Interviewing, B-Roll, Setting up Shots
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This document provides information and instructions for an upcoming assignment on capturing b-roll footage and conducting video interviews. It discusses choosing appropriate visual elements for b-roll, such as establishing shots, medium shots, close-ups and action shots. It also covers audio elements like room tone and ambient sound. Guidelines are provided for shooting b-roll, including using a tripod, composing shots, keeping the camera still and capturing a variety of long shots. Tips are also given for setting up and conducting video interviews, such as using lighting, tripods and ensuring good audio quality.
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Interviewing, B-Roll, Setting up Shots
- 1. NARRATING LIVES ONLINE MCDM Program - Spring 2011 - COM 583
- 4. PROJECT PROPOSALS RECAP • Didn’t get these
- 6. ASSIGNMENTS • Readings: • Briggs, Ch 6-8 • Thursday,April 21st at 12 noon: • B-roll clips • Minute Paper • In class: • Review B-roll
- 7. B-ROLL ASSIGNMENT • Visual • Audio • Establishing Shot • Stand-up • Medium Shot • Room Tone • Close Up • Ambi -wide • Interesting Angle/ • Ambi - detail Perspective • Action Shot
- 8. WHAT’S IT MADE OF?
- 9. WHAT’S IT MADE OF? Sounds:
- 10. WHAT’S IT MADE OF? Sounds: •People talking
- 11. WHAT’S IT MADE OF? Sounds: •People talking •Music
- 12. WHAT’S IT MADE OF? Sounds: •People talking •Music Audio w/o Visuals?
- 13. WHAT’S IT MADE OF? Visuals:
- 14. WHAT’S IT MADE OF? Visuals: •People talking
- 15. WHAT’S IT MADE OF? Visuals: •People talking •People doin’ stuff
- 16. WHAT’S IT MADE OF? Visuals: •People talking •People doin’ stuff •Scenes
- 17. WHAT’S IT MADE OF? Visuals: •People talking •People doin’ stuff •Scenes Visuals w/o Audio
- 18. “AMBI” “Wide” Sound Stand Up Detail Room Tone
- 19. ROOM TONE With Room Tone Without Room Tone
- 20. B-ROLL
- 21. B-ROLL
- 22. B-ROLL
- 23. B-ROLL
- 24. B-ROLL
- 25. Why do I need B-roll?
- 26. Why do I need B-roll? ★To make it more interesting!
- 27. Why do I need B-roll? ★To make it more interesting! ★To hide cuts in the interview
- 28. Why do I need B-roll? ★To make it more interesting! ★To hide cuts in the interview ★Make sure to get B-roll that matches your interviews
- 29. Why do I need B-roll? ★To make it more interesting! ★To hide cuts in the interview ★Make sure to get B-roll that matches your interviews ★Example: Undriving
- 33. MEDIUM SHOT
- 34. MEDIUM SHOT
- 35. MEDIUM SHOT
- 36. CLOSE UP
- 37. CLOSE UP
- 38. CLOSE UP
- 39. ACTION
- 42. Rules of B-Roll
- 43. Rules of B-Roll ★Think in sequences
- 44. Rules of B-Roll ★Think in sequences ★Use a Tripod/Table
- 45. Rules of B-Roll ★Think in sequences ★Use a Tripod/Table ★Compose your shot carefully
- 46. Rules of B-Roll ★Think in sequences ★Use a Tripod/Table ★Compose your shot carefully ★Keep the Camera Still!
- 47. Rules of B-Roll ★Think in sequences ★Use a Tripod/Table ★Compose your shot carefully ★Keep the Camera Still! ★At least 10sec/shot
- 48. Rules of B-Roll ★Think in sequences ★Use a Tripod/Table ★Compose your shot carefully ★Keep the Camera Still! ★At least 10sec/shot ★Get Lots!
- 49. INTERVIEWS
- 50. SETTING UP VIDEO INTERVIEWS
- 51. SETTING UP VIDEO INTERVIEWS ★Keep it Steady -- Tripod/Table/Monopod
- 52. SETTING UP VIDEO INTERVIEWS ★Keep it Steady -- Tripod/Table/Monopod ★Light from the side
- 53. SETTING UP VIDEO INTERVIEWS ★Keep it Steady -- Tripod/Table/Monopod ★Light from the side ★Subject looks across
- 54. SETTING UP VIDEO INTERVIEWS ★Keep it Steady -- Tripod/Table/Monopod ★Light from the side ★Subject looks across ★Get good sound!
- 55. SETTING UP VIDEO INTERVIEWS ★Keep it Steady -- Tripod/Table/Monopod ★Light from the side ★Subject looks across ★Get good sound! ★Watch what’s behind
- 56. SETTING UP VIDEO INTERVIEWS ★Keep it Steady -- Tripod/Table/Monopod ★Light from the side ★Subject looks across ★Get good sound! ★Watch what’s behind
- 57. SETTING UP VIDEO INTERVIEWS ★Keep it Steady -- Tripod/Table/Monopod ★Light from the side ★Subject looks across ★Get good sound! ★Watch what’s behind
- 58. RULE OF THIRDS
- 59. RULE OF THIRDS
- 60. RULE OF THIRDS
- 61. TWO CAMERA INTERVIEW One Shot Two Shot Intimacy Body Language Up-Close Wider
- 63. ★Setup with your partner
- 64. ★Setup with your partner ★Find a quiet place
- 65. ★Setup with your partner ★Find a quiet place ★Set up your shot
- 66. ★Setup with your partner ★Find a quiet place ★Set up your shot ★5 minutes of interview
- 67. ★Setup with your partner ★Find a quiet place ★Set up your shot ★5 minutes of interview ★Identify one anecdote that reveals an unexpected truth or backstory about their character
- 68. FEEDBACK CARDS • What worked today? • What didn’t work today? • What do you want more of in the future? • Should we cover reporting skills next week?
- 70. Scott Carrier Fritz the Dog
- 71. Scott Carrier Fritz the Dog
Editor's Notes
- Plan for today.\n*Talk about Charlene Strong, Marjoe\n*Talk about the assignments you’ve turned in\n*Talk about B-roll & your assignment for next week\n-Break-\n*Talk about Interviewing\n*Set up shots & practice interviewing\n
- Charlene Strong Debrief\nNot the dramatic event that makes this story compelling - it’s what she reveals about her character - relationship with her father, husband - hinted at but not hit over the head - chooses what she says so carefully.\nThe power of this story to change legislation\nWhat worked,  What was the structure of Charlene’s story -- lay it out on the board\n
- Jessica: till 6:30?\n\n*Goes a long time with just archival footage @ beginning\n*Final scene: do you think Marjoe’s a con man?\nWhat larger issues are being illustrated by this story?\nCamerawork\n
- Both assignments - 10 mins - till 6:40\n\nDidn’t get these or didn’t get them ontime -- why not?\nWe need things by deadline b/c of our own workload. \nQuarter will go quickly and if you fall behind you’ll be playing major catchup. They aren’t exhaustive assignments\nYou’re losing credit 20% each week you’re late.\nFor proposals we did get: general notes\n-location for interviews - ID’ing characters\n\n
- Sarah\n\nBoth assignments - 10 mins - till 6:40\n\n
- Briggs: Chapters on Photo, Audio and Video -- basics of equipment and shooting.\n\nB-roll: We’ll talk about what exactly you need to shoot in just a minute. You’ll need to capture it off the camera and upload it to YouTube\nHelp with uploading and compressing on Media Space -- setting up cameras, and capturing and exporting\n\n\n
- Briggs: Chapters on Photo, Audio and Video -- basics of equipment and shooting.\n\nB-roll: We’ll talk about what exactly you need to shoot in just a minute. You’ll need to capture it off the camera and upload it to YouTube\nHelp with uploading and compressing on Media Space -- setting up cameras, and capturing and exporting\n\n\n
- We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
- We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
- We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
- We watch videos all the time but might not think very hard about what’s really there.\nElicit: In the most basic sense what elements did you see and hear?\nSounds without visuals: \n
- Elicit: what did you see\n\n
- Elicit: what did you see\n\n
- Elicit: what did you see\n\n
- Elicit: what did you see\n\n
- 1 - Standups. Ask class: What are they?\nWhat are they good for?\n*Places where you don’t have someone else to describe what’s going on\n*or to use in addition to having a source describe what’s going on\n*Or to use just basically anywhere, to give yourself some options\n\nNOTE: These make you feel STOOPID! But they can be great. Run them by a friend or us or an editor if you want an outside opinion.\n\n2 - ROOM TONE. More detail on the next slide - this is just to get you started. It’s the sound of every room you record in. Helps with smoothing edits - so you don’t hear jumps the way you don’t see visual jump cuts by covering them with b-roll. This sample: bumped way up.\n\nAmbient Sounds - play, ask what they sound like (wide: drive by, radio room chatter) (Detail: dog breathing, Skype sounds)\n
- Sometimes hard to get--but makes editing SO MUCH EASIER>\n\nBrian Storm’s video portrait trick.\n\nPlay two cuts - Bermudez story with/without Room Tone. Stop after first transition if running low on time.\n
- So these are the components that we’re going to collect today\n
- So these are the components that we’re going to collect today\n
- So these are the components that we’re going to collect today\n
- So these are the components that we’re going to collect today\n
- We’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
- We’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
- We’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
- We’re going to use it to cover up cuts in the audio\nsee how he shows exactly what the sequence is narrating -- we’re can always be that literal though.\n
- Remember this from photography\n
- Remember this from photography\n
- \n
- \n
- We want to get a mix of these\n
- We want to get a mix of these\n
- Or if they’re your family or friends they get used to you.\nHow does Sarah feel here?\n
- Set up the camera, let the action happen in front of it\n
- Kneeled Down\n
- \n
- \n
- \n
- \n
- \n
- \n
- 7:30-8:15\n\nGo back to video :28 What did I ask? Did I interrupt in the middle? Second question 1:00 What did I ask? Third question 1:58 Now he’s amped\nTalk through interviewing 101\n
- 8:15-8:30\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- 8:15-8:30\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- 8:15-8:30\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- 8:15-8:30\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- 8:15-8:30\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- 8:15-8:30\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- 8:15-8:30\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- Has anyone heard of this?\nDivide the canvas into thirds both ways.\n
- \n
- Interview shots\n\nIf you can, two camera interviews give you something to cut away to. Wider 2 shot for body language, they can also roam for details\nEasier editing b/c you can make jump cuts with the audio\n
- 8:30-9:25\nPair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\nShort character study: interview your project partner and pull out one anecdote that reveals an unexpected truth or backstory that reveals something about their character.\n\nCome back after for debrief: 9:25-9:45\n\n\n\n
- 8:30-9:25\nPair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\nShort character study: interview your project partner and pull out one anecdote that reveals an unexpected truth or backstory that reveals something about their character.\n\nCome back after for debrief: 9:25-9:45\n\n\n\n
- 8:30-9:25\nPair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\nShort character study: interview your project partner and pull out one anecdote that reveals an unexpected truth or backstory that reveals something about their character.\n\nCome back after for debrief: 9:25-9:45\n\n\n\n
- 8:30-9:25\nPair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\nShort character study: interview your project partner and pull out one anecdote that reveals an unexpected truth or backstory that reveals something about their character.\n\nCome back after for debrief: 9:25-9:45\n\n\n\n
- 8:30-9:25\nPair people up.\nCapture at least 10 full sentences\nWhy about this -- because that’s what we can get b-roll of!\nRemember to listen to what they say so you know what’s good later.\nWe have to get good audio, so go out in the hall\nShort character study: interview your project partner and pull out one anecdote that reveals an unexpected truth or backstory that reveals something about their character.\n\nCome back after for debrief: 9:25-9:45\n\n\n\n
- 5 mins - 9:45-9:50\n
- Sarah’s inspiration: Scrapertown!\nUnexpected narrative, tight focus, positive underreporting, location as character.\n
- Jessica’s inspiration\nScott Carrier is just a great example of a person who thinks everything and everyone is interesting. \nObviously a blind dog who can play Frisbee is interesting…but he never would have gotten the story if he hadn’t struck up the conversation.\n\nAudio postcard of sorts...Carrier makes me think of a Beat poet - saw hungover him @ TCF.\n*@ beginning - building tension/surprise\n*Conclusion doesn’t sum anything up about the dog or blindness - personal\n*What about the way he talks? Does he sound NPR-ey?\n