STYLE GUIDE
2026
- You may not watermark, post, or share footage, stills, or behind-the-scenes content from Wholehearted weddings on your personal website, social media, or portfolio without written permission.
- You may not tag yourself, your business, or your personal accounts in any content related to Wholehearted weddings.
- All client communication, deliverables, and credits belong solely to Wholehearted Wedding Films.
WHite label policy
- We protect the vibe of the day first.
- We add movement, depth, and atmosphere second.
- When done right, our work feels invisible in the moment and powerful in the final film.
- If the photographer uses movement, we follow their flow and capture it in motion.We work in a back-and-forth rhythm that gives the photographer mental breathing room.
- If the photographer is more traditional or static, we step in when needed to create natural motion for film without disrupting their process.
- We use light only when it meaningfully improves the film.
- Lighting should feel like part of the environment, not an intrusion.
- Always test from the subject’s position to check for glare or discomfort.
- If a light calls attention to itself, it is too bright.
- The goal is cinematic enhancement, not stage lighting.
- We are quiet, low-impact, and easy to forget.
- Communication is calm, minimal, and respectful.
- Our physical footprint matters: no gear piles, no blocked walkways, no visual clutter.
- Cameras and stands should never interfere with guests or the photo team.
DRESS CODE + PRESENTATION
- Whenever possible, we align with the photo team on wardrobe.
- A cohesive look makes the full creative team feel intentional and professional.
- We avoid looking like separate crews or people thrown together on the day.
- Clients provide the event’s dress code through our pre-event questionnaire.
- This may range from black tie or formal to cocktail, business formal, or business casual.
- The stated dress code sets the baseline for how we show up visually.
- We always respect the formality and aesthetic of the event.
- Our goal is to blend into the environment, not stand out from it.
- What we wear should feel appropriate in photos and in the room.
- We mirror the lead photographer’s energy and style.
- Our goal is to translate their visual language into motion.
- We collaborate closely and let photo lead the rhythm of the day.
TEAM APPROACH
We always shoot to 2 cards. At the beginning of the wedding the lead shooter will give the second shooter their cards. Make sure to set up your camera to record simultaneous video to both cards. For instructions on how to do this, click here.
Pre-Shoot
EXTERIORS
These are extremely important in distinguishing each wedding and building out the setting. Even if you’ve shot at the Langham 10 times already this year, try to continue capturing exteriors. Have fun with them!
Examples: Time lapses, unique angles, reflections, etc.
DETAIL SHOTS- MORNING
Morning detail shots set the tone for the entire film. Focus on the key elements such as attire, florals, jewelry, invitations, rings, and heirlooms, but approach them with intention. These are not static catalog shots. Shoot at 60fps to allow for subtle slow motion and added drama. Look for depth by shooting through foreground elements like florals, veils, or glass, and use reflections when possible to create dimension. Avoid flat, evenly lit compositions.
Prioritize movement and light. Introduce subtle motion such as a curtain pulled back, fabric shifting, or a gentle camera slide. Shape the light so it feels directional and cinematic, even if that means slightly moving your light source during a layflat to create shifting highlights and shadows. The goal is to build atmosphere from the first frame, not simply document objects.
If you can make the wide safety shot in the back visually interesting somehow, that would be ideal.
THE CEREMONY
During the processional, the lead shooter’s main objective is to get a creative shot of the bride’s entrance and walk down the aisle. Prior to that, safely cover everyone else walking down. The second shooter should be posted at the foot of the aisle to capture everyone’s faces as they come down.
- Have your safety shots, then always try to get a creative shot of the bride’s entrance (behind the back, side shot on floor, etc.)
- Always try to get a Groom reaction shot to bride walking down aisle (doesn’t have to be entire time, but the second shooter by the altar can swing the camera back to capture something)
Once the Ceremony begins:
- Close up shot of the bride’s face during the vows (PLEASE ensure that the bride and groom’s faces are in focus)
- A medium shot of the groom
- Wide two-shot from the aisle. If you have a fourth camera, put it in the back or in the balcony for a nice safety shot. If you have a fifth camera, use this for creative shots or audience reaction shots, but be sure to man your 3 main cameras. These are the most important shots
For those wider safety shots, try not to make them TOO wide or from the back corner unless necessary
Always try to record the ceremony in entirely one shot (makes syncing up easier later)
The shots below show what we're looking for across your three cameras — use them as a reference for framing, lens choice, and positioning.
Camera 1 is tight on the bride. Camera 2 is a medium on the groom. Camera 3 is a wide two-shot from the aisle. If a fourth camera is available, post it in the back or balcony as a safety.
This ensures we’re never cutting between shots that are too similar and prevents the ceremony from feeling too claustrophobic (all close-ups) or not intimate enough (too many wides). Consider the lenses each shooter has and figure out how to best accomplish this. If you have a fourth camera, put it in the back or in the balcony for a nice safety shot. Remember that the bride’s face is the most important, get in tight.
AVOID
We should ALMOST NEVER be shooting the toast-giver straight-on with a stage, DJ, or bar behind them.
Do NOT do this:
Always think about the best way to frame your speech shots. We want to avoid band equipment, speakers, and service workers in the background as much as possible. We want speech shots to look as good as all of your other shots.
Consider the two shots below. The shot on the right is much better.
Dances should also be shot with 3 cameras. Again our minimum goal is tight, wide, and one roving camera. The moving camera’s job should be to get very creative shots that make the film while the other 2 cameras are safely covering the dance. Similar to speeches, coming up with interesting ways to fill the frame can help make our static dancing shots more visually interesting. Again, try to avoid band equipment in the background whenever possible.
Decide where the ideal mic placement is for your framing and tell the sound tech where you’d like it. Often, the only way to avoid band equipment etc in the background is to shoot the toast-giver in profile. Please do this. See below.
Try your best to get creative with at least one of your speech shots. If there’s a fourth camera available, the lead shooter can try to find a creative shot while the second shooter mans the safe closeup of the speaker. (The angle of the couple and the wide shot of the speaker should be okay without someone behind the camera).
Consider filling the frame with plants, candles, guests etc. Here are a couple examples of more creative framing (click through). These are by no means perfect, but should give you an idea of how we can try to make our second angle of the speaker more interesting.
THE RECEPTION
Just like the ceremony, Speeches and Dances should be filmed with minimum 3 Cameras. For speeches, we’d like one tight shot of the speaker, a wide shot of the speaker, and a two-shot of the couple listening (ideally shot on a long lens from far away so they might not even know they’re on camera).
DETAILS + ROOM SHOTS
Here are a few ways to differentiate your detail shots:
- Movement with light: Consider adding some movement within the frame on the more boring detail shots. This can often be done with light, there are some examples below.
- Add some actual action: think about ways we can add action to the detail shots. You can use people, wind, or “wind.” The action makes these shots more interesting, examples below.
ROOM SHOTS
- Room shots are some of our most important shots to set the grand vibe as well as to send to planners
- A sweeping angle, a reveal through a frame, or from a higher point of view can be cool ways to do this
- Try to get a room shot without anyone in the frame (I know this is sometimes unavoidable)
- If a large room shot is impossible, think of doing something like Room Reveal 3
Open dancing is pretty much the easiest part of the day to shoot. The first goal is to get enough footage of the bride and groom dancing (together and separately), followed by getting footage of all the other “main characters” (parents, siblings, wedding party). Once that’s taken care of, the second shooter can continue to film dancing while the lead shooter again goes out trying to get the creative money shots. Often, these are cool shots of the entire room now that the ambiance and lighting has (usually) completely changed. Again composition, filling the frame, action, and light are all things to focus on. Here’s some unique dance floor shots:
OPEN DANCING
