August 20, 2025 • 30 mins
In this episode, host Damien Swaby sits down with Brian Weaver, founder of Weaver Films — a Central Arkansas–based company known for its cinematic wedding storytelling and powerful social documentaries.Before stepping behind the camera, Brian was a musician, performing over 300 live shows and even opening for acts like Plain White T’s. His journey into filmmaking began with a deeply personal moment — his own wedding — which showed him the power of preserving meaningful memories.Together, Damien and Brian explore:
Weaver Films Launches Arkansas Love Story Campaign with Wedding & Engagement Film Giveaway
Weaver Films – Arkansas Love Story Campaign Assets
https://weaverfilms.co/
- The intersection of legacy and reinvention in creative work
- Building a sustainable filmmaking business in a shifting media landscape
- Balancing authentic storytelling with client expectations
- The role of platforms like TikTok in modern creativity
- What it means to leave behind a lasting impact through art
Weaver Films Launches Arkansas Love Story Campaign with Wedding & Engagement Film Giveaway
Weaver Films – Arkansas Love Story Campaign Assets
https://weaverfilms.co/
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
You are listening to the IFH podcast Network.
Speaker 2 (00:06):
For more amazing filmmaking and screenwriting podcasts, just go to
ifhpodcastnetwork dot com.
Speaker 3 (00:13):
To down the podcast. We're diving into the intersection of
legacy and reinvention and creative sustainability with a filmmaker whose
journey truly embodies all three. Brian Weaver is the founder
of Weaver Films, a Central Arkansas based company known for
its cinematic weddings, storytelling, and impactful social documentary work. But
(00:36):
before he picked up a camera, Brian was a musician,
performing over three hundred live shows and opening for acts
like The Plain White Teas. His path into filmmaking was
sparked by a deeply personal moment his own wedding, which
revealed the power of capturing meaningful memories. Since then, Brian
(00:56):
has built a thriving filmmaking business, navigating the evolving landscape
of wedding media whilst staying true to his artistic voice.
From adapting to TikTok, to balancing authenticity with client demand,
to thinking about what it means to leave behind the
creative legacy for his family, Brian's perspective is both grounded
(01:17):
and visionary. Brian, how are you today?
Speaker 1 (01:22):
I'm great. How are you?
Speaker 3 (01:23):
I'm doing fine? Thanks doing fine? I certainly certainly am.
So it's great to have you on the podcast. It
really is. You are the first person to appear on
the podcast who shoots weddings, but you shoot them in
a completely different way because they are absolutely top notch.
I must admit, when I've shot weddings in the past,
I'm glad they didn't see any of your work, as
(01:45):
I would have been out of business.
Speaker 1 (01:47):
Thank you for their nurse compliment.
Speaker 3 (01:49):
Not at all, not at all. So you transition from
a successful music career to wedding filmmaking. What propelled you
to between composing music and crafting cinematic wedding story?
Speaker 1 (02:00):
So always, growing up, I always, you know, played with
the video camera camcorder and made my own movies when
I was a kid with my neighbor. And you know,
ever since then, like you know, after playing a lot
of shows, I would edit my own music videos and
(02:21):
he's like low very low budget. And you know, after
my wedding day, it was just kind of a light
bulb just came off.
Speaker 4 (02:31):
I was like, you know, I can do this.
Speaker 1 (02:33):
I can with a little more learning and skills, you know,
a couple of online courses and learning from the masters.
Speaker 3 (02:46):
You know, anything's possible, learning from the monsters. Explain that
to me. Who are the monsters?
Speaker 1 (02:52):
Oh, you know Jake Weisler, the three guys from the
full time Filmmaker group. I forget his name though, so okay,
but it's Jake Wiser laying halfway and uh, I forgot
the main guy's name. But anyways, they're like dig dogs
on YouTube and stuff and they really know what they're doing.
(03:15):
So Darrick Covid, you know, so during COVID, like, I
don't know, I will go on to that.
Speaker 4 (03:20):
I don't want to go now, Herbo.
Speaker 3 (03:22):
What was it about your own wedding experience that shifted
your perspective on the value of filmmaking?
Speaker 2 (03:28):
Uh?
Speaker 1 (03:28):
The fact that you know, through video, like you can
really remember everything. And our photographer wasn't you know, it
was a family friend and they didn't really do a
great job. And so if you would have had both
video and photo like you would to guy, you know,
(03:49):
at least some of your memories back.
Speaker 3 (03:53):
So which family member in particularly did this and why
did it?
Speaker 1 (03:56):
It was just a friend, a nurse friend one of
her friends. But I mean, like she got the photos,
they just.
Speaker 4 (04:04):
You know, weren't professional.
Speaker 1 (04:06):
They were a little cold on the beach.
Speaker 3 (04:09):
But before we get into more of your expertise and
wedding filmmaking and cinematography and things of that night, so
tell us a bit about your background in music.
Speaker 1 (04:18):
When I was sixteen, I joined like a metal band
and we played like sixteen shows that summer in Bars
my junior year high school. And ever since then, I
just was playing music and playing shows and traveled to Austin,
Texas like five times trying to make it. Would play
(04:39):
guitar on the street all the time and just kind
of paying my dues that way. A lot of open mics,
a lot of opening for semi you know, mediocre bands,
and just really just trying to find myself and figure
(04:59):
out like what I really.
Speaker 4 (05:00):
Want to do in life throughout my twenties and.
Speaker 1 (05:03):
So really I just traveled and played music.
Speaker 3 (05:07):
As a percussionist in a heavy metal band.
Speaker 1 (05:09):
Did you say, Oh No, Like I was in a
lot of bands. I was a drummer for that band,
But I play everything. I sing and play ukulele and
acoustic and so I actually started writing my own songs
and singing and playing acoustic guitar most of the time.
Speaker 3 (05:28):
So how did your background in IT and music prepare
you technically and emotionally for storytelling through film.
Speaker 1 (05:37):
Just a lot of experiences observing conversations through life. Being
it helped me be resilient because I had to go
through a lot of hardships of just me being naive
and dumb really just through all those times playing music
and learning about myself. So I don't know, picking up
(06:05):
a camera in a ways really just kind of saved
me from all that, Like it just gave me some
purpose because I was just kind of lost, you know,
why were you lost?
Speaker 2 (06:18):
Just trying to find something that you know that like
just trying to, like I don't know, just a purpose
for me in life, like I couldn't find.
Speaker 1 (06:30):
I just the music is really hard to do. You
gotta be really good. And I really picked a hard
thing to do, and so I felt at that and
so I needed something else to I don't know, kind
of redeem myself.
Speaker 4 (06:45):
I guess.
Speaker 3 (06:47):
So what does your current gear and editing pipeline look
like for delivering cinematic yet social ready wedding productions.
Speaker 1 (06:57):
I usually don't take a second shooter with me, so
I do it everything myself. But as far as gear
for the wedding day, it's typically I, well, my my
A cam is a Cannon C seventy n on and
uh so I love that camera. And then my B
(07:19):
and ccam are the Canon R six with the seventy
two hundreds for my tripods for the ceremony, so on
each side, I'll.
Speaker 4 (07:28):
Have a tripod.
Speaker 1 (07:29):
I basically use three cameras for the ceremony, two on
each side. And then I'm holding my gimbal with a
C seventy throughout the whole day. And then audio devices
as far as like task cams, uh b real tens,
but the I switched to the pros and they're they're
(07:51):
a lot better, it seems like. And then for speeches,
you know, like the the Sony t X sixty six
six sixty handheld recorder. The thing's amazing, so like it'll
pick you just slide it onto a microphone sleeve and
it's ready to rock and roll.
Speaker 3 (08:11):
Bah.
Speaker 1 (08:12):
But and the quality of that piece of gears pretty
superb for everything being so loud out of reception or something.
Speaker 3 (08:23):
How do you determine what gear is seen as a
or is valued as quality.
Speaker 1 (08:29):
You know, the Cannoncy seventy is not exactly the most
ideal camera to use.
Speaker 4 (08:34):
For weddings, for sure. It's it's not ideal for it.
It's heavy. It's a very heavy.
Speaker 1 (08:39):
Camera, especially with the gimbal. But I love the image
quality so much that I'll just I'll take.
Speaker 4 (08:47):
The hit on that, you know.
Speaker 1 (08:49):
Yeah, carried around all day.
Speaker 4 (08:52):
Just because I love the image quality.
Speaker 1 (08:54):
But the battery life on the Cannoncy seventy is really good,
So yes, it's I'm not switching out. I have three
batteries and that's it, you know, so plenty of despair
for the rest of the day too.
Speaker 3 (09:09):
Do you feel pressure to follow trends when you're shooting weddings? No,
not at all.
Speaker 1 (09:14):
I don't follow any trans I never have. Well, I'll
take that back. I see something on Instagram and I'll
be like, hey, that was cool, and then I'll I'll
copy it. So I lied. I lied that that's I mean.
But I'm not like looking.
Speaker 4 (09:30):
For the trend, you know, I'm just.
Speaker 1 (09:34):
Really just doing my thing, and like I'll see something
and be like, hey, that was a cool idea, and
then I'll adapt that a little bit maybe show people
that I can do it, you know, that I can
edit that way and post like one thing of the
trend and then move on.
Speaker 3 (09:53):
So a lot of the people listening to this podcast
have shot weddings or thinking about shooting weddings and do
multiple different and things to fund their narrative work or
documentary workers, self shooting filmmakers, or even people in production companies.
But when you go out and film a wedding or
when you speak to potential clients, what do you look
(10:14):
for in a great client who wants you to shoot
their wedding?
Speaker 1 (10:18):
You know, someone that could that just has checked the
workout and trust me to do to do my job. Yeah,
that's that's really what the main thing I'm looking for.
Speaker 3 (10:30):
It's just.
Speaker 1 (10:34):
Trust and I'll trust in me that I'll follow through,
which I always do, you know, and let the art.
Speaker 4 (10:43):
Let the art speak for yourself.
Speaker 1 (10:45):
So we talked through email, cinema contract with a deposit,
all through Honeybook. It's all online, super easy. Honeybook's been
a game changer. If you don't have Honeybook, I recommend it.
Speaker 3 (10:59):
Please to explain to us about Honeybook as well.
Speaker 1 (11:02):
It's kind of like quick books. But it's just it's
kind of built for.
Speaker 4 (11:07):
Photographers.
Speaker 1 (11:08):
Kind of, it seems like it's really built for photographers
and or they had that mindset when they were doing it.
Speaker 4 (11:14):
But it's built for everybody.
Speaker 3 (11:15):
But yeah, it's just.
Speaker 1 (11:17):
An amazing software application. It just makes things a lot easier.
And it's when they when the client you know, sees
it and opens the app.
Speaker 4 (11:31):
There, it's just.
Speaker 1 (11:32):
Legitimate, you know, Okay, but uh no, I do one month,
so I get a deposit and then one month before
the wedding they paying fool.
Speaker 3 (11:41):
If someone was to be late with the payment, do
you just say sorry, buddy, doesn't work for me. Brother?
Speaker 1 (11:49):
As far as like, I don't know, like if they're.
Speaker 4 (11:52):
Not, as long as it's before the wedding.
Speaker 1 (11:55):
So I do a month before the wedding. But you know,
I've never had I mean, I've had a couple of
people cancel, yeah, things like that, but not anybody not
want to pay.
Speaker 3 (12:08):
I'm glad. I'm glad.
Speaker 2 (12:10):
Yeah.
Speaker 1 (12:10):
I mean the other day, like someone canceled because their
dog got sick and they took out the video budget.
Speaker 4 (12:17):
So oh wow, just they just.
Speaker 1 (12:21):
Canceled me out, which was fine. I mean, they didn't
pay in full yet and so I mean it was
just a deposit.
Speaker 3 (12:31):
So how do you sometimes handle the tension between artistic
videos and client expectations in the commercial wedding space.
Speaker 1 (12:42):
A lot of times, like for an example, they'll say,
like they want their So I had a bride, I
want to do vals, but I wasn't going to be
there at the time they wanted to do that, So
I had eight hours of coverage. But wow, they were
gonna do that before that. So they recorded the vowels
(13:05):
with their iPhone and with no audio, and you know,
she was like, can you put this in the video
in the final wedding film? You know, that's really not
what I would like to do, because you know, I
don't want to put waste my time and put bad
audio into a wedding film. Yeah, but you know, so
(13:26):
what I do is, I'll go out of my way
for the client and do two separate versions of the
wedding film. So, in other words, I'll create the one
that I wanted to create.
Speaker 4 (13:38):
And then.
Speaker 1 (13:41):
I'll cut up the vowels after I've already created the
wedding film and then put throw those into what I've
already created. Takes a little more time.
Speaker 4 (13:51):
But you know, she gets two versions.
Speaker 1 (13:54):
She gets the one that I that I like so
I can post to social media, and then she gets
her memories as well with the vowels that she requested.
Speaker 3 (14:05):
So typically, how long is the wedding video that you
shoot and how much of it goes onto social media?
Speaker 1 (14:11):
Get posted to social media because you know, a lot
of the wedding films are personal, and so the valels,
a lot of the brads.
Speaker 4 (14:19):
Don't even want them on social media.
Speaker 1 (14:21):
Yeah, just because the valves are personal and they want
that in the wedding film. So it's just kind of
a fine line, you know, I have to really ask them,
you know, but like a teaser or something, I'll post
to social media, but a lot of wedding films don't
get posted just because of that reason.
Speaker 3 (14:40):
And how long are these wedding films generally.
Speaker 1 (14:42):
Four to seven minutes?
Speaker 3 (14:45):
Ah, okay, great, So you really do capture the best.
Speaker 1 (14:48):
Of it, absolutely, So yeah, out of an eight hour day.
Speaker 4 (14:52):
You know, four to seven minutes, that's what I'm getting.
Speaker 1 (14:56):
And it is the best clips throughout the whole day
and the best audio.
Speaker 3 (15:03):
And you've mentioned that your work has shifted from personal
passion to purposeful legacy. What does that look like in practice?
Speaker 1 (15:12):
Oh, it's amazing. You know, I get to work for nonprofits.
Last year, I got to be in a documentary. More
of my footage got to be in the documentary about fentanyl,
the fentanyl crisis in America. And just the opportunities that
(15:32):
have came my way since doing this is just remarkable.
Just going out there and you know, I don't my
first six years of business, I didn't turn down anybody.
Speaker 4 (15:44):
Okay, I was out just getting it.
Speaker 3 (15:47):
You know.
Speaker 1 (15:48):
I was whatever opportunity that came away, I was taking
it just because I wanted to see what would happen
like later down the road if I did the best
job I could. And I mean, it really does work
if you put in the effort and go out there
(16:08):
and work hard. Yeah, it's not all it's definitely not
fun all the.
Speaker 3 (16:12):
Time, but.
Speaker 4 (16:15):
You do get rewarded.
Speaker 3 (16:16):
And who was some of them? Not football, which you've
worked with.
Speaker 1 (16:20):
Pathway to Freedom is one of them. It's a prison ministry,
Christian ministry out in Writsville, Arkansas, the Confess Project of
Little Roc I think, and actually it's just called the
Confess Project, but they're based in Little Rock and they're
(16:41):
actually the number one mental health barbershop.
Speaker 4 (16:46):
Movement in America.
Speaker 1 (16:48):
And he was on the Kelly Clarkson's Show in twenty
twenty Wow. So that was really cool, and I worked
with him for a lot. He was actually one of
my first clients. And so Lorenzo p. Lewis is his name,
and he's doing great things. He's living out in Atlanta now.
And and then Hope Movement Coalition is the fentanyl they're
(17:11):
fighting the fentanyl crisis.
Speaker 3 (17:14):
So really purposeful, passionate social work is what you're about.
I'm hearing right, and.
Speaker 1 (17:21):
I really enjoy doing that. So, like Wednesday, I'll be
filming for the Pathway to Freedom and we're going out
two hours to Fort Smith and we're going to be
doing a testimonial. That's what like once a year I'll
do a testimonial for them, and so it's someone that's
been in prison that got out and we go through
(17:43):
their whole story of them doing good, you know.
Speaker 3 (17:47):
And do you imagine we the film's evolving into a
multi generational family business. How are you preparing for your children,
if at all, to engage with this work?
Speaker 1 (17:58):
You know, I'm not I'm not really sure, but I
would hope. So that would be cool to see like
my son like pick up a camera and like become
a filmmaker. But I'm just gonna let him do what
he wants to do.
Speaker 3 (18:14):
So he's even at the age to start thinking about
what he wants to do.
Speaker 4 (18:19):
Oh yeah, he wants to be a YouTuber already. Yeah.
Speaker 1 (18:22):
Say, he sees all the cameras and he's just like,
let's do a video, dad, and let's he wants to
be a gamer. So yeah.
Speaker 3 (18:34):
The film scene in Arkansas, what is that like? Whether
it be documentary, wedding films or narrative projects.
Speaker 1 (18:44):
The thing about it is is there's not too many
videographers in Arkansas right now. There's there's a handful of
us that are you know, well weddings anyways, but as
far as the it's not too saturated. So there's really
(19:05):
not much going on, you know, not a lot of
people posting work or anything like that. Most videographers around
here don't even post their wedding films.
Speaker 3 (19:18):
Okay, So how far would you have to travel to
get some of your work?
Speaker 4 (19:25):
Uh?
Speaker 1 (19:26):
So, like New I go to Northwest Arkansas a lot.
It's like three hours. But most of the weddings I do,
they're probably like an hour an hour.
Speaker 3 (19:37):
To three hours away, So your day typically starts a
walk when you're shooting a wedding.
Speaker 1 (19:43):
Probably around like nine am.
Speaker 3 (19:45):
Oh that's not too bad at all if it's a.
Speaker 1 (19:47):
Three hour drive, but like if it's closer, you.
Speaker 4 (19:50):
Know, I won't have to leave till you know, one o'clock.
Speaker 1 (19:55):
You know or something, and get there like two and
then spend the whole day there till they send.
Speaker 4 (20:01):
Off, so eight hours.
Speaker 3 (20:05):
And in those times when or if you've had those
times when you've had to film with someone else, what
does that look like if you're not just a self
shooting videographer for the day.
Speaker 1 (20:17):
I don't really do that much, but I've done that
like second shoot is we're yeah about I've only done
that like a.
Speaker 3 (20:26):
Handful of times.
Speaker 1 (20:27):
But that's actually a lot easier.
Speaker 4 (20:29):
So I can just kind of sit back and just
he just tells me what to do.
Speaker 1 (20:37):
Because everybody has their own style, you know, so I
don't you know they film different.
Speaker 4 (20:44):
Yeah, it's I don't know what they want.
Speaker 3 (20:46):
So and did you train it tour? Did you go
to any kind of film school or did you do
any courses that you feel was really beneficial to He
was a wedding videographer.
Speaker 1 (20:58):
Absolutely, so the I recommend the full time Filmmaker course.
In twenty twenty, they were doing a COVID cell on
it and I had been a videographer for a year
and a half trying to do weddings, and I had
like two wedding films in my portfolio and it was
(21:21):
just it wasn't looking very good.
Speaker 4 (21:23):
Let's just say that it was just a.
Speaker 1 (21:25):
Year and a half's gone by, you know, and it
literally an ad popped up and it was like five
hundred dollars for this course, like on seal, and literally
I had like five hundred.
Speaker 4 (21:41):
Dollars in my bank account. WHOA, that was it?
Speaker 1 (21:45):
And so I like drained it and shot bought it
and watched like binge watched Wedding Video Pro, Real Estate
Video Pro, Music Video Pro. And I haven't even finished
the course since then. So it's like I watched those
(22:06):
those courses in like three days, and the next wedding
I did, I implemented that and I booked fifteen weddings
from that one wedding video.
Speaker 4 (22:19):
Shortly after that for the.
Speaker 1 (22:21):
Same year, fifty fifteen. From August twenty twenty to December,
I booked fifteen weddings after implementing that course, and literally
from August to.
Speaker 4 (22:37):
December, I did those fifteen weddings.
Speaker 3 (22:39):
And what exactly from those courses helped.
Speaker 1 (22:42):
You just as they knew how to do it, they
knew I mean, knowledge is.
Speaker 4 (22:48):
Power, right, So it's like these.
Speaker 1 (22:50):
Guys have been out, they already experienced like top tire weddings,
you know, the fancies, and they just showed me how
to do it. And like after a year and a
half of trying to figure it out myself, it actually
was a good thing because after watching the course, it
(23:11):
was like light bulbs were just coming off, you know,
I was bringing off and so it was I picked
it up really easy after that. Not really easy. It's
hard filmmaking super hard.
Speaker 4 (23:26):
I said that I make it look easy.
Speaker 3 (23:30):
And you mentioned before having the photographer was a friend
of your wife's at your own wedding. Have you been
in the situation where you've had to shoot a wedding
for a friend or family member, and if so, how
does that differ from a client.
Speaker 1 (23:45):
Yeah, so usually, you know, I don't want to be
a bummer about it. But like family friends, you know,
you got to give them the discount, you know, Yeah,
and you know they're not really appreciative as much as
like a normal client, I feel like, or if they
even hire you at all. Now. But yeah, I've I've
(24:11):
helped people out. I've helped a lot of friends out
of filmed a lot of my friend's weddings and give
them good deals and they love the product. So just
a little effort, just a little more effort.
Speaker 4 (24:22):
That's all.
Speaker 3 (24:23):
And speaking of discounts, you've got a deal out at
the moment, haven't you. You've got an offer on for
the people of Arkansas who wish to have their weddings filmed.
Speaker 1 (24:33):
Oh yeah, so I've got a giveaway coming up Arkansas
Love Story is what we're calling it. And for anybody
that doesn't win, they get five hundred dollars off my
package if they entered the contest.
Speaker 3 (24:48):
And how much is the package.
Speaker 1 (24:50):
It's two nine nine seven, it's three thousands three And
what is he experience given added?
Speaker 3 (24:57):
What are some of the things they're expected to to care?
Speaker 1 (25:02):
So they get me at their wedding that should be
the most that should be night and then well they
get a wedding film. It's the starting package, so it's
they get me at their wedding and then they get a.
Speaker 4 (25:15):
Beautiful wedding film.
Speaker 1 (25:17):
Oh and and a teaser video for social media.
Speaker 3 (25:21):
So I'm guessing this a one minute or forty seconds
teaser video.
Speaker 1 (25:25):
Well, I've been doing like scenes from the day on Instagram,
so they do the carousels and you can like swipe
and just see the clips. So I'm doing that just
kind of showing the scenes, and so I thought that
was pretty cool, and so I've been doing that lately,
but like a teaser, yeah, forty five seconds to like
a minute and a half. Yeah, so I'm giving away
(25:47):
a whole wedding film, like the whole starting package, wedding
film and an engagement film. So they're getting like the
whole package for free.
Speaker 3 (25:58):
Nice and wait, do you see wedding filmmaking headed in
the next ten to five years or five to ten years,
I should say, sorry, from both a storytelling and technological perspective.
Speaker 1 (26:10):
You know, I think weddings will be for video. Orphans
will be around for yeah for a while. Let's hope
the robots don't take our jobs. But I'm kidding, but yeah,
ten years, you know, and then the robots take over.
Speaker 4 (26:26):
So I'm just kidding.
Speaker 1 (26:29):
Maybe I don't know. They did say that blue collar
jobs are going to be wiped out in like five years.
Speaker 3 (26:39):
As all other emerging tools you see playing a part
in your workflow or vision, like.
Speaker 1 (26:45):
The AI tools. And yeah, yeah, for sure, that's a
really good feature that you can stretch out clips and
it's amazing how they can do that too. So I
haven't used that yet because asked.
Speaker 3 (27:00):
Need to.
Speaker 1 (27:01):
Yeah, I'm sure it'll come in handy one day when
I when I need to stretch out a clip or something.
But I use Premiere Pro and I've been using that
since day one, and I just can't. Everybody's switching to
Da Vinci and I've used da Vinci, but you know,
it's a cool program. It's it's nice and it's free,
(27:21):
and I just.
Speaker 4 (27:24):
Haven't switched over.
Speaker 1 (27:25):
I don't really feel the need to. I like Adobe
Premiere and I still have to learn so much more,
you know, out the software anyways that you know you
can't learn it all.
Speaker 3 (27:38):
A big thank you to Brian for shared his story
of creative reinvention and legacy building. We explored his pathful
musicians to filmmaker now he's staying relevant in a you've
driven industry and the ways he's adapted to new technologies.
We also talked about what it means to build a family,
orientate to create business that's a batter, personal storytelling with
(28:02):
client expectations, and don't forget to check out in the
show notes Brian's Arkansas's Love Story campaign launching August eighteenth,
where he's given away a four thousand, seven hundred and
ninety seven dollars wedding an engagement film package. The couple's
marrying in Arkansas. Have you even joined this episode? Be subscribed,
(28:24):
leave a review and share it with a friend or
Holly who's navigating their own creative journey
You are listening to the IFH podcast Network.
Speaker 2 (00:06):
For more amazing filmmaking and screenwriting podcasts, just go to
ifhpodcastnetwork dot com.
Speaker 3 (00:13):
To down the podcast. We're diving into the intersection of
legacy and reinvention and creative sustainability with a filmmaker whose
journey truly embodies all three. Brian Weaver is the founder
of Weaver Films, a Central Arkansas based company known for
its cinematic weddings, storytelling, and impactful social documentary work. But
(00:36):
before he picked up a camera, Brian was a musician,
performing over three hundred live shows and opening for acts
like The Plain White Teas. His path into filmmaking was
sparked by a deeply personal moment his own wedding, which
revealed the power of capturing meaningful memories. Since then, Brian
(00:56):
has built a thriving filmmaking business, navigating the evolving landscape
of wedding media whilst staying true to his artistic voice.
From adapting to TikTok, to balancing authenticity with client demand,
to thinking about what it means to leave behind the
creative legacy for his family, Brian's perspective is both grounded
(01:17):
and visionary. Brian, how are you today?
Speaker 1 (01:22):
I'm great. How are you?
Speaker 3 (01:23):
I'm doing fine? Thanks doing fine? I certainly certainly am.
So it's great to have you on the podcast. It
really is. You are the first person to appear on
the podcast who shoots weddings, but you shoot them in
a completely different way because they are absolutely top notch.
I must admit, when I've shot weddings in the past,
I'm glad they didn't see any of your work, as
(01:45):
I would have been out of business.
Speaker 1 (01:47):
Thank you for their nurse compliment.
Speaker 3 (01:49):
Not at all, not at all. So you transition from
a successful music career to wedding filmmaking. What propelled you
to between composing music and crafting cinematic wedding story?
Speaker 1 (02:00):
So always, growing up, I always, you know, played with
the video camera camcorder and made my own movies when
I was a kid with my neighbor. And you know,
ever since then, like you know, after playing a lot
of shows, I would edit my own music videos and
(02:21):
he's like low very low budget. And you know, after
my wedding day, it was just kind of a light
bulb just came off.
Speaker 4 (02:31):
I was like, you know, I can do this.
Speaker 1 (02:33):
I can with a little more learning and skills, you know,
a couple of online courses and learning from the masters.
Speaker 3 (02:46):
You know, anything's possible, learning from the monsters. Explain that
to me. Who are the monsters?
Speaker 1 (02:52):
Oh, you know Jake Weisler, the three guys from the
full time Filmmaker group. I forget his name though, so okay,
but it's Jake Wiser laying halfway and uh, I forgot
the main guy's name. But anyways, they're like dig dogs
on YouTube and stuff and they really know what they're doing.
(03:15):
So Darrick Covid, you know, so during COVID, like, I
don't know, I will go on to that.
Speaker 4 (03:20):
I don't want to go now, Herbo.
Speaker 3 (03:22):
What was it about your own wedding experience that shifted
your perspective on the value of filmmaking?
Speaker 2 (03:28):
Uh?
Speaker 1 (03:28):
The fact that you know, through video, like you can
really remember everything. And our photographer wasn't you know, it
was a family friend and they didn't really do a
great job. And so if you would have had both
video and photo like you would to guy, you know,
(03:49):
at least some of your memories back.
Speaker 3 (03:53):
So which family member in particularly did this and why
did it?
Speaker 1 (03:56):
It was just a friend, a nurse friend one of
her friends. But I mean, like she got the photos,
they just.
Speaker 4 (04:04):
You know, weren't professional.
Speaker 1 (04:06):
They were a little cold on the beach.
Speaker 3 (04:09):
But before we get into more of your expertise and
wedding filmmaking and cinematography and things of that night, so
tell us a bit about your background in music.
Speaker 1 (04:18):
When I was sixteen, I joined like a metal band
and we played like sixteen shows that summer in Bars
my junior year high school. And ever since then, I
just was playing music and playing shows and traveled to Austin,
Texas like five times trying to make it. Would play
(04:39):
guitar on the street all the time and just kind
of paying my dues that way. A lot of open mics,
a lot of opening for semi you know, mediocre bands,
and just really just trying to find myself and figure
(04:59):
out like what I really.
Speaker 4 (05:00):
Want to do in life throughout my twenties and.
Speaker 1 (05:03):
So really I just traveled and played music.
Speaker 3 (05:07):
As a percussionist in a heavy metal band.
Speaker 1 (05:09):
Did you say, Oh No, Like I was in a
lot of bands. I was a drummer for that band,
But I play everything. I sing and play ukulele and
acoustic and so I actually started writing my own songs
and singing and playing acoustic guitar most of the time.
Speaker 3 (05:28):
So how did your background in IT and music prepare
you technically and emotionally for storytelling through film.
Speaker 1 (05:37):
Just a lot of experiences observing conversations through life. Being
it helped me be resilient because I had to go
through a lot of hardships of just me being naive
and dumb really just through all those times playing music
and learning about myself. So I don't know, picking up
(06:05):
a camera in a ways really just kind of saved
me from all that, Like it just gave me some
purpose because I was just kind of lost, you know,
why were you lost?
Speaker 2 (06:18):
Just trying to find something that you know that like
just trying to, like I don't know, just a purpose
for me in life, like I couldn't find.
Speaker 1 (06:30):
I just the music is really hard to do. You
gotta be really good. And I really picked a hard
thing to do, and so I felt at that and
so I needed something else to I don't know, kind
of redeem myself.
Speaker 4 (06:45):
I guess.
Speaker 3 (06:47):
So what does your current gear and editing pipeline look
like for delivering cinematic yet social ready wedding productions.
Speaker 1 (06:57):
I usually don't take a second shooter with me, so
I do it everything myself. But as far as gear
for the wedding day, it's typically I, well, my my
A cam is a Cannon C seventy n on and
uh so I love that camera. And then my B
(07:19):
and ccam are the Canon R six with the seventy
two hundreds for my tripods for the ceremony, so on
each side, I'll.
Speaker 4 (07:28):
Have a tripod.
Speaker 1 (07:29):
I basically use three cameras for the ceremony, two on
each side. And then I'm holding my gimbal with a
C seventy throughout the whole day. And then audio devices
as far as like task cams, uh b real tens,
but the I switched to the pros and they're they're
(07:51):
a lot better, it seems like. And then for speeches,
you know, like the the Sony t X sixty six
six sixty handheld recorder. The thing's amazing, so like it'll
pick you just slide it onto a microphone sleeve and
it's ready to rock and roll.
Speaker 3 (08:11):
Bah.
Speaker 1 (08:12):
But and the quality of that piece of gears pretty
superb for everything being so loud out of reception or something.
Speaker 3 (08:23):
How do you determine what gear is seen as a
or is valued as quality.
Speaker 1 (08:29):
You know, the Cannoncy seventy is not exactly the most
ideal camera to use.
Speaker 4 (08:34):
For weddings, for sure. It's it's not ideal for it.
It's heavy. It's a very heavy.
Speaker 1 (08:39):
Camera, especially with the gimbal. But I love the image
quality so much that I'll just I'll take.
Speaker 4 (08:47):
The hit on that, you know.
Speaker 1 (08:49):
Yeah, carried around all day.
Speaker 4 (08:52):
Just because I love the image quality.
Speaker 1 (08:54):
But the battery life on the Cannoncy seventy is really good,
So yes, it's I'm not switching out. I have three
batteries and that's it, you know, so plenty of despair
for the rest of the day too.
Speaker 3 (09:09):
Do you feel pressure to follow trends when you're shooting weddings? No,
not at all.
Speaker 1 (09:14):
I don't follow any trans I never have. Well, I'll
take that back. I see something on Instagram and I'll
be like, hey, that was cool, and then I'll I'll
copy it. So I lied. I lied that that's I mean.
But I'm not like looking.
Speaker 4 (09:30):
For the trend, you know, I'm just.
Speaker 1 (09:34):
Really just doing my thing, and like I'll see something
and be like, hey, that was a cool idea, and
then I'll adapt that a little bit maybe show people
that I can do it, you know, that I can
edit that way and post like one thing of the
trend and then move on.
Speaker 3 (09:53):
So a lot of the people listening to this podcast
have shot weddings or thinking about shooting weddings and do
multiple different and things to fund their narrative work or
documentary workers, self shooting filmmakers, or even people in production companies.
But when you go out and film a wedding or
when you speak to potential clients, what do you look
(10:14):
for in a great client who wants you to shoot
their wedding?
Speaker 1 (10:18):
You know, someone that could that just has checked the
workout and trust me to do to do my job. Yeah,
that's that's really what the main thing I'm looking for.
Speaker 3 (10:30):
It's just.
Speaker 1 (10:34):
Trust and I'll trust in me that I'll follow through,
which I always do, you know, and let the art.
Speaker 4 (10:43):
Let the art speak for yourself.
Speaker 1 (10:45):
So we talked through email, cinema contract with a deposit,
all through Honeybook. It's all online, super easy. Honeybook's been
a game changer. If you don't have Honeybook, I recommend it.
Speaker 3 (10:59):
Please to explain to us about Honeybook as well.
Speaker 1 (11:02):
It's kind of like quick books. But it's just it's
kind of built for.
Speaker 4 (11:07):
Photographers.
Speaker 1 (11:08):
Kind of, it seems like it's really built for photographers
and or they had that mindset when they were doing it.
Speaker 4 (11:14):
But it's built for everybody.
Speaker 3 (11:15):
But yeah, it's just.
Speaker 1 (11:17):
An amazing software application. It just makes things a lot easier.
And it's when they when the client you know, sees
it and opens the app.
Speaker 4 (11:31):
There, it's just.
Speaker 1 (11:32):
Legitimate, you know, Okay, but uh no, I do one month,
so I get a deposit and then one month before
the wedding they paying fool.
Speaker 3 (11:41):
If someone was to be late with the payment, do
you just say sorry, buddy, doesn't work for me. Brother?
Speaker 1 (11:49):
As far as like, I don't know, like if they're.
Speaker 4 (11:52):
Not, as long as it's before the wedding.
Speaker 1 (11:55):
So I do a month before the wedding. But you know,
I've never had I mean, I've had a couple of
people cancel, yeah, things like that, but not anybody not
want to pay.
Speaker 3 (12:08):
I'm glad. I'm glad.
Speaker 2 (12:10):
Yeah.
Speaker 1 (12:10):
I mean the other day, like someone canceled because their
dog got sick and they took out the video budget.
Speaker 4 (12:17):
So oh wow, just they just.
Speaker 1 (12:21):
Canceled me out, which was fine. I mean, they didn't
pay in full yet and so I mean it was
just a deposit.
Speaker 3 (12:31):
So how do you sometimes handle the tension between artistic
videos and client expectations in the commercial wedding space.
Speaker 1 (12:42):
A lot of times, like for an example, they'll say,
like they want their So I had a bride, I
want to do vals, but I wasn't going to be
there at the time they wanted to do that, So
I had eight hours of coverage. But wow, they were
gonna do that before that. So they recorded the vowels
(13:05):
with their iPhone and with no audio, and you know,
she was like, can you put this in the video
in the final wedding film? You know, that's really not
what I would like to do, because you know, I
don't want to put waste my time and put bad
audio into a wedding film. Yeah, but you know, so
(13:26):
what I do is, I'll go out of my way
for the client and do two separate versions of the
wedding film. So, in other words, I'll create the one
that I wanted to create.
Speaker 4 (13:38):
And then.
Speaker 1 (13:41):
I'll cut up the vowels after I've already created the
wedding film and then put throw those into what I've
already created. Takes a little more time.
Speaker 4 (13:51):
But you know, she gets two versions.
Speaker 1 (13:54):
She gets the one that I that I like so
I can post to social media, and then she gets
her memories as well with the vowels that she requested.
Speaker 3 (14:05):
So typically, how long is the wedding video that you
shoot and how much of it goes onto social media?
Speaker 1 (14:11):
Get posted to social media because you know, a lot
of the wedding films are personal, and so the valels,
a lot of the brads.
Speaker 4 (14:19):
Don't even want them on social media.
Speaker 1 (14:21):
Yeah, just because the valves are personal and they want
that in the wedding film. So it's just kind of
a fine line, you know, I have to really ask them,
you know, but like a teaser or something, I'll post
to social media, but a lot of wedding films don't
get posted just because of that reason.
Speaker 3 (14:40):
And how long are these wedding films generally.
Speaker 1 (14:42):
Four to seven minutes?
Speaker 3 (14:45):
Ah, okay, great, So you really do capture the best.
Speaker 1 (14:48):
Of it, absolutely, So yeah, out of an eight hour day.
Speaker 4 (14:52):
You know, four to seven minutes, that's what I'm getting.
Speaker 1 (14:56):
And it is the best clips throughout the whole day
and the best audio.
Speaker 3 (15:03):
And you've mentioned that your work has shifted from personal
passion to purposeful legacy. What does that look like in practice?
Speaker 1 (15:12):
Oh, it's amazing. You know, I get to work for nonprofits.
Last year, I got to be in a documentary. More
of my footage got to be in the documentary about fentanyl,
the fentanyl crisis in America. And just the opportunities that
(15:32):
have came my way since doing this is just remarkable.
Just going out there and you know, I don't my
first six years of business, I didn't turn down anybody.
Speaker 4 (15:44):
Okay, I was out just getting it.
Speaker 3 (15:47):
You know.
Speaker 1 (15:48):
I was whatever opportunity that came away, I was taking
it just because I wanted to see what would happen
like later down the road if I did the best
job I could. And I mean, it really does work
if you put in the effort and go out there
(16:08):
and work hard. Yeah, it's not all it's definitely not
fun all the.
Speaker 3 (16:12):
Time, but.
Speaker 4 (16:15):
You do get rewarded.
Speaker 3 (16:16):
And who was some of them? Not football, which you've
worked with.
Speaker 1 (16:20):
Pathway to Freedom is one of them. It's a prison ministry,
Christian ministry out in Writsville, Arkansas, the Confess Project of
Little Roc I think, and actually it's just called the
Confess Project, but they're based in Little Rock and they're
(16:41):
actually the number one mental health barbershop.
Speaker 4 (16:46):
Movement in America.
Speaker 1 (16:48):
And he was on the Kelly Clarkson's Show in twenty
twenty Wow. So that was really cool, and I worked
with him for a lot. He was actually one of
my first clients. And so Lorenzo p. Lewis is his name,
and he's doing great things. He's living out in Atlanta now.
And and then Hope Movement Coalition is the fentanyl they're
(17:11):
fighting the fentanyl crisis.
Speaker 3 (17:14):
So really purposeful, passionate social work is what you're about.
I'm hearing right, and.
Speaker 1 (17:21):
I really enjoy doing that. So, like Wednesday, I'll be
filming for the Pathway to Freedom and we're going out
two hours to Fort Smith and we're going to be
doing a testimonial. That's what like once a year I'll
do a testimonial for them, and so it's someone that's
been in prison that got out and we go through
(17:43):
their whole story of them doing good, you know.
Speaker 3 (17:47):
And do you imagine we the film's evolving into a
multi generational family business. How are you preparing for your children,
if at all, to engage with this work?
Speaker 1 (17:58):
You know, I'm not I'm not really sure, but I
would hope. So that would be cool to see like
my son like pick up a camera and like become
a filmmaker. But I'm just gonna let him do what
he wants to do.
Speaker 3 (18:14):
So he's even at the age to start thinking about
what he wants to do.
Speaker 4 (18:19):
Oh yeah, he wants to be a YouTuber already. Yeah.
Speaker 1 (18:22):
Say, he sees all the cameras and he's just like,
let's do a video, dad, and let's he wants to
be a gamer. So yeah.
Speaker 3 (18:34):
The film scene in Arkansas, what is that like? Whether
it be documentary, wedding films or narrative projects.
Speaker 1 (18:44):
The thing about it is is there's not too many
videographers in Arkansas right now. There's there's a handful of
us that are you know, well weddings anyways, but as
far as the it's not too saturated. So there's really
(19:05):
not much going on, you know, not a lot of
people posting work or anything like that. Most videographers around
here don't even post their wedding films.
Speaker 3 (19:18):
Okay, So how far would you have to travel to
get some of your work?
Speaker 4 (19:25):
Uh?
Speaker 1 (19:26):
So, like New I go to Northwest Arkansas a lot.
It's like three hours. But most of the weddings I do,
they're probably like an hour an hour.
Speaker 3 (19:37):
To three hours away, So your day typically starts a
walk when you're shooting a wedding.
Speaker 1 (19:43):
Probably around like nine am.
Speaker 3 (19:45):
Oh that's not too bad at all if it's a.
Speaker 1 (19:47):
Three hour drive, but like if it's closer, you.
Speaker 4 (19:50):
Know, I won't have to leave till you know, one o'clock.
Speaker 1 (19:55):
You know or something, and get there like two and
then spend the whole day there till they send.
Speaker 4 (20:01):
Off, so eight hours.
Speaker 3 (20:05):
And in those times when or if you've had those
times when you've had to film with someone else, what
does that look like if you're not just a self
shooting videographer for the day.
Speaker 1 (20:17):
I don't really do that much, but I've done that
like second shoot is we're yeah about I've only done
that like a.
Speaker 3 (20:26):
Handful of times.
Speaker 1 (20:27):
But that's actually a lot easier.
Speaker 4 (20:29):
So I can just kind of sit back and just
he just tells me what to do.
Speaker 1 (20:37):
Because everybody has their own style, you know, so I
don't you know they film different.
Speaker 4 (20:44):
Yeah, it's I don't know what they want.
Speaker 3 (20:46):
So and did you train it tour? Did you go
to any kind of film school or did you do
any courses that you feel was really beneficial to He
was a wedding videographer.
Speaker 1 (20:58):
Absolutely, so the I recommend the full time Filmmaker course.
In twenty twenty, they were doing a COVID cell on
it and I had been a videographer for a year
and a half trying to do weddings, and I had
like two wedding films in my portfolio and it was
(21:21):
just it wasn't looking very good.
Speaker 4 (21:23):
Let's just say that it was just a.
Speaker 1 (21:25):
Year and a half's gone by, you know, and it
literally an ad popped up and it was like five
hundred dollars for this course, like on seal, and literally
I had like five hundred.
Speaker 4 (21:41):
Dollars in my bank account. WHOA, that was it?
Speaker 1 (21:45):
And so I like drained it and shot bought it
and watched like binge watched Wedding Video Pro, Real Estate
Video Pro, Music Video Pro. And I haven't even finished
the course since then. So it's like I watched those
(22:06):
those courses in like three days, and the next wedding
I did, I implemented that and I booked fifteen weddings
from that one wedding video.
Speaker 4 (22:19):
Shortly after that for the.
Speaker 1 (22:21):
Same year, fifty fifteen. From August twenty twenty to December,
I booked fifteen weddings after implementing that course, and literally
from August to.
Speaker 4 (22:37):
December, I did those fifteen weddings.
Speaker 3 (22:39):
And what exactly from those courses helped.
Speaker 1 (22:42):
You just as they knew how to do it, they
knew I mean, knowledge is.
Speaker 4 (22:48):
Power, right, So it's like these.
Speaker 1 (22:50):
Guys have been out, they already experienced like top tire weddings,
you know, the fancies, and they just showed me how
to do it. And like after a year and a
half of trying to figure it out myself, it actually
was a good thing because after watching the course, it
(23:11):
was like light bulbs were just coming off, you know,
I was bringing off and so it was I picked
it up really easy after that. Not really easy. It's
hard filmmaking super hard.
Speaker 4 (23:26):
I said that I make it look easy.
Speaker 3 (23:30):
And you mentioned before having the photographer was a friend
of your wife's at your own wedding. Have you been
in the situation where you've had to shoot a wedding
for a friend or family member, and if so, how
does that differ from a client.
Speaker 1 (23:45):
Yeah, so usually, you know, I don't want to be
a bummer about it. But like family friends, you know,
you got to give them the discount, you know, Yeah,
and you know they're not really appreciative as much as
like a normal client, I feel like, or if they
even hire you at all. Now. But yeah, I've I've
(24:11):
helped people out. I've helped a lot of friends out
of filmed a lot of my friend's weddings and give
them good deals and they love the product. So just
a little effort, just a little more effort.
Speaker 4 (24:22):
That's all.
Speaker 3 (24:23):
And speaking of discounts, you've got a deal out at
the moment, haven't you. You've got an offer on for
the people of Arkansas who wish to have their weddings filmed.
Speaker 1 (24:33):
Oh yeah, so I've got a giveaway coming up Arkansas
Love Story is what we're calling it. And for anybody
that doesn't win, they get five hundred dollars off my
package if they entered the contest.
Speaker 3 (24:48):
And how much is the package.
Speaker 1 (24:50):
It's two nine nine seven, it's three thousands three And
what is he experience given added?
Speaker 3 (24:57):
What are some of the things they're expected to to care?
Speaker 1 (25:02):
So they get me at their wedding that should be
the most that should be night and then well they
get a wedding film. It's the starting package, so it's
they get me at their wedding and then they get a.
Speaker 4 (25:15):
Beautiful wedding film.
Speaker 1 (25:17):
Oh and and a teaser video for social media.
Speaker 3 (25:21):
So I'm guessing this a one minute or forty seconds
teaser video.
Speaker 1 (25:25):
Well, I've been doing like scenes from the day on Instagram,
so they do the carousels and you can like swipe
and just see the clips. So I'm doing that just
kind of showing the scenes, and so I thought that
was pretty cool, and so I've been doing that lately,
but like a teaser, yeah, forty five seconds to like
a minute and a half. Yeah, so I'm giving away
(25:47):
a whole wedding film, like the whole starting package, wedding
film and an engagement film. So they're getting like the
whole package for free.
Speaker 3 (25:58):
Nice and wait, do you see wedding filmmaking headed in
the next ten to five years or five to ten years,
I should say, sorry, from both a storytelling and technological perspective.
Speaker 1 (26:10):
You know, I think weddings will be for video. Orphans
will be around for yeah for a while. Let's hope
the robots don't take our jobs. But I'm kidding, but yeah,
ten years, you know, and then the robots take over.
Speaker 4 (26:26):
So I'm just kidding.
Speaker 1 (26:29):
Maybe I don't know. They did say that blue collar
jobs are going to be wiped out in like five years.
Speaker 3 (26:39):
As all other emerging tools you see playing a part
in your workflow or vision, like.
Speaker 1 (26:45):
The AI tools. And yeah, yeah, for sure, that's a
really good feature that you can stretch out clips and
it's amazing how they can do that too. So I
haven't used that yet because asked.
Speaker 3 (27:00):
Need to.
Speaker 1 (27:01):
Yeah, I'm sure it'll come in handy one day when
I when I need to stretch out a clip or something.
But I use Premiere Pro and I've been using that
since day one, and I just can't. Everybody's switching to
Da Vinci and I've used da Vinci, but you know,
it's a cool program. It's it's nice and it's free,
(27:21):
and I just.
Speaker 4 (27:24):
Haven't switched over.
Speaker 1 (27:25):
I don't really feel the need to. I like Adobe
Premiere and I still have to learn so much more,
you know, out the software anyways that you know you
can't learn it all.
Speaker 3 (27:38):
A big thank you to Brian for shared his story
of creative reinvention and legacy building. We explored his pathful
musicians to filmmaker now he's staying relevant in a you've
driven industry and the ways he's adapted to new technologies.
We also talked about what it means to build a family,
orientate to create business that's a batter, personal storytelling with
(28:02):
client expectations, and don't forget to check out in the
show notes Brian's Arkansas's Love Story campaign launching August eighteenth,
where he's given away a four thousand, seven hundred and
ninety seven dollars wedding an engagement film package. The couple's
marrying in Arkansas. Have you even joined this episode? Be subscribed,
(28:24):
leave a review and share it with a friend or
Holly who's navigating their own creative journey
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