Key Takeaways

Frame Rates: The Rhythm of Motion

Frame rate is how many individual images your camera captures per second. Different frame rates create different feelings and serve different purposes.

Common Frame Rates

24fps (23.976fps): The "cinematic" look. This is what movies have used for a century. Motion has a slight dreaminess—not hyper-smooth but not choppy. Standard for wedding films.

30fps (29.97fps): Standard for broadcast TV and much online content. Slightly smoother than 24fps, slightly less "cinematic." Works fine for weddings but 24fps is preferred by most filmmakers.

60fps: Very smooth motion. Good for fast action that will be played back at 60fps. More commonly, 60fps footage is slowed to 24fps in post, creating 2.5x slow motion.

120fps and higher: For significant slow motion. 120fps slowed to 24fps = 5x slow motion. Dreamy, dramatic slow-motion moments.

When to Use Each

Scenario	Frame Rate	Purpose
Ceremony	24fps	Standard playback
Vow exchange close-up	60fps	Optional slow-mo for emotion
First look reveal	60-120fps	Slow motion for drama
Reception candids	24fps	Standard playback
First dance	24fps + 60fps	Mix of real-time and slow-mo
Confetti/exit	120fps	Dramatic slow motion

The 180-Degree Shutter Rule

In video, shutter speed follows a specific relationship to frame rate for natural-looking motion.

The Rule

Set your shutter speed to approximately double your frame rate:

• 24fps → 1/50 shutter
• 30fps → 1/60 shutter
• 60fps → 1/125 shutter
• 120fps → 1/250 shutter

Why It Matters

This creates natural motion blur. Too fast a shutter (1/500 at 24fps) creates sharp, staccato motion that looks jarring. Too slow (1/24 at 24fps) creates excessive blur and ghosting.

The 180-degree rule mimics how film cameras worked—their rotary shutters opened for half the frame time (180 degrees of a 360-degree rotation). Our eyes have been trained by a century of cinema to expect this motion blur.

ND Filters for Video

Outdoors at 24fps with 1/50 shutter, even at ISO 100 and f/8 you may be overexposed. ND (neutral density) filters reduce light entering the lens, letting you maintain the 180-degree rule in bright conditions while keeping a wide aperture for shallow depth of field.

Variable ND filters (2-5 stops) are popular for run-and-gun wedding work. Fixed NDs in strengths of 3, 6, and 10 stops offer higher quality for critical work.

Camera Movement

Movement creates energy, reveals information, and guides emotion. Each type of movement serves a purpose.

Static Shots

Camera locked on a tripod, no movement. Creates stability, formality, observation. Good for ceremonies, speeches, formal moments. Don't underestimate static shots—they're essential for pacing and let viewers absorb the scene.

Pan

Camera rotates horizontally on its axis (like shaking your head "no"). Reveals wide spaces, follows subjects moving horizontally, or transitions between subjects. Use fluid head for smooth motion.

Tilt

Camera rotates vertically on its axis (like nodding "yes"). Reveals height—tilting up a dress, showing a tall venue, following a toast rising.

Tracking/Dolly

Camera moves through space alongside or toward the subject. Creates immersion and energy. Achieved with dolly, slider, or gimbal. Walking with a gimbal is the most common wedding tracking shot.

Push In / Pull Back

Moving the camera toward (push) or away from (pull) the subject. Push in creates intimacy and emphasis. Pull back reveals context. Powerful for emotional moments.

Orbit

Camera circles around the subject. Creates dynamism and emphasizes the subject as the center of attention. Common gimbal move for couple portraits.

Crane/Jib

Camera moves vertically through space—up or down. Creates grand reveals. Less common in wedding work due to equipment requirements, but drone shots serve similar purposes.

Shot Types and Sizes

Wide Shot (WS) / Establishing Shot

Shows the entire scene—the venue, the beach, the ballroom. Establishes location and context. Opens sequences and transitions between locations.

Full Shot (FS)

Subject's full body visible in frame. Shows movement and body language. The bride walking, the couple dancing.

Medium Shot (MS)

Subject from roughly waist up. Balances subject with environment. Conversations, speeches, ceremony coverage.

Medium Close-Up (MCU)

Subject from chest up. More intimate than medium, shows facial expressions clearly. Interview framing, reaction shots.

Close-Up (CU)

Face fills most of the frame. Shows emotion and detail. Tears, smiles, vow delivery. Powerful and intimate.

Extreme Close-Up (ECU)

A portion of the face or a small detail fills the frame. Eyes, rings, hands clasping. Maximum emotional impact.

Insert / Detail Shot

Non-subject detail that adds meaning. Rings, flowers, invitations, hands, feet. Essential for sequences and transitions.

Building Sequences

Film is sequences of shots edited together. A single shot rarely tells a complete story—sequences do.

The Three-Shot Sequence

The simplest complete sequence:

1. Wide: Establish the scene
2. Medium: Show the action
3. Close: Reveal the emotion

Coverage Strategy

For any moment, capture multiple shot sizes. This gives you editing options. If you only shoot wide, you can't cut to a close-up in editing. If you only shoot close, you can't establish the scene.

Experienced videographers think in sequences. They anticipate: "For this moment, I need a wide establishing shot, a medium of the action, and close-ups of reactions."

Cutting Points

Shots cut together best when there's significant change between them. Wide to close works. Wide to slightly-less-wide (jump cut) feels jarring. Change focal length meaningfully when cutting.

Video Thinking vs. Photo Thinking

Photographers and videographers approach the same scene differently.

Photographers Think in Moments

One perfect frame captures the peak moment. Before and after don't matter if that frame is perfect.

Videographers Think in Sequences

The moment builds, peaks, and resolves. You need the before and after to tell the story. A video of just peak moments without context is unwatchable.

Hybrid Thinking

Modern wedding professionals often shoot both. The mental shift requires practice:

• Start recording early: The approach is part of the story
• Hold shots longer: Give yourself editing room
• Vary shot sizes: Think in sequences, not single frames
• Let moments breathe: Not everything needs to be at peak intensity

Audio: Half of Cinema

We covered audio gear in Module 1, but it's worth emphasizing: audio is half of cinema. Bad audio ruins great video. Good audio elevates mediocre footage.

Audio-Video Relationship

• Vows and speeches: Audio-led moments where visuals support what's being said
• Music montages: Visuals-led moments where audio sets mood
• Ambient scenes: Natural sound creates sense of place

Recording for Edit

Record more audio than you think you'll need. Natural sound, ambient room tone, complete speeches without gaps. In editing, you'll be grateful for options.

Hawaii Cinematography Opportunities

Drone Footage

Aerial views of Hawaiian landscapes create unforgettable opening sequences. Couple on a beach with volcanic mountains behind, ocean stretching to horizon—these shots define Hawaii wedding films.

Note: Drone regulations in Hawaii are strict. Many venues and parks prohibit drones. Always research and obtain permits where required.

Natural Sequences

Hawaii provides built-in B-roll: crashing waves, swaying palms, tropical flowers, dramatic clouds. These insert shots elevate transitions and establish the Hawaii atmosphere.

Golden Hour Drama

Hawaiian sunsets are legendary. Plan for couple portraits during golden hour—the combination of backlight, warm tones, and ocean creates footage that sells itself.

Slow Motion Water

Waves at 120fps become hypnotic. Water droplets, surf spray, even light rain in slow motion adds production value unique to beach weddings.

Practice Exercises

1. Frame rate comparison: Record the same action at 24, 60, and 120fps. Slow the higher rates to 24fps in editing. Compare the feeling.
2. Shutter speed test: Record the same action at 1/50, 1/200, and 1/1000 shutter at 24fps. Compare motion blur and feeling.
3. Movement vocabulary: Practice each movement type (pan, tilt, push, pull, orbit) on a single subject. Identify which feels best for different emotions.
4. Sequence building: Record a simple action (making coffee, opening a door) using wide, medium, close, and detail shots. Edit into a smooth sequence.
5. Static discipline: Shoot 20 tripod shots where you resist the urge to move. Hold each shot for 10+ seconds. Learn the power of stillness.

Summary

Cinematography is the art of visual storytelling through moving images. Key principles:

• Frame rates: 24fps for standard cinematic look; higher rates for slow motion options
• 180-degree rule: Shutter at double frame rate for natural motion blur
• Movement: Each movement type creates different feelings; match movement to moment
• Shot sizes: Wide establishes, medium shows action, close reveals emotion
• Sequences: Think in sequences of shots, not individual images
• Audio: Half of cinema—never neglect it

Photography captures decisive moments. Cinematography captures the flow of moments—the anticipation, the peak, the reaction. Both are valid; both require mastery. The best wedding professionals understand and practice both, knowing when each serves the story best.