How To EASILY Film in RED RAW With The Nikon ZR

I’m about to show you how to easily film in RED RAW with the Nikon ZR. To save you some time, check out my RAW filmmaking cheat sheet that shows all of the best settings in one easy place, so you can reference it whenever you need.

And if you want help getting amazing-looking colors from your RED RAW footage, I also have a set of color presets that work fantastically with RED RAW. I’ll link those as well so you can check them out.

Why Settings Still Matter When Shooting RAW

When it comes to filming in RED RAW, you might think the settings you choose on the Nikon ZR aren’t that important. After all, you’re shooting RAW, right? You can just fix everything in post.

Unfortunately, that’s not true.

RAW video is very forgiving, and RED RAW in particular is one of the easiest RAW formats to work with. It gives you incredible control over exposure and color. But that doesn’t mean you can just switch the camera to RAW, hit record, and magically get gorgeous footage.

There are still several key settings you need to dial in to make your footage look its best, and I’m going to walk you through how to do that quickly and easily.

Enabling RED RAW on the Nikon ZR

Let’s start with the basics.

Grab your Nikon ZR, open the menu, go to the video camera icon, and set the video file type to R3D NE 12-bit in LOG3G10. This enables RED RAW recording in log, which gives you a very flat and desaturated image.

That flat image is exactly what we want for maximum flexibility in post.

Making RED RAW Easier to Work With Using View Assist

Next, we want to make filming in RED RAW as easy as possible. The Nikon ZR gives you some excellent tools to help with this.

The first thing you should enable is View Assist. This removes the super flat log preview and applies a 3D LUT so you see a more saturated and contrasty image on the camera screen.

Important reminder: this LUT is only for monitoring. Your footage is still recorded in flat log and will need to be color graded later.

Turning on View Assist also affects how some of the exposure tools behave, which is why I strongly recommend enabling it. That said, if you don’t want to use it, that’s okay. I’ll explain how exposure works without it as well.

To quickly enable View Assist, press the Assist Display button in the bottom right of the screen, then tap the Assist button in the bottom middle. Instantly, your footage becomes much easier to judge.

Choosing the Correct Base ISO

Now that the image looks better, you might think you’re ready to hit record. But before you do, we need to talk about exposure tools.

First, some ground rules.

When filming in R3D, I recommend always starting by setting your ISO to one of the camera’s two base ISOs: ISO 800 or ISO 6400.

The Nikon ZR makes this easy. Press the ISO button in the bottom left of the screen, and you can toggle between the low and high base ISOs.

If you’re filming in bright conditions, like outdoors in daylight, use ISO 800. If you’re filming in darker environments, like an evening wedding reception, use ISO 6400.

Using these base ISOs gives you the cleanest image with the least amount of noise.

You might be thinking, “Matt, why does ISO matter if I’m filming RAW and can change it later?”

Great question. The answer has everything to do with zebras.

Setting Up Zebras Correctly

Zebras are those black-and-white lines that appear on overexposed areas of your image. If you see them, it means parts of your image are too bright and unrecoverable.

You want zebras enabled almost all the time when filming.

To set them up properly, open the menu, go to the pencil icon, Video, G16, and select Zebra Pattern.

Set the highlight threshold to 245, which is where highlights start to clip when using View Assist.

For midtone range, set the value to 130 with a range of plus or minus 15. Shoutout to Calen Rhome from Gamut for testing the camera and figuring this out.

Once set, press OK and exit the menu.

To toggle zebras on and off, tap the Assist Display button again and then tap the Zebra Pattern button. The first tap enables midtone zebras, and the second tap enables highlight zebras.

Why Base ISO Matters for Zebras

Here’s why sticking to base ISO is so important.

If you change the ISO away from the base values, the zebra levels also change. That means the camera can no longer accurately tell you when highlights are clipping unless you manually adjust zebra values.

Nikon even provides a PDF chart showing the correct zebra values for every ISO. You can download it from Nikon or from a mirror I’ve uploaded.

With View Assist enabled and ISO set to 800 or 6400, your zebras at 245 will be accurate. If you don’t use View Assist, you’ll want to lower zebras to around 180.

This is why I recommend base ISO whenever possible. It makes exposure faster and far less confusing.

Using Zebras to Expose Correctly

Now let’s tie everything together.

Set your Nikon ZR to RED RAW, choose one of the base ISOs, and enable highlight zebras. Adjust exposure using your aperture or an ND filter until highlight zebras just begin to appear, then back off slightly until they disappear.

This ensures you retain highlight detail while keeping shadows clean and noise-free. This is how you capture the maximum dynamic range the camera can offer.

Next, switch to midtone zebras and check skin tones. You want to see zebras appear on the side of the face where light is hitting. If you don’t, your image is either underexposed or overexposed.

This is a balancing act. You want properly exposed skin tones without blowing out bright backgrounds, so you’ll often toggle between highlight and midtone zebras to find the sweet spot.

Using the Waveform Monitor for Extra Accuracy

If you want even more confidence in your exposure, Nikon gives you another excellent tool: the waveform monitor.

To enable it, go to the menu, pencil icon, Video, G19, and set Brightness Information Display to WFM. Press right on the joystick to adjust size and position.

I recommend setting the waveform size to large and transparency to 3. The small version is just too tiny to be useful.

Back out of the menu, tap the Assist Display button, and enable the brightness info icon to turn on the waveform.

The waveform shows brightness values across the entire image. Dark areas sit lower, bright areas higher, and the image is mapped horizontally across the display.

The Firmware 1.10 Waveform Upgrade

Make sure your Nikon ZR is updated to firmware 1.10 or newer. This update added a crucial feature to the waveform monitor: a red clipping line.

If any part of the waveform goes above this red line, that area is clipped and unrecoverable. Even better, this clipping line automatically adjusts based on ISO, so it’s always accurate.

When filming RED RAW, keep in mind that exposure values are compressed downward. Properly exposed skin tones should sit about ⅓ to ½ of the way above the shadow line on the waveform.

If you hit that range, your footage will look fantastic.

The Complete RED RAW Workflow

Here’s the full workflow from start to finish.

Set ISO to 800 or 6400. Enable highlight zebras. Adjust exposure until zebras just appear, then back off slightly. Switch to midtone zebras and confirm they appear on skin tones. Use the waveform to double check skin tones sit about ⅓ to ½ above the shadow line. Finally, return to highlight zebras to make sure clipping is minimal.

This is the sweet spot of the Nikon ZR and where you’ll get the highest image quality and flexibility in color grading.

Final Thoughts

And that’s how you easily film RED RAW with the Nikon ZR!

Huge shoutout to Brandon Talbot for his helpful ZR videos that helped me confirm these settings.

If you want more videos about filmmaking, make sure to subscribe. Thanks so much for reading, and have a great day.

Xtra Atto Camera Settings That Make It Look Cinematic

I’m a big fan of using action cameras to capture shots that would be difficult, risky, or straight-up impossible with a larger, more fragile camera.

I’ve used action cameras multiple times while filming weddings, especially when couples do something wild like extreme white water rafting the day before their ceremony, and the footage always ends up looking incredible. These cameras let you be creative without worrying about destroying thousands of dollars of gear.

Over the years, action cameras have gotten smaller, more capable, and more filmmaker-friendly, and this one is a little different. The Xtra Atto packs a surprising amount of power into a ridiculously small body.

But if you really want to unlock what this camera can do, especially for high-action filming like rafting, adventure sessions, or extreme activities, the settings matter. A lot.

Today, I’m going to share with you my fast filmmaking settings for the Atto!

The One Accessory You Actually Need

At first glance, the Atto looks like just a tiny little camera, and it is, but if you want to change settings or really control how it shoots, you’ll need the Vision Dock that comes with it.

This dock is a separate, multifunctional accessory that dramatically expands what the camera can do, and most importantly, it gives the Atto a touchscreen.

The camera magnetically attaches to the dock facing forward or backward, which makes it great for selfies or filming outward. On its own, the camera lasts about 90 minutes, but once you connect it to the Vision Dock, you get a massive 220 minutes of total recording time, which is nearly four hours without touching a wall outlet.

Even better, the dock can fast-charge the camera in about 40 minutes, which is huge if you’re filming all day.

One thing to note: the camera itself is waterproof up to 10 meters, but once you attach the dock, the setup becomes IPX4 splash resistant, not waterproof, so don’t take it underwater in that configuration.

The dock is also the main way you’ll adjust settings, and the good news is you don’t even need the camera attached to it. You can wirelessly preview your shot and change settings remotely, which makes setup fast and painless.

The Best Resolution and Frame Rate Settings

Despite weighing just 54 grams, the Xtra Atto has a 1/1.3-inch sensor, which is larger than most cameras in its class and comparable to much bigger action cameras. That translates to better image quality and better low-light performance in a tiny package.

The Atto can record 4K 10-bit video at up to 60 frames per second, and for action cameras, I think 4K60 is the sweet spot. Everything happens fast, and having the ability to slow footage down in post is incredibly valuable.

To enable it, swipe up from the bottom of the screen, swipe left until you’re at 4K resolution, then set the frame rate to 60fps.

If you’re willing to give up a little frame rate and want more flexibility in post, there’s another setting I really like. You can shoot 48fps in a 4:3 open format at 3840×2880, which gives you a lot more vertical room to reframe later. If maximum control is your goal, this is the setting I’d use.

Before moving on, make sure you also set the bitrate to High. Swipe down from the top, tap the settings icon, scroll to bitrate, and set it to high for the best quality.

Pre-Record: The Feature That Saves Shots

One of my favorite features on the Atto is pre-record, and it’s something that can completely save a shot.

When enabled, the camera continuously buffers footage up to five minutes before you ever press record. So if you’re filming someone fishing, waiting for a big moment, or tracking unpredictable action, you can press record after it happens and still capture the previous five minutes.

That means you don’t miss the shot and you don’t waste storage space.

Speaking of storage, the Atto includes 128GB of internal storage, which I love, and you can expand that with up to a 1TB microSD card using the Vision Dock.

It also supports gesture controls, so you can start recording by nodding your head if the camera is mounted on a hat, or by tapping it. No matter how you mount it, Xtra clearly designed this camera so you’re always able to start recording quickly.

The Best Color Mode for Filmmakers

Just like larger professional cameras, the Atto supports multiple color modes, including 8-bit, 10-bit, and a log profile called X-LOG.

If you want the most dynamic range and the most control in post, I highly recommend filming in X-LOG 10-bit.

To enable it, tap the settings button on the right side of the screen, turn on Pro mode, then tap the color option and select X-LOG 10-bit. While you’re there, you can also lock white balance and exposure, which is huge for consistent results.

All the footage you’ve seen here was colored using my own presets, which work great with both X-LOG and the standard color mode. I’ll link those below if you want to check them out.

Stabilization Settings That Actually Work

Because the Atto is so small, stabilization is critical, and thankfully, it offers two modes that are genuinely useful.

The first is Motion Master, which is ideal for POV shots where you want maximum smoothness, especially if the camera is mounted to your head or chest.

The second mode, and the one I prefer most of the time, is Tilt Guard. This mode not only stabilizes footage but also keeps the horizon level, which instantly makes shots look more professional.

A crooked horizon is one of the easiest ways to spot amateur footage. Tilt Guard does an excellent job of preventing that, even when the camera rotates, and in my testing, it works extremely well. For most situations, this is the mode I’d leave enabled.

Final Thoughts on the Xtra Atto

The Xtra Atto is an incredibly capable, ultra-compact camera. It has a lot of settings, but once you dial them in, the video quality you get out of something this small is seriously impressive.

If you want to capture action-heavy shots, dangerous angles, or moments you simply couldn’t film with a traditional camera, this is a fantastic tool to have in your kit.

Live Stream Your Wedding Like a Pro With This Simple Setup (Complete Yolobox Guide)

Live streaming wedding ceremonies is one of the best ways to provide a killer service to your couples, grow your business, and make significantly more income from every wedding you film. Seriously, if you’re not doing this yet, it’s time to consider it.

I want to walk you through the easiest way to live stream an entire wedding ceremony. I’ll show you the tools and equipment you need, how to set them up from start to finish, and share professional advice from my 15+ years of filming weddings.

To save you time, I’ve put together a cheat sheet of all the gear you’ll need for live streaming.

What Equipment Do You Need for a Wedding Live Stream?

Let’s start with the basics.

Cameras: You need at least one, but for a more professional look, two or three cameras can make your live stream much more dynamic. For this example, I’m using three.

Audio: You absolutely need a wireless microphone system. I recommend putting it on the officiant—it guarantees clear, high-quality audio that captures the ceremony and the couple’s vows perfectly.

Switcher & Laptop (or not): Traditionally, you’d need a switcher to handle multiple cameras, which would then feed into a laptop connected to Wi-Fi or a long Ethernet cable. It works, but it’s a lot of gear to carry and set up.

But what if you could simplify all that into one device? That’s where the YoloBox Extreme comes in. It replaces the switcher, the laptop, and even handles your internet connection. Live streaming a wedding becomes dramatically easier.

Setting Up Your Wedding Live Stream

Set up your YoloBox in a central, accessible spot. Unlike traditional setups with tables of gear, the YoloBox is compact enough to mount on a tripod or light stand. If you’re only using one camera, you can even attach it to your camera tripod. The device comes with a hot shoe mount adapter, but given its size, I wouldn’t recommend it unless you’re mounting it on a camera cage.

Use HDMI cables to connect your cameras to the YoloBox. The shorter the cable, the less chance of signal issues. If you’re using multiple cameras, the YoloBox acts as a switcher, letting you easily change angles during the live stream.

Pro tip: Passive HDMI cables have length limits. For 4K, stick to 10–15 feet; for 1080p, you can go 25–50 feet. Want longer runs? Fiber optic HDMI cables can extend hundreds of feet, but they’re pricier.

Positioning Your Cameras

Position your cameras wisely. Place one camera to the side for close-ups of the couple and officiant, and another in the back for a wider shot down the aisle. For a three-camera setup, add a mobile camera on a gimbal using a wireless transmission system like the Accsoon CineView. You can follow the bride walking down the aisle or capture the guests in action. All cameras feed into the YoloBox for seamless switching.

Using the YoloBox Extreme

Once your cameras are connected, turn them on along with the YoloBox. Set cameras to 30fps (I find this works best for live streaming). Connect cameras to HDMI inputs 4–8 on the YoloBox Extreme—these inputs are optimized for 4K and will work more reliably. Tap Live Streaming, create a new stream, title it, and optionally schedule it. Add a thumbnail if you like—keep it generic, like “Wedding Ceremony Live Stream,” rather than showing the couple.

The interface is intuitive: preview window on top left, input selection bottom left, settings on the right. Change the video transition from “cut” to “fade” for smoother live switching. Set resolution to 1080p, 30fps, and a bitrate of 4 Mbps for reliable streaming. You can also record the stream in 4K at 30fps with H.265 encoding, either internally or on an SD card/USB. Enable Generate Timeline FCPXML to automatically create a pre-edited timeline for Premiere Pro, Final Cut, or DaVinci Resolve—perfect for delivering a polished video after the wedding.

Audio Setup

Plug the wireless microphone receiver directly into the YoloBox mic input. In the audio menu, keep only the mic and program inputs enabled for streaming. Optional: multiple mics can be controlled individually. Auto switch based on audio: the YoloBox can detect who is speaking and automatically switch camera angles, staying on the officiant until the bride or groom speaks. Don’t forget to monitor audio through the headphone jack.

Streaming Platforms & Internet

The YoloBox supports YouTube, Facebook, Twitch, or any platform that accepts RTMP or SRT streaming. Simply add your account and select your platform.

Internet options: Wi-Fi (antennas boost signal), Ethernet (wired, reliable), or a cellular SIM card for remote locations. For maximum reliability, YoloBox offers Network Bonding (paid feature), which combines Wi-Fi, Ethernet, and cellular simultaneously. If one connection drops, the others take over automatically—perfect for critical events like weddings.

Wrapping It Up

Live streaming a wedding doesn’t have to be stressful or overly complicated. Using the right tools, like the YoloBox Extreme, you can save time, reduce gear, and deliver professional-quality streams that your couples will love.

Download my free Wedding Live Streaming Cheat Sheet to see all the gear I recommend. You can also check out the YoloBox Extreme I used, as well as smaller setups for simpler streams.

Thanks for reading! If this helped, make sure to share it with fellow filmmakers and subscribe for more tips on filmmaking and video editing.

I Operated Camera On A Real Music Video Set! Here’s The Gear Behind It

I want to show you something a little different today, because this wasn’t a YouTube setup, and it definitely wasn’t a controlled studio shoot.

This was a real music video set, with a real crew, real pressure, and absolutely no room to mess things up.

I was brought on to operate camera, and I figured this was the perfect opportunity to show you what that actually looks like in the real world, plus the gear choices that matter when you’re no longer filming for yourself.

Because once you’re on a professional set, things change fast.

What a Real Music Video Set Actually Feels Like

Music video sets move quick. There’s energy, controlled chaos, and a whole lot of “cool, let’s go again” happening back to back.

You’re not standing around tweaking settings for ten minutes. You’re expected to show up ready, know your job, and execute. When the director calls action, everything needs to work.

And honestly, that’s one of the reasons I love this kind of work.

There’s pressure, but it’s the good kind.

My Role on Set

On this shoot, my job was simple on paper and demanding in reality.

Hit the framing.
Stay smooth.
Stay in sync with the movement.
Do it again.
And again.
And again.

As an operator, you’re not thinking about specs. You’re thinking about rhythm, motion, and consistency. If your framing drifts or your movement feels off, it sticks out immediately.

This is where experience matters way more than gear hype.

The Camera Setup

The camera choice for this project wasn’t about what’s new or trendy. It was about reliability.

On a set like this, the camera has to:

  • Hold up under long takes
  • Handle quick lighting changes
  • Give you confidence in what you’re seeing
  • Just work

When you’re operating, the last thing you want is to wonder if the camera is going to do something weird. You want to focus on the shot, not the menu system.

And this setup delivered exactly that.

Lens Choices and Why They Matter

Lens choice on a music video is everything.

Compression, depth, and subject separation can completely change the emotional impact of a shot. We weren’t just picking lenses because they were sharp. We were picking them because of how they feel.

I’ve always loved lenses that give you separation without feeling artificial, and on this shoot, that look really came together. The background falls away, the subject pops, and suddenly the frame feels intentional instead of busy.

That stuff matters way more than people realize.

Rigging and Camera Support

If you’re operating all day, ergonomics are not optional.

This rig needed to be balanced, comfortable, and predictable. Small issues turn into big problems after hours of shooting. When everything is dialed in, you stop thinking about the rig and start thinking about the shot.

That’s exactly where you want to be.

Monitoring, Power, and Set Reality

Clear monitoring is non-negotiable. Period.

If you can’t trust what you’re seeing, you’re guessing, and guessing on a professional set is how mistakes happen. Focus, exposure, framing, it all needs to be obvious at a glance.

Power was another big factor. Nothing kills momentum faster than stopping a set because a battery died at the wrong time. Everything needs to be thought through before the first take.

Why Shoots Like This Matter

This is the kind of experience you can’t get from reading spec sheets or watching highlight reels.

You learn:

  • What gear actually holds up
  • What slows you down
  • What you can trust when things get hectic

And maybe most importantly, you learn how to work as part of a team instead of just as a solo creator.

That’s the jump a lot of filmmakers want to make, and this is what it actually looks like.

Final Thoughts

Operating camera on this music video was a blast, and it was a great reminder that filmmaking at this level is less about having the “perfect” setup and more about being prepared.

Gear matters, but confidence and consistency matter more.

If you’re aiming to work on higher-end productions, start thinking less about what’s impressive on paper and more about what works every single time when the pressure is on.

That’s the difference.

BenQ VideoVue PV3200U Review: MADE For Editing

In a world where computer monitors try to do everything, productivity, web browsing, gaming, and content creation, it is refreshing to see a monitor that specializes in one thing. The BenQ VideoVue PV3200U is clearly designed with video editing in mind, and almost every feature reflects that focus.

This is a 31.5 inch 4K monitor aimed squarely at video editors, and in this review I am looking at it from the perspective of someone who edits YouTube content, corporate videos, and commercial projects.

For transparency, this review is not paid or sponsored by BenQ. They did send the monitor for review, but they had no input on the content or conclusions.

Screen Size and Build Quality

At 31.5 inches, this monitor sits right in the sweet spot for video editing. You get plenty of room for a full timeline, scopes, and a large preview window without feeling cramped. Once you work on a screen this size, it is hard to go back.

The build quality is excellent. BenQ clearly knows what they are doing when it comes to professional displays. The stand is easy to assemble and offers height adjustment, tilt, swivel, and even vertical rotation. It feels solid and well designed for long editing sessions.

Ports and Connectivity

This is where things get a little unusual. The PV3200U includes three HDMI ports and one USB C port that delivers up to 65 watts of power. However, there is no DisplayPort input, which is surprising, especially for desktop PC users. DisplayPort is extremely common on modern graphics cards.

The monitor also does not include an HDMI cable in the box, only a USB C cable. Combined with some Mac focused features like a Mac color mode, it feels like BenQ expects many users to connect this monitor to a MacBook.

There is also a built in USB hub with three USB A ports and one USB C port, along with a headphone jack. These are handy for connecting peripherals directly to the monitor.

Surprisingly Good Built In Speakers

One of the first things you notice about the VideoVue is the large speaker grills on the front. Most monitors technically have speakers, but they are usually terrible. BenQ took a very different approach here.

The PV3200U features a 2.1 speaker system with two front facing speakers and a small built in subwoofer on the back. This is easily the best built in audio I have ever heard from a monitor.

Out of the box, the speakers are set to a Studio preset, which is relatively flat and neutral. That is ideal for editing and light audio work. Switching to Cinema mode makes a dramatic difference, adding more low end and overall presence.

These speakers will not replace proper studio monitors, but if you are used to editing on laptop speakers, this is a massive upgrade and a genuinely useful feature.

Monitor Controls and Software

The physical controls for the monitor are located underneath the center of the display. There is a power button, a customizable function button, and a joystick for navigating menus. While I generally prefer front facing controls, BenQ offers a better solution.

The VideoVue includes a wireless control puck that lets you adjust volume, switch inputs, change color modes, and more without touching the monitor. It is one of the best monitor control systems available.

You can even use one puck to control up to three BenQ monitors, which is great for multi monitor setups.

If you prefer software controls, BenQ also offers Display Pilot 2. This app lets you adjust all monitor settings using your mouse, which is my preferred way to manage a display.

Display Performance and Color Accuracy

The PV3200U features a 3840×2160 UHD 4K IPS panel with a maximum refresh rate of 60 Hz. While that would be limiting for gaming, it is perfectly fine for video editing.

There is one important limitation to be aware of. When connected to a MacBook via USB C at 60 Hz, the USB hub is limited to USB 2.0 speeds. To access faster USB 3.2 speeds, you must drop the refresh rate to 30 Hz. This is frustrating, but if you edit primarily at 24 or 30 frames per second, it may not be a dealbreaker.

The panel itself is very color accurate. It comes factory calibrated, Calman verified, and includes a calibration report specific to your unit. Using my Spyder X2 Ultra, I measured 100 percent Rec.709 coverage and approximately 93 percent DCI P3 coverage. BenQ rates it at 95 percent P3, so this result is well within expected variance.

For SDR video work like YouTube, corporate, and commercial projects, this monitor performs extremely well.

HDR Limitations

The VideoVue is HDR certified, but only up to 400 nits of brightness. That means it can display accurate HDR color, but it will not deliver the high brightness levels needed for serious HDR grading. If HDR is a major part of your workflow, you will want to look at a higher end display.

Price and Value

At the time of recording, the BenQ VideoVue PV3200U has an MSRP of $800, but it is often discounted to around $650.

In this price range, competition is fierce. QD OLED monitors offer much better contrast if you have closer to a $1000 budget. On the lower end, the ASUS PA329CRV offers similar color accuracy for around $600.

That puts the VideoVue right in the middle. Whether it is worth the extra cost comes down to how much you value the built in speakers and control options.

Personally, I wish it were slightly cheaper, which would make it an easy recommendation over the ASUS. Still, if you find it on sale, it becomes a very compelling option for video editors.

Final Thoughts

The BenQ VideoVue PV3200U feels like a thoughtfully designed monitor for video editors. The color accuracy is excellent, the controls are some of the best available, and the built in speakers are genuinely useful rather than an afterthought.

If you are editing SDR video and want a monitor that focuses on the actual needs of video editors, this is a strong contender. Be sure to check current pricing, as sales can make it an even better value.

Thanks for reading, and if you have thoughts on this monitor, I would love to hear them.

The SURPRISE 1-Minute Wedding Film That Blows Couples’ Minds 🤯

I’m about to show you a wedding film editing and marketing technique that can genuinely change how couples experience your work, and how often you get booked.

It’s called a same-day edit. But if that phrase already makes your stress level spike, stay with me, because what I’m about to explain is very different from the traditional version you’re probably picturing.

Most wedding filmmakers hear “same-day edit” and immediately imagine filming an entire wedding with a full crew, racing against the clock, and somehow delivering a polished film on a projector during the reception. That version exists, but it’s not what I’m talking about here.

This approach is simpler, lower stress, and something almost any wedding filmmaker can realistically pull off, even if you’re working solo.

Why Same-Day Edits Have a Bad Reputation

When I started filming weddings around 2010, a same-day edit was a massive production. It usually required multiple shooters capturing the day while a dedicated editor worked nonstop to assemble a full wedding film before the reception.

Footage had to be copied quickly. Audio had to be synced. Music had to be chosen and cut perfectly. And everything had to be finished by a hard deadline, because at some point during the reception, the entire room would stop to watch the film.

It was stressful, risky, and honestly not worth it for most filmmakers. That’s why you don’t see many people doing traditional same-day edits anymore.

There is one person doing them though, and if you want to be inspired, check out the work of Jason Magbanua!

Reframing the Same-Day Edit

The key shift is realizing that a same-day edit does not need to be a full wedding film.

Instead of creating something long, emotional, and audio-driven, you’re going to make something short, visual, and intentionally simple. The goal is not perfection. The goal is impact.

This updated approach has been used and talked about by filmmakers like Matthew Reid, 31films, and White In Revery, and it completely changes how achievable a same-day edit becomes.

Step One: Make It a Surprise

The first rule is simple: Do not tell the couple you’re doing this.

When couples know a same-day edit is coming, it becomes an expectation, which adds pressure. By keeping it a surprise, you give yourself freedom. If something goes wrong or time gets tight, you can stop without anyone knowing.

Worst case scenario, the work you’ve done becomes a head start on the final edit.

Step Two: Ignore Audio Completely

This is the biggest time-saver.

No vows. No letters. No speeches. And most importantly, no music while you’re editing at the wedding.

The edit is going to play at a loud reception where music is already blasting. Audio doesn’t matter. Removing it entirely lets you work incredibly fast.

Without music dictating your cuts, you’re free to simply choose great-looking shots and move on.

Step Three: Only Choose the Prettiest Clips

This edit is about visual impact. You’re not telling a story. You’re showing your creative eye.

Scroll through your cards quickly and grab only the clips that make you stop and say, “That looks incredible.” Portraits of the couple, beautiful movement, strong light, and clean compositions should make up most of the edit.

Don’t copy entire cards. Just grab what you need and keep moving.

If assembling this takes more than 15 minutes, you’re overthinking it.

How Long the Edit Should Be

Aim for one minute to one minute and thirty seconds.

Anything longer and people won’t stand around to watch it. Shorter is completely fine too. Even 30 seconds can have a huge impact.

Once the clips are on the timeline, apply a quick color grade, export in 1080p, and move on. Speed matters more than resolution here.

When and Where to Edit

Most filmmakers who use this approach carve out time during cocktail hour or during reception downtime, like after formal dances.

If you’re solo, this might mean stepping away for short bursts with your laptop near the reception. It’s doable, it just requires intention.

The entire process should take around 30 minutes once you get comfortable with it.

How to Show the Edit at the Reception

Forget projectors and TVs.

Take your laptop, place it on a table, turn the brightness up, and call the couple over. Tell them you have a surprise.

This moment never fails. Couples don’t expect to see an edit of their wedding on the same day. The reactions are emotional, genuine, and incredibly rewarding.

After they’ve watched it, set the video to loop, make it full screen, and leave it playing.

Guests will naturally gather. People notice when couples are reacting to something special.

Why This Is Incredible Marketing

Instead of forcing everyone to stop and watch a video once, you let the edit play passively throughout the reception.

Guests can watch it on their own terms. And those guests are a perfect audience. They’re the same age as the couple, many are engaged, and they’ll be at the reception for hours.

This often results in far more real engagement than posting the same video online and hoping an algorithm shows it to future couples.

Three Extra Marketing Wins

First, add your logo and website at the end of the edit. Make it easy for people to find you.

Second, place a few business cards near your laptop. Older guests especially will grab them and follow up later.

Third, don’t let this edit live only at the wedding.

Send it to the couple and post it on social media the very next day. Add music, polish it slightly, and ride the excitement while it’s still fresh.

Why Couples Love This

Even if your full wedding film takes months to deliver, couples already have something beautiful to watch and share.

It builds trust. It buys you time. And it reminds them why they hired you in the first place.

The Big Takeaway

You don’t need a big team, a projector, or a stressful timeline.

You need about 30 minutes, a laptop, and the willingness to keep things simple.

This version of a same-day edit is low stress, incredibly effective, and one of the strongest marketing moves you can make as a wedding filmmaker.

Want to learn more about editing? Check out my free Edit Videos Like A Pro guide!