For the ceremony, I use a second camera on a tripod and a drone — where permitted. Some venues are near airports, where drone use isn’t allowed.
Typically, while one of my cameras is fixed on the couple and continuously records the entire ceremony, I operate the second camera in a dynamic, tracking mode, capturing a wide variety of angles.
Audio is recorded from two sources:
— through the DJ’s mixer (I highly recommend hiring DJs with modern equipment and high-quality sound, as this directly affects the audio quality in your video),
— and through lavalier microphones hidden in the groom’s clothing — and in the bride’s as well, if the dress allows.

It’s both reliable and risky at the same time. Reliable — because I have extensive experience filming solo. Not every videographer chooses this path, as it requires a high level of focus and the ability to anticipate moments before they happen.
I’d say solo filming works well for smaller events, or for larger ones where everything takes place in one location and the timeline allows the videographer to be everywhere they need to be.
For example, one of my favorite moments to capture is when guests are just arriving — or during dinner, the quiet conversations, and the way servers bring out beautifully plated dishes.
My honest opinion on solo shooting: a classic wedding shoot is best done with at least two people. But sometimes, exceptions can be made.

Not really. I still carefully select the most beautiful and meaningful shots and build the story around the words.
The structure of the story is usually similar — it includes scenes that set the atmosphere (to immerse the viewer in the context), their backstory — how it all began, about her, about him, the wedding itself, the vows, and so on.
The only difference is that in two- or three-camera shoots, I have a larger volume of footage to work with.

I arrive a bit early and unload my equipment, which I organize by purpose. If lighting is needed, I prefer to set it up in advance so that when it gets dark, all I have to do is switch it on. I also connect the audio setup ahead of time and discreetly place the tripod and second camera so they’re ready for the ceremony.
Then I head to the bride. I always find a moment and a beautiful setting to film her portraits — it’s my favorite part of the day. I truly believe every woman deserves a video where she looks like a goddess.
If the groom is getting ready nearby, I visit him as well. If not, I capture his portraits later during the photo session. I don’t focus too much on outfit details or the dressing process — I prefer to film natural, candid moments like the groom watching a game with his friends, playing pool, or jumping into a pool together. Then I’ll frame a few artistic portraits in great light. A masculine portrait, to me, is a special kind of art.
Throughout the day, I work in a documentary, observational style — especially leading up to the ceremony, where I film everything and everyone with minimal interruptions, often recording continuously. This approach continues into the evening.
I also love capturing spontaneous moments. If I see beautiful light or a striking setting, I’ll gently suggest the couple step into it for just a minute — no elaborate setup, just genuine emotion in the right atmosphere.
I actually prefer when the portrait session isn’t one long block in the middle of the day. Instead, I love splitting it into three shorter 20-minute sessions at different times. This allows us to capture a variety of moods and lighting throughout the day — and gives the couple space to enjoy their wedding without feeling like they’re on a film set.

I work with a very small circle of freelancers who are just like me. It always takes me time to get used to someone new.
At every wedding, we continue to refine our ability to work as a team — to understand each other intuitively.
For better coordination, I use headsets so we stay connected throughout the day and operate as one unit.
A high level of organization is absolutely essential when filming weddings. It requires strong responsibility, discipline, and professionalism.

Peacefully and with full respect.
I often make new friends among photographers — some of them even go on to recommend us to their clients.
My goal is to create the most creative result possible while maintaining a comfortable and collaborative atmosphere on set.
Over the years, I’ve also built a small network of talented photographers whom I’m always happy to recommend, so there’s always the option to form a unified team.

Not really. I still carefully select the most beautiful and meaningful shots and build the story around the words.
The structure of the story is usually similar — it includes scenes that set the atmosphere (to immerse the viewer in the context), their backstory — how it all began, about her, about him, the wedding itself, the vows, and so on.
The only difference is that in two- or three-camera shoots, I have a larger volume of footage to work with.

I arrive a bit early and unload my equipment, which I organize by purpose. If lighting is needed, I prefer to set it up in advance so that when it gets dark, all I have to do is switch it on. I also connect the audio setup ahead of time and discreetly place the tripod and second camera so they’re ready for the ceremony.
Then I head to the bride. I always find a moment and a beautiful setting to film her portraits — it’s my favorite part of the day. I truly believe every woman deserves a video where she looks like a goddess.
If the groom is getting ready nearby, I visit him as well. If not, I capture his portraits later during the photo session. I don’t focus too much on outfit details or the dressing process — I prefer to film natural, candid moments like the groom watching a game with his friends, playing pool, or jumping into a pool together. Then I’ll frame a few artistic portraits in great light. A masculine portrait, to me, is a special kind of art.
Throughout the day, I work in a documentary, observational style — especially leading up to the ceremony, where I film everything and everyone with minimal interruptions, often recording continuously. This approach continues into the evening.
I also love capturing spontaneous moments. If I see beautiful light or a striking setting, I’ll gently suggest the couple step into it for just a minute — no elaborate setup, just genuine emotion in the right atmosphere.
I actually prefer when the portrait session isn’t one long block in the middle of the day. Instead, I love splitting it into three shorter 20-minute sessions at different times. This allows us to capture a variety of moods and lighting throughout the day — and gives the couple space to enjoy their wedding without feeling like they’re on a film set.

The third person on the team is a highly skilled assistant/videographer. They can operate the drone, assist with gear, set up lighting, connect audio, and at key moments, they’re the ones capturing unexpected, creative angles.
For example, at Michelle and Brandon’s wedding, it was our third team member who filmed a stunning side shot of the bride’s entrance. To get that frame, he held the camera high in the air on a monopod — nearly two meters above his head. He couldn’t see the screen, and he had no way of knowing if he was capturing exactly what was needed. It was a blind shot — and it paid off a thousand percent.
The main coverage was handled from the front and back: one camera on the groom, another on the bride.
But that artistic, cinematic, surprising moment for the viewer — only a third camera can deliver that.
Or the lead filmmaker, if they’ve delegated the core angles to the third team member.
That kind of setup allows for a more creative, dramatic, and cinematic final result.

15 years. I started in 2010 in Moscow, Russia where I'm from, and in 2015 I started again - in LA.

I shoot on the Sony a7S III as my main camera, along with a few additional bodies. I carefully select professional equipment that’s also as compact as possible, because for me, mobility is the top priority. That’s what defines my approach — being able to move freely and respond to moments as they unfold.

That’s not a typical question, I know — but I just want to catch your attention and help you relax a little.
I’m a cat person myself… although I do sometimes imagine having a tiny, shaggy dachshund in a warm coffee color.

Prices are listed in each section — they’re approximate, but very close to the final numbers.
I send the actual proposal after our Zoom meeting, once I understand your vision and needs.
You’ll find the contact form at the bottom of the page.
Speak soon!