BEST CAMERA + BEST EDITING + BEST WEDDING FILMMAKER: SCULPTING WITH TIME / THE LOVERS


TELL US SOMETHING ABOUT SCULPTING WITH TIME.

We're a small company - it’s just my wife Whitney and myself. I graduated from film school in San Francisco in 2006 and have been making films ever since. Whitney and I joined forces around 2012, and we’ve been filming weddings for just about 6 years now. We try to limit the amount of weddings we take on each year to around 10-12, with about 3/4 of those being destination work. We really get a lot of joy + inspiration out of traveling so it benefits our work and has created a good balance for us. In the past we did 20-25 weddings in a year (mainly local) but now we really try and split our time doing both wedding and commercial work.

WHY DID YOU ENTER THESE AWARDS?
We’ve got so much mad respect and admiration for all of the different speakers at FLS, and felt like we would be in good company. Whitney and I really put so much time and love into our films and we wanted to share our work with a community that inspires us.

WHAT DOES THE AWARDS FOR BEST CAMERA, BEST EDITING AND BEST WEDDING FILMMAKER MEAN TO YOU?
I think these competitions are great. It’s a chance for us to showcase our work with some the best event filmmakers in the world and we are beyond thrilled to be recognized like this. Thank you to all the judges who spent their valuable time and energy reviewing all the films. I can only imagine the amount of work that would go into something like that. However, I feel that once you are selecting from the very best of the very best, it's like saying - do you like the color blue better than the color red? You could probably switch any of those top 3 selections and feel confident that this one is the winner. So we don’t let any of the awards go to our heads, haha. More than anything, we are honored to be in the company of so many great filmmakers- the talent level amongst all the judges, honorees and winners is insane. Let’s all keep growing together and inspiring each other!

DID YOU ALREADY KNEW THIS WOULD BECOME A SPECIAL FILM WHILST SHOOTING IT?
Yes, the moment that we knew that one of the ceremonies was going to be at the Borobudur Buddhist temple in Indonesia we knew that this film had the potential to be really special. But because of the travel schedule, we knew we would have limited time in each location and that we really had to do some research and plan ahead in order to maximize that potential. For me, the only thing that makes me feel comfortable and confident is to know that I am prepared. And I think you can never be too prepared.

WHAT PART OF THIS FILM IS YOUR FAVORITE AND WHY?
I really like the transition from predominantly Singapore footage to Indonesia footage about halfway through the film. We knew this film could get confusing between the distinctly different locations and cultures, so I really like how this transition functions to create a bridge between both countries. The shot starts with a man playing the cello and then quickly transitions to a drone shot descending into a rice field in Indonesia.

COULD YOU DESCRIBE THE EDITING PROCESS?
We knew we wanted this film to stand out and grab people’s attention. So we made sure that we created and captured enough content to make the editing process easier. This is probably the longest we have ever spent on an edit. There were probably two or three times where we could have easily said, “ok this edit is done” but we knew we needed to be patient with this project because of the various locations and narratives that we wanted to be present. So we just kept pushing ourselves to think of ways to improve the film and over time the film slowly came to life.

WHAT WAS THE BIGGEST STRUGGLE YOU HAD TO OVERCOME DURING THE WHOLE PROCESS?
My biggest struggle was knowing that we had made the extra effort to collect a ton of strong footage (we climbed the stairs of Borobudur at 4:30 am 4 mornings in a row just to make sure we got a cloudless sunrise one morning) and that it was up to me to figure out how to not mess everything up in the edit. It’s so easy to just edit things really fast and do things the same way every time. I think it’s really important to listen to the footage and be willing to challenge yourself creatively.

OKAY, THE QUESTION EVERYBODY ALWAYS ASKS….. LET’S GET THAT OUT OF THE WAY. WHAT WAS IN THE KIT-BAG DURING THIS WEDDING?
- Canon 1DX II
- Sony A7S2
- MōVI M 10
- DJI Mavic
- Canon 50 f1.2
- Canon 24-70 f2.8
- Canon 70-200 f2.8
- vintage 50 Nikon
- petzval 55
- dog schidt 55
- zoom h4
- rode lavs
- video pro x mic

WAS THERE SOMETHING YOU LEARNED DURING MAKING THIS FILM?
Always make sure your contact form is working... we almost missed out on this opportunity because our email server storage was full! Also, you never know who you may meet or where opportunities may lead you... for this film we wanted to use an Alan Watts voice over, so we reached out to the Alan Watts Organization to obtain the license. Watts' son Mark actually runs the organization and is in charge of granting approval, so the 3 of us scheduled a call. Turns out we had a lot of parallels throughout our lives - he and I actually went to the same art school. Mark really loved the footage from the Buddhist temple and once he checked out our website, one thing lead to another and by the end of our convo we had agreed to a collaborative project. Within a few weeks we were on a plane to India filming an epic project for them. So moral of the story is just that opportunity is always waiting for this that seek it. You just have to look hard enough to see it.

WHY DID YOU CHOOSE THIS STRUCTURE OF STORYTELLING/EDITING?
the footage we capture is always going to dictate our editing structure. So if I want to have any influence over that, we have to be intentional in what we shoot. This film was both a product of planning, scouting and storyboarding as well as just being spontaneous and capturing what is given to us. I think this wedding taking place in two countries had a strong influence on how we needed to edit this film as well.

WHY THIS MUSIC AND HOW DID YOU IMPLEMENT SOUND DESIGN?
We are always aware that the soundscape we create (whether through music or sound design) will have a very strong influence on our viewer. I think music choice is a very subjective thing, but for us we always tend to be drawn to songs that are more ethereal, cerebral, and sci-fi/classical. We want our films to be elegant and sophisticated, with a dose of wtf is happening.

WHAT OR WHO IS YOUR INSPIRATION, IN GENERAL?
I find a lot of inspiration from my wife, my dog and taking long bike rides. Outside of that I try and follow and interact with a lot of creative photographers in our wedding world, as well as people in our wedding filmmaker community. I also really enjoy behind the scenes docs from my favorite films, and lastly all things Andre Tarkovsky... he has been a huge influence on all of my understanding of cinema and my learned affection for it.

IS THERE SOMETHING MORE YOU WOULD LIKE TO SHARE ABOUT THIS FILM?
For the longest time we didn’t want to share our work publicly and always preferred to be more private. This is one of the first films we shared on various forums online and I’m glad we did.


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