interview

[Dante Waters]

Today I'm suppose to do a few interviews.

I'll be using:

Sony Vx2100
Sennheiser shotgun Me66 (boom pole)
final cut pro

My idea was to do the interviews in sections, with that I can have an actual
intro to each section like a commercial I once saw. Where I'd have different kids define their views and then slowing go into the sit down interview. I think in the commercial which was on Tobaco or AIDS different kids kept appearing on and off screen saying what they thought the actually issue meant to them, and finally the last child gave the clearest and best definition.

Anyone have any ideas that can make the whole experience more enjoyable, less static and typical?

[Bob Costa]

Pick some cool backgrounds, and don't use the same one twice. Even changing the camera angle can help.
Watch your background noise. I would use a lav mic (preferred) or boom.
Think about b-roll. talking heads alone are pretty dull after a few seconds.
Lock down tripod for each session. You may have to cut sentences together, so you want the view of each person to be as static as possible, unless you really WANT the jumps. Just don't do them by accident.

And don't interview my brother-in-law. He's an idoit and he'll pick his nose while he talks.

[Craig Seeman]

Bob,

Actually, moving the camera in and out can be quite useful for jump cuts. I've actually seen interviews where they have digitally blown up the shoot. Gives the sense that you're cutting from closeup to extreme close up. It's a phony as a 3 dollar bill but I've seen this done when there's no b-roll to cut to. Sometimes cutting to b-roll looks misplaced (why are they cutting to the books on the shelf now or out the window or . . . ?).

[Dante Waters]

Thank you all...

Well what I did was actually move the camera closer, and the boom shotgun combo sounded nice and crisp.

I did at times do shoulder shots, and head shots (medium/closeups). I wanted more depth, but time was limited and the kids needed more energy so I kept it rolling doing takes over and over.

[Bob Costa]

Craig, as I said, he should just not do it by accident. It can be useful if done intentionally. But I would rather do it in post than be locked into choices made with the camera. Unless you have a very organized interview, it is likely that it will not be shown 100% in order taped. Dealing with camera jumps between sentences (or even in the middle of a sentence) can be impossible, or force you to make "storyline choices" based on where the camera was rather than what was said. Carefully thought out and planned it is a useful trick. JMO.

[Marion Abrams]

My suggestions:

1.Re frame during questions. That way you can cut between wide, medium and cu shots to edit the answers.

2. Shoot subjects facing in opposite screen directions, or if they look directly into the camera slightly to each side. It looks nice to cut between left and right compositions.

[Dante Waters]

Should I post some shots for you guys to see... since I'll be doing some editing tonight. Man, looking back at my previous work paying attention to you audio levels are very important (peaks sound nasty) anyway now I'm extra careful with that.

Anyway let me know if I should post some shots to determine if anything can be done in post...

[Peter Jefferson]

be aware of neon lights and air conditioners as they will be the bane of your production..

use a lapel or hire one.. trust me on that

[Dennis Khaye]

We did some documentary interviews in those private rooms at the public library. We killed the overhead lights and light it ourselves. Moving the camera, the lighting and the subject gave a terrific feel to the whole thing. Nobody ever commented on the interviewer wearing the same clothes but that was one lesson we learned. ;)

[Peter Jefferson]

oh one other thing.. tell ur talent to NOT wear fine stripes... whether it be a shirt or tie..

flat colours work best

[Dante Waters]

I already captured the footage expect some content later on today...