ACADEMY SHOOT INTERVIEWS
Talent talking right into the lens is usually reserved for TV presenters focusing on the audience, rather than interviewing a guest. This could be a TV chef going through a recipe, someone presenting a how-to video, a product review or even a vlogger. This is a one-way dialogue from the speaker to the audience. It’s ingrained in the visual language of TV and cinema, and audiences expect it this way. And, of course, experienced presenters are good at talking to the camera like this – it’s what they are paid to do and they spend years perfecting it. But as the old saying goes, rules are meant to be broken. In recent times, there has been a trend towards interviewees looking right down the lens. This usually
“Rules aremeant to be broken. In recent times, interviewees look right down the lens”
reflection of the interviewer. These can be cumbersome and time-consuming to set up – again, something that makes a nervous subject event more edgy. There are now at least a couple of companies that make fast, easy-to-build kits, whether you’re using a large cinema or broadcast camera, or a smaller DSLR or mirrorless. We tried out a kit fromMagic Video Box, which costs £940 for a complete set-up in a fitted flight case. It’s also available to rent. The British-based company offers training and online instructional videos. The kit comes with a riser plate that fits between your camera and tripod. It’s designed for larger cameras, but the riser can be set up for smaller cameras using a hex wrench, which is included in the kit. This riser plate has slots for two standard 15mm rods which are included, and are quickly snugged down with clamps. These protrude out of the front of the camera. A large, square plate is fastened onto the rods, then the actual box unit sits on top. It takes no time at all to set up. A black cloth is included to form a barrier between your camera lens and the box. It fastens on with Velcro – rudimentary, but it’s light and simple.
does not involve too many questions in the edit, and is cut so that it’s largely the talent doing the talking. The theory is that it’s direct, honest and has more of a dramatic effect. Making the audience feel slightly uncomfortable can work, in certain situations. Some TV shows, like Channel 4’s 24 Hours in A&E , use it well. At the end of their shifts, the doctors, nurses, patients or families of those injured all talk directly to camera, and it’s a powerful tool. In the BBC TV’s Children in Need appeal, it gives real emotion to someone addressing the audience when asking for help to support a variety of charities. However, when interviewing a regular person rather than a TV presenter, it’s easy to get into all sorts of issues when asking them to address their answers towards a camera lens pointed at them. It’s not a normal situation for any non- TV professional, and this uncomfortable feeling can show in the footage, and certainly be heard. Professional TV companies have known this for years and many have rigged- up systems, including shoot-through mirrors and large lens hoods, so that the interviewee can talk directly to a
FRAME UP This is the view the interviewer gets of the talent, from the Magic Video Box set-up we tested (top)
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