Pro Moviemaker November/December 2021 - Web

INTERVIEWTIPS

W hen recording face-to- face interviews that are the mainstay of so much commercial work, there is a lot to consider. Lighting, audio and, crucially, framing the subject, for example. Many filmmakers have always advocated for the talent to look slightly off from the camera – usually towards the person interviewing them. This makes subjects feel more relaxed, because they are talking to a real looking off camera gives the audience the impression they are listening in to a real conversation between the subject and an interviewer – whether the questions are heard or not. It’s ideal for a single camera operator. person, rather than towards a lens. The footage is more natural, and By shooting a few sage ‘noddies’ from the interviewer, these can be cut into the final edit as a ‘reaction’ to what’s being said. And it’s also much more comfortable to a viewer, who feels like they are listening in, rather than being talked at. It’s often best to frame the talent using the rule of thirds, then get them to talk towards the larger expanse of space. This is good, as it looks natural. And it leaves room for captions or other shots to be dropped in. It also works well for standard three-point lighting, with a main light, fill light and backlight. A pretty standard set-up overall. If you are using a second camera for, say, a wider shot, then make sure it’s at least 30° away from the main camera. Otherwise, it looks like a bit of a mistake. Another ‘golden rule’: if you’re shooting for an HD edit, then record in 4K or higher, if your camera can do it. This lets you crop in during the edit to mask cuts and give a slightly different look. Here endeth the crash-course lesson on shooting talking-head interviews that lots of filmers have followed for decades.

LOOKING GLASS Using a dedicated kit, like the VoxBox Pro II, allows the talent to focus straight down the lens, but see the reflection of the interviewer, so it feels more comfortable. The set-up is good for social distancing, too

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