Amy + Michael — Love is happiness.

Instead of risk­ing giv­ing away too much of Amy and Michael’s sto­ry, we’re going to do things a lit­tle dif­fer­ent and list the things we love so dear­ly about this film: the warm and descrip­tive nar­ra­tive Mar­tin Frith lays out dur­ing the small inti­mate cer­e­mo­ny in the Gray­don Hall car­riage house, Amy get­ting ready in her beau­ti­ful, art-filled fam­i­ly home, Amy and Michael’s touch­ing first look, Blush and Bloom’s flo­rals pret­ty­ing every­thing up, and the couple’s moody, heart-felt first dance on the Gray­don manor steps. 

If you’ve man­aged to make it to this point, we won’t hold you up any longer. Hit play and take it all in!

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Allie + Cody — 10+ years in the making.

As Allie men­tions in this film, in the NHL, the off-season is the only time you can real­ly count on for non-hockey-related endeav­ours. She was refer­ring to the one time of year that Cody could real­is­ti­cal­ly pro­pose, but it’s some­thing we’ve learned from NHL wed­dings: you meet the cou­ple in the off-season and you don’t see them again until the fol­low­ing off-season just a cou­ple of weeks before the wed­ding and amidst the player’s strict train­ing sched­ule.

Muskoka Wedding Videographer Muskoka Cottage Video Shoot Muskoka Couple Portrait Shoot Muskoka Woods Summer Camp Couple Allie and Cody Goloubef NHL wedding

Allie and Cody first met at their sum­mer camp, Musko­ka Woods, when they were just kids. The camp itself is just a short boat ride away from their cot­tage, so from our first meet­ing, we always talked about revis­it­ing it with them and doing some of their favourite activ­i­ties on the water. As amaz­ing as this all sound­ed, find­ing a time to head up to Musko­ka proved almost impos­si­ble between Cody’s train­ing and the crazy weath­er lead­ing up to each shoot. After a cou­ple of can­cel­la­tions, we nailed a date just a week and a half before the wed­ding day and decid­ed we’d make it work regard­less. con­tin­ue read­ing »

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Carly + Mike — What rhymes with husband?

You’d be hard pressed to find a moment in which Car­ly and Mike aren’t bliss­ful­ly laugh­ing. It’s true — almost every shot in this film fea­tures a smile or laugh from either or both of them. That light-hearted ener­gy lends itself to cre­ate a beau­ti­ful­ly touch­ing film. Just like their wed­ding day, Car­ly and Mike’s sto­ry is sim­ply about cel­e­brat­ing their love and the peo­ple who stand by their sides sup­port­ing them. con­tin­ue read­ing »

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Sisi + William — Wǒ ài nǐ.

One ques­tion we get asked by a lot of cou­ples, plan­ners, and oth­er wed­ding video­g­ra­phers is how we adapt our style to non-English-speaking wed­dings where the lan­guage bar­ri­ers could affect what we shoot and, ulti­mate­ly, the sto­ry being told. This prob­a­bly comes from the fact that, in 6 years, we’ve been hap­py to be the wed­ding cin­e­matog­ra­phers for many dif­fer­ent cul­tur­al cel­e­bra­tions across Toron­to; from Chi­nese to Indi­an, Sri Lankan, Per­sian, Kore­an, Jew­ish, Greek, Ital­ian, etc.

So how do we know what to focus on when a speech or moment is unfold­ing in front of us in a lan­guage we don’t under­stand? It’s actu­al­ly very easy. Emo­tions, tone and body lan­guage are all uni­ver­sal. You can eas­i­ly tell what parts of a speech are impor­tant just by the way the words are spo­ken, by the facial expres­sions of those who are being addressed, by the way the mood in a room changes from qui­et to vibrant or vice ver­sa. By pick­ing up on these sub­tle cues, we can quick­ly iden­ti­fy what to focus on and shoot all the ele­ments we need to put togeth­er a couple’s sto­ry. This was the case for Sisi and William’s wed­ding day, where almost every­thing but the cer­e­mo­ny was in Chi­nese, and whose sto­ry and tra­di­tions were large­ly influ­enced by Chi­nese cul­ture. con­tin­ue read­ing »

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Our Favourite Lenses for Wedding Filmmaking

Today on the Youtube edu­ca­tion chan­nel, we talk about our favourite lens­es and how we use them. Lens­es are prob­a­bly the best and most impor­tant invest­ment any cin­e­matog­ra­ph­er can make. While its sim­plest role is to focus the light from a scene onto the cam­era sen­sor, a good lens will sig­nif­i­cant­ly reduce flare and inter­nal reflec­tions, min­i­mize dis­tor­tion and chro­mat­ic aber­ra­tion, all while boost­ing colour and con­trast. Best of all? While your cam­era body may only last 2–3 years, good glass bare­ly depre­ci­ates and, if cared for prop­er­ly, there’s no rea­son why a lens shouldn’t last for 20 years or more. con­tin­ue read­ing »

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