o you want to take your shot composition game to the next level? This film is a great resource to start with. I know how easy it is to get stuck in the rut of having couples "walk over here. Okay now kiss. Okay now walk over there. Okay now kiss." And there's nothing intrinsically wrong with those shots. But if you want to keep your work feeling fresh and creative, you've got to start moving your couples around within your frame. Let's break this film down a little bit. I would have preferred the couple be introduced a little bit earlier. Forty-eight seconds in felt a little late to me, but I mean... hashtag Venice, right? If I got married in Venice, you better believe I'd want to see a crap ton of shots of that place in my video. So I can't really fault the film there. Once the couple is introduced though, the camera isn't bound by typical, eye-level, medium/close shots. Notice how small the couple is in the frame in the first shot of them on the bridge. Then we match cut to the other side of them, now extremely close; to the point that they are fighting against the right side of the frame. Next comes a great, low-angle hero shot of the guy. We hear his voice and our brains make the connection that these words are his thoughts. That by itself would be fine, by-the-book filmmaking. But then BAM! some disembodied hands reach over his shoulders and this shot has just become vastly more interesting. Again we cut to the reverse, this time moving further away instead of closer. These shots might take a little bit more planning and really specific direction for the couple, but the payoff is worth it. This film feels like we're looking through the portfolio of a photographer, but with moving images. One of my favorite shots comes at 01:13. For many of us, getting so far away from the couple might be really outside our comfort zones. And it's pretty risky putting two people NOT your couple so prominently in the foreground even if they are out of focus. Our eyes definitely land on that closer pair first. But after just a couple seconds, our eyes look for what's in focus and we find our couple. The shot becomes so much more satisfying because we had to work just a little bit to see what the filmmaker wanted us to see. One thing that helps this kind of framing to be so effective is a nice, slow pace. If your audience's eyes are going to be moving across the screen, make sure give them time to find what you want them to find. All in all, bravo, White Story.
"For Mateusz and Ewelina's video I was inspired by work of Ala Vidal - Imaginale / The Heart Knows. Her video is delicate, soft and in my opinion has perfect connection between voice over, music and picture all together. One of the obstacles in editing was color grading because I shot on Sony A7s II using SLOG-3. I was trying to achieve a cinematic look, but I was struggling with 8bit footage in SLOG-3 so it wasn't as easy as I thought at the beginning."