at the difference between these two photographs:

The photo on the right is unedited. You can see there has been substantial photoshopping of the environment to make it more appealing. While I didn't necessarily change the essence of the location, I did remove objects from it.

     Here is another example:

Again, the photo on the right is obviously out-of-camera. In this instance, it took longer than than allotted for some of the wedding party to get ready which in turn afforded us less time for portraiture. This time shift also left us with almost no natural lighting, which is not ideal. Once group portraits were completed, I was given a 10-minute window with the bride and groom for the couple's photos. I grabbed my Gary Fong diffuser, my 70-200mm lens, and a golf cart and we drove to a location I had eyed earlier. At this point the light was all but gone, but after some editing the final product turned out just fine. This kind of adaptability and problem solving is very beneficial in wedding photography.

Here are some of the photograph highlights: