An interview starts with finding a topic that has not only a great fib, but capital on-camera presence with an unconditioned ability to be real and honest. The second part of that, and they go hand-in-hand, is an interviewer who asks the right questions to bring out the soul of the report that makes the audience invest .
Less than ideal light, heavy, television camera slant, etc. can be overlooked if the content is compelling. That being said, if your ignition, sound, camera lean, etc. are indeed off, it can greatly take away from the potential of what the person being interviewed is saying. so, let ’ s look at some basic fall and shoot .
Lighting an interview is normally a simple 3-point lighting set-up regardless if you are in a studio or on crown of a batch. The first gear inner light is the key light which is the main light beginning on the subject, then comes the fill light which balances the key light by being on the face-to-face side of the discipline and ultimately the hair light and it does pretty much what you ’ d think, it lights the hair to separate the subject from the background. Those are the three you ’ re looking for and normally to spice things up, there are background lights that help push the 3D feel of the image, specially in a distance that has a deep background.
The key light is normally a soften light, which gets rid of harsh shadows and complemented with the fill light it creates a dainty contrast, creates depth in the subjects face and highlights cheekbone and call on the carpet line. These two lights are normally placed opposing each other. The hair light is normally placed gamey and a little behind the subject to accent the hair’s-breadth .
How does this play out in the field ? If you don ’ t have the luxury of having mobile lights on your inject, you can use available sparkle – like the sun. spread light around using dispersion and bounce cards. evening if it ’ s not cheery, there is silent enough light during the day to bounce off of a reflective surface and create the key light and the fill light. The hair light is normally just the sun, and if it ’ second cloudy, well, no haircloth light then unless you bust out your head lamp and get it as finale to the subject as possible .
Get creative! The sunlight reflecting off water for a fill light or light coming through the trees to make a cookie faint ( normally a assemble of paper with a radiation pattern cut out of it that light passes through, “ cucocolis ” or “ cookie ” ) could be cool accents to an outdoor interview.
There are many different styles of shooting an interview. A very popular way is using a very shallow depth of airfield where the subject is in sharply focus and the backdrop is very bleary. To achieve this it is adept to have a long, telephotograph lens far away from the national, soar in and set the aperture either all the manner loose, or airless to it. The only caution is that with a narrow depth of battlefield, if the subject leans advancing or back they become out of focus.
Different camera angles are always good to have, which is why a multi-camera set-up is best. This room you can bounce from one angle to the adjacent in post to skip over and blend together parts of the interview. As a general rule for closely all shots, you want a wide establish photograph, a waist-up shoot and a close-up shot. sometimes, particularly in the battlefield, this may not be potential, but that ’ s something to consider before you leave for your output .
besides, my biggest reason for a multi-camera apparatus is that if your subject is telling an acute or heart-wrenching region of their fib and you only have one television camera, there is no manner to re-create that emotion in a break take when the barrage dies, television camera times out, card gets full or from a unlike angle ( such as a close-up ) .
In the end your own production needs will determine how you go about interview and lighting that interviewee, so, as constantly, spend a fortune of pre-production fourth dimension ironing these things out !