7 Shot Setups For Better Church Videos (no more boring clips)

Brady Shearer: Creating dramatic and cinematic movies on your church is what this episode of Pro Church Instruments is all about as we break down seven eye-popping shot setups which you could copy and start utilizing immediately. By the top of this podcast, you’ll have a bag filled with tips that you would be able to attain into next time you could have a digital camera in your hand.
Alex Mills: Properly, hey there and welcome to Pro Church Instruments. This can be a show that will help you share the message of Jesus while we navigate the most important communication shift in 500 years. I’m your host, Alex Mills, joined as all the time by Brady Shearer.
Brady Shearer: We wanna use this episode, Alex, to inspire the videographers and cinematographers in Professional Church Nation. Next time you’re taking out your digital camera and also you’re making an attempt to create a visually appealing, dynamic, recent, not boring shot, what are you gonna do? I’ve seven specific composition shot setups that I exploit repeatedly when I have a digital camera in my hand or a drone controller in my hand. So we wanna stroll by way of every individually with a number of examples and describe methods to accomplish these, the time of day, and we’re additionally going to match easy methods to accomplish these if all you probably did was shoot these photographs in your church through the service.
Brady Shearer: So all of those examples, or a lot of the examples you’re going to see, are like outside examples, but in case you have been just gonna shoot this actual sort of shot in your church’s service, you are able to do the identical factor. We’ll describe those as properly.
Alex Mills: And if I’ll steal a bit bit of thunder from the videographers and cinematographers on the market, I’ve employed every single one among the following pointers and techniques as a photographer and into nonetheless imagery. So should you’re capturing photographs of your pastor preaching or individuals within the café before the service or should you’re capturing pictures outdoors for sermon graphic perhaps, all of these apply to nonetheless pictures as nicely.
Brady Shearer: Shot setup number one, I call this sunbeam on the edge of the frame.
Alex Mills: Certainly one of my favorites.
Brady Shearer: So this is very simple. Principally the solar is out, time of day you wanna shoot that is in golden hour when the solar is low to the horizon. That’s gonna be one of the best time to perform this shot. And you frame your subject, you body your shot in only a approach that the sun is at the very fringe of the best or left of the body. And what this accomplishes is a variety of different things. By getting the sunbeam on the edge, it obviously makes the shot rather a lot more dynamic since you’re manufacturing a lens flare, typically the sunshine on the edge of the body can kinda shiny with these pointy rays.
Alex Mills: Yeah, it dances virtually typically too.
Brady Shearer: That’s a artistic method of saying it. I’m saying pointy rays. Yeah, it just dances. The poetry of the shot. And it may possibly create a flare on the reverse aspect of the frame. It additionally additionally, also additionally, appears like a light-weight leak, like a type of previous classic lenses, kinda broken.
Alex Mills: Yeah, like those filters we used to use on Instagram.
Brady Shearer: Yeah, yeah, yeah, obtain genuine mild leak. You possibly can just add it in premier. Every movie photographer is like, that is …
Alex Mills: Or mild leak transitions.
Brady Shearer: Oh, that was a superb one as nicely. So that you’re kinda manufacturing a type of. Typically also in the event you’re shifting the digital camera, that edge mild beam will sort of wash all the frame in like a pinkish hue or a blueish hue. When you’re gonna do this in your church, what you wanna do is principally take a type of LED lights that you simply’ve received happening and place it where it’s simply kinda creeping in to the sting of the frame. Perhaps it’s blue, perhaps it’s pink, perhaps it’s green. And it’s gonna give a very cool look to the general clip.
Alex Mills: Yeah, and some technical ideas, particularly in case you are outdoors and making an attempt to do that with the sun like a few of these examples that you simply’re seeing on the display are, when you’ve ever seen a type of pictures or movies where the solar has these really defined pointy rays, as you’d say, the best way to accomplish that, so in the event you had your aperture blade stopped all the best way down, so like 1.four, let’s say, you will get some very cool solar flares, however it’s gonna be very washed. But in case you crank up that aperture to 11, 13, 15, that’s whenever you begin to see those rays get actually defined. So it kinda is determined by what kind of look you’re making an attempt to perform. After which also, should you’re outdoors, or even this is gonna work with those LED lights as nicely, for those who kinda body up that shot and get that mild where you want it, for those who kinda tilt your digital camera around, you’re gonna see that mild bounce off your aperture blades in completely alternative ways. So simply by probably the most minuscule tilt of the wrist, you will get actually drastically totally different shapes and textures and lights even after you’ve obtained your framing set.
Alex Mills: So have fun with this and mess around. It’s one in every of my favorite things to do to play with these sort of mild sources. Particularly in the event you’re in church and also you’re filming your pastor or the worship and you’ve acquired a black background, and let’s say you’re utilizing the actual thirds and also you’ve positioned your topic off to the left third, on the best, should you throw some mild in there, it’s all black, but in case you body that LED mild just on the aspect, you’re gonna get that pop of shade, that pop of interest, of intrigue, and all you needed to do was body your shot in a different way. So that is undoubtedly one among my favourite issues to employ once I’m capturing just about anything.
Brady Shearer: Shot setup quantity two, similar time of day, golden hour, right here what you’re gonna do is as an alternative of positioning the solar or your mild source to the sting of the body, you’re gonna use the thing within your frame to dam out that mild source and also you’re gonna create a very golden or simply really bursting with shade silhouette the place that mild source is making an attempt to get by means of that object. After which what you can do is you’ll be able to move your physique or move the digital camera in such a approach where you reveal that mild source, and then abruptly you get the light beam, the light leak, the lens flare, throughout the display in a lovely, lovely means. In this instance here, we’re doing that with a cross. This scene was not set up in … it seems to be cool right here, however we have been there. Principally we just took a cross, we put it in some cinder blocks on this barren area. It was next to some manufacturing plant. It wasn’t precisely lovely. We waited for the proper time of day, and with this shot, the sun is true behind that middle beam of the cross. And as I move my physique, the digital camera, the beam gets blocked by the cross and then it exposes and it comes out and there’s that lovely dramatic flair.
Alex Mills: You can do the identical factor for those who’re capturing in church, especially in a worship service. When you’ve acquired individuals’s palms raised in music and you’ve acquired some LEDs up on the stage which are capturing out, you possibly can position yourself behind that hand and shoot in the direction of that hand and use the hand to block out the light, and we’ve finished this in church settings as properly where you’ll get these actually cool rays of sunshine virtually shining by means of the fingers and illuminating the hand. So you will get actually artistic with this. Clearly you wouldn’t wanna do that with a subject that’s a person, so you wouldn’t really wanna put the sunshine behind your pastor because then your pastor’s gonna be silhouetted and also you’re making an attempt to do something actually inventive once we simply wanna see your pastor’s face. So use this one sparingly and thoughtfully, however you will get some really great outcomes.
Brady Shearer: Shot setup quantity three is the background foreground shot setup the place there’s an element within the foreground of your body but there’s also the primary component in the background. So on this first instance, for those which are listening, principally we now have the skyline of Toronto. So skyline, massive metropolitan metropolis. We’re taking a look at it from throughout a lake. So if we have been gonna add any motion with perhaps a digital camera on a slider, even bodily movement, shifting laterally, it wouldn’t be evident within the video as a result of our subject is so distant. So what can we do to compensate for that? We add a foreground component inside the body. So here there was a fence in front of the lake so individuals don’t fall in, and we used the top rail on that fence as the foreground factor, and as we move the digital camera fairly close to that higher rail on the fence, it seems like the entire image is shifting. It’s not. We’re very distant and that movement wouldn’t be evident at all to the CN tower within the middle of the frame. However as a result of that foreground factor is there, it really works rather well.
Brady Shearer: We did that same scene. We set up that cross in the cinder blocks. There’s numerous high grass around there, and we used that prime grass to create depth within the shot. So there’s a pair belongings you’re carrying out with the background foreground component shot setup. One, you’re manufacturing motion in a scene where motion might or might not exist otherwise. However you’re also creating depth, and any time you’ll be able to create depth, shallow depth of subject, you get a more rich wanting image general. You are able to do this any time of day.
Alex Mills: Yeah, we now have to do this on a regular basis once we’re capturing aerial clips, especially I’m fascinated by sometime, we have been in Iceland. You’re filming the most important, most majestic mountain you’ve ever seen, flying one million miles an hour at one million miles in the sky.
Brady Shearer: Undoubtedly maintaining within laws, all the time.
Alex Mills: It’s like, why does it seem like we’re just parked within the sky, not shifting? So typically it’s a must to get artistic and find a tree or another mountain peak to put in that foreground to point out, oh no, we’re shifting pretty quick here, and to point out the size of that background factor, which is what you’re making an attempt to exaggerate, the size of this mountain, or in this case the town scape of Toronto.
Brady Shearer: We’ve completed this in service the place I’m taking a video of a keyboard participant and I’ll put the concentrate on their arms. I’ll stoop right down to the extent of their palms, the level of the keys themselves, and the foreground component will be the edge of the keyboard, which takes a reasonably static shot of somebody just enjoying keys and it creates, manufactures so much more depth within the frame.
Alex Mills: So good.
Brady Shearer: Shot setup quantity four, vast angle lens dealing with up with movement. You’ve seen we’ve given very artistic names to all of those. Fairly technical.
Alex Mills: We needed to be explicitly clear what this shot is.
Brady Shearer: And I have gotten carried away prior to now with overly poetic names of Faucet-Faucet-Taperoo technique. I didn’t go that course.
Alex Mills: Vast angle dealing with up with motion. That says all of it. Next.
Brady Shearer: At the very least the setup is straightforward. In the event you keep in mind this identify, you gained’t overlook methods to achieve the shot. You want a wide angle lens on the digital camera. The rationale for that’s that vast angle lenses dramatically improve the compression of the shot, which increases the perceived …
Alex Mills: Area of view.
Brady Shearer: Measurement. Bigness. It increases the bigness, actually. So that is nice if you find yourself dealing with upwards because it dramatically exaggerates what you’re taking a look at, and when you’ll be able to compound that with some sort of movement, you will get a very cool look. Think about you’re standing in the midst of the forest and you’re dealing with straight up, gazing at the sky, this actually majestic view. You possibly can accomplish that in numerous alternative ways. Obviously you need the wide-angle lens. It’s useful if in case you have your digital camera pointed straight up on a Gimble because then it’s gonna be super clean, however you may also do it, we’ve carried out this in a automotive, hanging out the sunroof of a automotive, hanging out the window of a automotive, hanging out the rear a part of the automotive, the trunky half.
Alex Mills: Yeah, all of the elements.
Brady Shearer: It’s also possible to do that, although, with a wide-angle lens on a digital camera with ideally picture stabilized sensor. In sluggish mo, like a excessive body fee of 60 or 96, together with your elbows locked in, walking very slowly, after which using warp stabilizer in submit. And I know this as a result of I’ve finished it once I didn’t have a Gimble readily available.
Alex Mills: Once I used to do reside concert images, this was one among my favorite ways to shoot bands, so you’ll be able to undoubtedly do that in church as properly. When you’ve obtained an enormous stage, you’ve obtained some lights, you’ve acquired some guy simply ripping probably the most gnarly guitar solo of all time and he’s standing kinda near the entrance of the stage, in case you’re at floor degree and the stage is right here and you’ve received an enormous broad lens and also you kinda sweep that shot along his ft, every thing about that man is gonna look a lot more epic. Everyone’s gonna get saved by the guitar solo. So have enjoyable with this one. I feel the instance clip that we showed right here was in Yosemite National Park, so we just had the black magic pockets in Cinema Digital camera 4K on the Ronan S, and really had some enjoyable just principally walking round Yosemite because we weren’t allowed to fly there. So we have been nonetheless capable of shoot the timber, nonetheless capable of shoot the mountains, just with a unique tactic.
Brady Shearer: Shot setup quantity 5, the blue hour silhouette. To perform this, you must shoot throughout blue hour, which is principally daybreak and dusk. You’ve solely acquired about ten to 15 minutes to accomplish this as a result of the sunshine could be very fleeting. You need the sunshine to be sufficient the place you get the rich colour of this clear blank canvas. That’s why you wanna shoot with virtually no clouds within the sky so you will get these wealthy pinks and these wealthy oranges and reds within the sky, but you’ll be able to’t shoot so late that the sky doesn’t have any colour.
Alex Mills: It needs to be illuminated one way or the other.
Brady Shearer: But when it’s too illuminated, then you definitely need individuals to create the silhouette.
Alex Mills: It’s a really slim window.
Brady Shearer: Exactly. However once you confine that window of time on the right time of day, you will get some really cool photographs. On this example clip we’ve, we’ve Jake Goslin from Church Entrance as our mannequin truly. It’s that very same scene the place we simply set up a cross in the midst of nowhere. It was raining within the morning. We went again in the afternoon and there was this actually clear sky, the sunset was lovely, it’s blue, it’s pinky, it’s orange. The cross is a silhouette, after which we hade Jake increase his arms in the sky in worship, and then his palms turn into a silhouette as nicely. It’s this actually lovely shot. But once more, you gotta find that good time of day and you need that clear canvas in the background.
Alex Mills: What we’ll typically do if we’re making an attempt to shoot in blue hour is start earlier than blue hour and start capturing, movie via blue hour, and then film past blue hour, after which import that footage and be like, okay, where did we nail it? We’re gonna throw out some of these clips as a result of it wasn’t quite it. I’m fascinated by one scene we filmed, it was a baptism scene. We filmed and the sunset was slightly bit underwhelming that night time, and then swiftly it just happened, and we had two minutes of just glory principally. So some of those clips that we shot before, it’s like, we have to re shoot these right now as a result of that is it. This is that moment. So it’s gonna be hit and miss, however in case you get there for it you’re gonna discover it, and the outcomes, they’re unimaginable.
Brady Shearer: Shot setup quantity six, we call this small individuals, massive canvas.
Alex Mills: I feel this example clip is actually from that scene, the baptism scene.
Brady Shearer: Sure. Completely is. So there’s you and there’s Ryeland, and you’re baptizing Ryeland within the lake, in Lake Ontario, and I’m principally standing on the seashore and you guys are perhaps 50 meters, 50 yards, whatever. 50 yards from my digital camera. You two look actually small on this vast expanse that’s this large body of water of Lake Ontario. And the visual attraction from this shot setup comes from the acute sides of two spectrums, or one spectrum paired together. So it’s this big, large panorama canvas, and then there’s these two tiny little individuals on this. We did this within the Swiss Alps. Brandon was standing on a mountaintop and there’s this large panorama of all these mountains within the Alps and the tiny little Brandon within the center, and the drone is kinda sweeping around him in a circular movement so it’s focusing on him, and there’s this nice dynamic of really small individual, really massive canvas.
Alex Mills: It’s a very great tactic too to attract attention to your topic. In the event you’re seeing this lake clip right now, you possibly can’t assist. Your eyes are taken right to the topic as a result of there’s this big virtually blank canvas, and it’s very clear what the subject is. You ought to be aware that if, so for example, this shot the place you’re, let’s say, 15 meters away from us, perhaps capturing on a 35 millimeter lens, you can’t nail this shot at a shallow depth of area. You’re capturing at 1.four a hundred ft away, it’s virtually inconceivable to actually dial in that focus. So that you’re gonna need to sacrifice that shallow depth of area, crank that aperture up just a little bit, and to actually make sure that that aircraft of focus is the place it needs to be as a result of we’re so distant.
Brady Shearer: Absolutely. After which the final shot setup, we name this the color block. I discovered this from you, no less than in images, so I’ll let you clarify it.
Alex Mills: This is one among my favourite things to do. If I’m capturing … I used to do this in video as nicely too, but when I’m capturing portraits and we’re capturing outdoors, I will all the time go searching for some foliage and seize some, like seize a leaf or seize a flower, and I’ll maintain it. If this is my lens right right here, I’ll hold it proper in front of the lens really shut. So it’s out of focus. You can’t tell what it’s. It virtually appears like I splashed some colour on in publish. But the colour, as a result of I took the foliage from the scene we’re in, ties it all collectively.
Brady Shearer: It’s not some random shade.
Alex Mills: Proper, it additionally attracts your eyes in the direction of the subject once more. The other week I needed to splash some white in a photograph, so what I did was I had my lens. I took a Kleenex and twisted it around my lens, took an elastic, and simply mounted on the lens so I didn’t even have to hold it. The Kleenex was just kinda hanging right here, and these white parts to it.
Brady Shearer: Like a halo.
Alex Mills: Yeah. So in video you’re gonna have the ability to do that outdoors. You’re seeing an example proper now of a scene we shot of some crops rising as an example seeds rising and sprouting. So we had some crops, so what we did, you shot this clip, I consider, is you framed it so one in every of these crops was so near the lens and out of focus and the opposite plant was on the other third of the body and in focus. So you get that consistent colour, that splash of shade. Like I stated, virtually seems synthetic. It virtually appears prefer it was in submit nevertheless it’s not. You’re just using the weather which might be round you. You’ll be able to totally do this in your service. It might not work as properly with shade, especially in case your church has the lights down for service, but you need to use individuals to act like a block and add a black component to the display. It’s out of focus, it’s fuzzy, and it draws your consideration to the subject. So should you start making an attempt to do that, you’re gonna find opportunities to do it all over the place.
Brady Shearer: And that’s the same with all of these. As soon as you realize them and you can start figuring out them, you’ll have the ability to see them on the planet round you as you’re starting to shoot. So seven shot setups for no more boring clips in your church movies. Attempt them out and let us know how you like them. And that’ll do it for this episode of Professional Church Tools. We’ll see you subsequent time.