THE FILMMAKER
DANIEL YATES
EAST MIDLANDS, ENGLAND
I’d class myself as a minimalist shooter. Outside of the ceremony and speeches, I walk around with a single camera-and-lens combination for most of the day. Until recently, my focal length of choice was a 50mm prime, but I’ve now gone against all my previous preaching and bought the Sigma 28–45mm f/1.8 zoom.
As my style evolved, I found myself wanting access to different focal lengths, particularly during prep, without the hassle of carrying multiple bodies. The Sigma is cumbersome, but so far I’m enjoying the extra flexibility and currently find myself favouring the 28mm end.
Depending on the energy of the wedding, the location and the number of guests, I’ll occasionally take a second lap of the drinks reception with my B camera and its 85mm lens. I enjoy seeing the candids from a fresh perspective.
The thought process behind every kit choice is simplicity. Having fewer options helps me make quick decisions throughout the day, while my ceremony and speeches setups remain methodical and repeatable.
A-CAM
PANASONIC LUMIX S5II
I run three identical Lumix S5II bodies. My A camera is paired with the Sigma 28–45mm f/1.8, giving me the flexibility I was beginning to miss when shooting exclusively with a 50mm prime.
I shoot in V-Log with my final colour grade loaded into the camera as a monitoring LUT. I expose and compose for exactly how I want the finished image to look, then apply the same LUT in Final Cut Pro. My grading process takes seconds.
Throughout most of the day I use back-button focus. I leave the focus box in the centre, focus on the subject, quickly reframe and then press record. It has become second nature and allows me to work very quickly.
I generally use continuous autofocus for the aisle and confetti, but that is about it. I’m always ready to switch back to manual focus if it starts misbehaving.
B-CAM
PANASONIC LUMIX S5II
The B camera usually carries the Lumix 85mm. During the drinks reception I may use it for a second pass through the guests, giving me a different perspective on the candid moments.
For ceremonies, it sits at the back with a central or slightly off-centre composition. During speeches, it becomes my main camera on the speaker and can quickly move to the reaction of anyone being spoken about.
C-CAM
PANASONIC LUMIX S5II
The C camera is paired with the Lumix 24mm. During ceremonies it sits at the front, close enough that I can regularly check its exposure and confirm that it is still recording before deciding whether to move or reframe my main camera.
During speeches, it becomes the wide room safety shot. I usually place it in a corner with plenty of breathing room and use it for applause, atmosphere and transitions.
CEREMONY SETUP
My ceremony setup is always methodical. The 85mm camera sits at the back with a central or slightly off-centre angle. The 24mm camera is positioned at the front, close enough for me to confirm that it is exposed correctly and still recording.
Mentally, I film the entire ceremony as though the rear camera has failed. That makes me more intentional about whether I move or remain in position.
As a solo shooter, I always prioritise the bride’s angle. I’ll move across to the groom when possible, but never at the expense of being able to monitor the second angle.
Couples are given the option of adding a second shooter. As long as expectations are managed before the wedding, there should be no dissatisfaction if a solo-filmed ceremony is naturally less dynamic.
SPEECHES SETUP
I use the same speeches setup every time. The 85mm becomes the main camera on the speaker, while remaining available for reactions.
The Sigma 28–45mm covers the couple or head table, and the 24mm becomes the wide room safety shot that I generally return to for applause.
I don’t isolate people excessively. I focus manually and place the cameras where they won’t obstruct guests. I always prioritise the guest experience over the quality of an individual composition.
It is also rare that I cannot walk over to the other cameras during the speeches to confirm that they are still doing what they need to do.
AUDIO
SONY TX650
QTY: 5
All of my primary audio is recorded on five Sony TX650 recorders. I love these microphones and currently see no reason to replace them.
Using the same recorder for every audio source also improves efficiency in the edit because the files and sound characteristics remain consistent.
SENNHEISER MKE 400
ON-CAMERA DIRECTIONAL MICROPHONE
The MKE 400 lives on my A camera. I resisted adding an on-camera microphone for a long time because I believe that fewer accessories mean fewer possible points of failure.
After a historic audio mishap, I’m now glad to have directional camera audio available as an additional backup.
CAMERA BAG
TAMRAC T0630-1919
Carries the complete camera and audio kit
Everything apart from my monopod and two tripods fits inside the Tamrac. The support equipment travels separately in a generic Amazon light-stand bag.
Keeping the complete setup compact makes travelling and moving between locations much easier.
POWER & MEDIA
OFFICIAL LUMIX BATTERIES
QTY: 8
I carry eight official batteries and typically use six or seven during a standard wedding day.
SANDISK V30 SD CARDS
PRIMARY RECORDING MEDIA
My SD cards are nothing particularly exciting. I stick with recognisable brands that are reasonably priced, and my batch of SanDisk V30 cards works perfectly well in the Panasonic cameras.
NEXTORAGE V60 SD CARDS
USED IN THE A-CAM
The A camera also contains a pair of Nextorage V60 cards. This is mainly to speed up transfers from the camera that records the majority of the footage.
FILTERS
URTH 82MM ND2–400
VARIABLE ND FILTER
I used to shutter-crank throughout the day, but I now use the Urth variable ND and try to stay as close to the 180-degree shutter rule as possible.
That choice came from watching my films back on a television and preferring the motion. It is still a personal preference, and I don’t believe couples are going to complain about filmmakers who choose to use faster shutter speeds.
DRONE
DJI MINI 4 PRO
WITH SCREEN CONTROLLER
For the amount I use a drone—typically just a couple of establishing shots—the image quality is excellent.
I strongly recommend the controller with the built-in screen. Connecting a phone every time on the earlier models became tedious.
TRIPODS
K&F CONCEPT KF-TM2324
QTY: 2 • STANDARD BALL HEADS
These are used purely for static ceremony and speeches angles, so I don’t need fluid heads on them. I like their low weight and compact packed size.
SIRUI MONOPOD
SELF-STANDING BASE
The key feature of the Sirui monopod is that it can stand unaided.
It is topped with a very old, discontinued Velbon fluid head. I originally owned one when I was 18, and when I started the business I searched eBay for more because they are so effective and compact.
ACCESSORIES
SPIDER CAMERA HOLSTER
USED AS A TEMPORARY CAMERA REST
The Spider holster is mainly there so I have somewhere to place the camera when helping with buttonholes or dealing with something else that requires both hands.
I try not to use it to carry a second camera. Having two focal lengths immediately available only makes me question my choices, and the extra weight pulls at my trousers.
WEDDING-DAY ESSENTIALS
SOREEN LUNCHBOX MALT LOAVES
WITH SMINTS FOR DESSERT
A pack of Soreen Lunchbox Malt Loaves accompanies me to every wedding and keeps me going when my energy begins to drop. The Smints are dessert.
WHAT’S NEXT?
PANASONIC LUMIX S1II
POTENTIAL FUTURE A-CAM
I’ll eventually upgrade my A camera to the Lumix S1II because I’m desperate to lose the crop in higher-frame-rate recording. I dislike it enough that I currently find myself shooting 25p full-frame for much of the day.
Beyond that, camera equipment doesn’t excite me as much as it once did. I’ve reached the stage of life where something yellow with DeWalt written on it is more likely to get my attention.
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