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People and Story Lecture 3: Interviewing & Shooting
This document provides guidance and best practices for conducting interviews, setting up audio and video equipment, and shooting b-roll footage for documentary filmmaking. It discusses interview tips like asking open-ended questions, allowing subjects to speak without interruption, and making subjects feel comfortable. It also reviews equipment setups for interviews, lighting techniques, using tripods, getting good sound quality, and paying attention to backgrounds. Additional sections cover practicing interviews, using additional media sources, and tips for shooting compelling footage like varying angles, capturing emotion and action, and taking advantage of natural light.
People and Story Lecture 3: Interviewing & Shooting
- 1. Reporting, Interviewing, Audio,Equipment Set-up PEOPLE & STORY MCDM Program - Fall 2012 - COM 583
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- 3. CONDUCT IN THEFIELD/INTERACTING WITH SOURCES ★Respect your sources -- make them like you ★Appropriate dress, punctuality, manners ★Mirror their tone ★Be prepared for emotion ★Represent yourself honestly and professionally ★Don’t take things personally
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- 5. INTERVIEW TIPS ★Open Questions(not Yes or No)
- 6. INTERVIEW TIPS ★Open Questions(not Yes or No) ★Get ‘em talking
- 7. INTERVIEW TIPS ★Open Questions(not Yes or No) ★Get ‘em talking ★Don’t talk over them
- 8. PROJECT PROPOSALS AND TEAM MEETINGS Sarah: Alex: • Annette • John • Shanna • Morgan • Heather • Jason • Rodika • Michael
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- 10. EQUIPMENT SETUP FORB- ROLL ★Tripod/Monopod for stabilization ★Natural Lighting ★Light Panel ★Shotgun straight into camera. ★Shotgun or built in on external recorder, in camera for backup. ★Shotgun for ambient/ Wireless lav into external recorder for scenes
- 11. EQUIPMENT SETUP FOR INTERVIEW ★Tripod/Monopod for stabilization ★Natural Lighting ★Light Panel ★Soft box ★3 point lighting ★Lavalier directly into camera ★Lavalier into external recorder/shotgun into camera or built-in for backup ★Lavalier and shotgun into external recorder/ built-in for backup
- 12. SETTING UP VIDEOINTERVIEWS
- 13. SETTING UP VIDEOINTERVIEWS ★Keep it Steady
- 14. SETTING UP VIDEOINTERVIEWS ★Keep it Steady ★Light from the side
- 15. SETTING UP VIDEOINTERVIEWS ★Keep it Steady ★Light from the side ★Subject looks across
- 16. SETTING UP VIDEOINTERVIEWS ★Keep it Steady ★Light from the side ★Subject looks across ★Get good sound!
- 17. SETTING UP VIDEOINTERVIEWS ★Keep it Steady ★Light from the side ★Subject looks across ★Get good sound! ★Watch what’s behind
- 18. SETTING UP VIDEOINTERVIEWS ★Keep it Steady ★Light from the side ★Subject looks across ★Get good sound! ★Watch what’s behind ★Background Depth
- 19. SETTING UP VIDEOINTERVIEWS ★Keep it Steady ★Light from the side ★Subject looks across ★Get good sound! ★Watch what’s behind ★Background Depth
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- 23. TWO CAMERA INTERVIEW One Shot Two Shot Intimacy Body Language Emotion Surroudings Up-Close Wider
- 24. TWO CAMERA INTERVIEW One Shot Two Shot Intimacy Body Language Emotion Surroudings Up-Close Wider
- 25. TWO CAMERA INTERVIEW One Shot Two Shot Intimacy Body Language Emotion Surroudings Up-Close Wider
- 26. Video Portrait andRoom Tone
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- 28. PRACTICE INTERVIEWS ★Find a quietplace with your partner
- 29. PRACTICE INTERVIEWS ★Find a quietplace with your partner ★Set up your shot
- 30. PRACTICE INTERVIEWS ★Find a quietplace with your partner ★Set up your shot ★Test Audio w Headphones
- 31. PRACTICE INTERVIEWS ★Find a quietplace with your partner ★Set up your shot ★Test Audio w Headphones ★5 minutes of interview
- 32. PRACTICE INTERVIEWS ★Find a quietplace with your partner ★Set up your shot ★Test Audio w Headphones ★5 minutes of interview ★Timecode notes
- 33. PRACTICE INTERVIEWS ★Find a quietplace with your partner ★Set up your shot ★Test Audio w Headphones ★5 minutes of interview ★Timecode notes ★Identify one anecdote that reveals an unexpected truth or backstory about their character
- 34. BARZAN ★ What stuckout for you about the story? ★ How was it shot? ★ Any techniques that you’ll take into your project? ★ How did Sam’s story embody a larger phenomenon? Was he the right choice? ★ What did it say about the filmmakers ★ How did the filmmakers construct a whole life narrative out of limited footage?
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- 37. ADDITIONAL MEDIA ★Family Pictures ★OtherPhotos from Creative Commons
- 38. ADDITIONAL MEDIA ★Family Pictures ★OtherPhotos from Creative Commons ★Contextual News Reports
- 39. ADDITIONAL MEDIA ★Family Pictures ★OtherPhotos from Creative Commons ★Contextual News Reports ★Historical/Archived Material
- 40. ADDITIONAL MEDIA ★Family Pictures ★OtherPhotos from Creative Commons ★Contextual News Reports ★Historical/Archived Material ★Documents
- 41. ADDITIONAL MEDIA ★Family Pictures ★OtherPhotos from Creative Commons ★Contextual News Reports ★Historical/Archived Material ★Documents ★Animation/Art
- 42. SOURCES FOR ADDITIONAL MEDIA
- 43. SOURCES FOR ADDITIONAL MEDIA ★Archive.org
- 44. SOURCES FOR ADDITIONAL MEDIA ★Archive.org ★Creative Commons
- 45. SOURCES FOR ADDITIONAL MEDIA ★Archive.org ★Creative Commons ★Youtube (w/License)
- 46. SOURCES FOR ADDITIONAL MEDIA ★Archive.org ★Creative Commons ★Youtube (w/License) ★Getty and other stock footage companies
- 47. SOURCES FOR ADDITIONAL MEDIA ★Archive.org ★Creative Commons ★Youtube (w/License) ★Getty and other stock footage companies ★Federal Government
- 48. SOURCES FOR ADDITIONAL MEDIA ★Archive.org ★Creative Commons ★Youtube (w/License) ★Getty and other stock footage companies ★Federal Government ★Fair Use
- 49. ASSIGNMENTS • Readings: • Thursday, October 18th • Kalow Chapter 3: Finding the • Come prepared to tell a Story short story about yourself outloud to the class • Watch Charlene Strong on The Moth/Check out other • Eric Becker, We are Shouting Moth stories • Capture a scene of someone doing something, including wide, medium and c/u shots. Bring raw footage on camera or hard drive to edit in class.
- 50. FEEDBACK CARDS • What worked for you today? • What didn’t work for you today? • What do you want more of in the future? • What are you really excited/anxious about?
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- 60. THE SECRET: DEPTH OFFIELD
- 61. THE SECRET: DEPTH OFFIELD
- 62. F STOP=APERTURE (SIZE OFTHE HOLE THAT THE LIGHT GOES THROUGH)
- 63. AV=APERTURE PRIORITY LOW F NUMBER
Editor's Notes
- #2 Plan for today.\n*Interview Review 6-645\n*Break and Meetings 645-715\n*Lighting 715-745\n*Equipment Setup for Interviews 745 - 815\n*Practice Interviews 815-900\n*Barzan Media Critique 900 - 920\n*Archived Footage 920 - 935\n*Assignments 935-945\n*Feedback Cards 945-950\n
- #3 6-630\n\nReview a few\n\nMissing interviews from Michael, Morgan\n\n\n
- #4 Respect your sources (they are doing you a favor so respect their time and be sensitive to their needs/values but remember that they said “yes” to you b/c they want to do this. If you act too cringing and apologetic they won’t trust you). Be flexible to their schedule. Send a thank You. \n\nBe Prepared for Emotion: Often in this field you are dealing with people in emotionally intense circumstances (lost jobs, traumas revisited, vulnerability) be prepared for people to cry or get angry and allow them to.\n\nRepresent yourself honestly and professionally: For this class you can say that you are working NDM but when you are freelancing or “on spec” you have to reveal that to sources (you can say “I’m freelancing but in conversations with NYTimes about placement”)\n\nDon’t take things personally: People are wary of the media/journalists, they’re also often emotional about what they’re talking about/showing you. The challenge of being a journalist is finding a balance btwn being present and authentic and remaining neutral/retaining journalistic distance.\n\n\n\n\n
- #5 630-645\n\nOther tips from Interviewing 101\n\n\n
- #6 630-645\n\nOther tips from Interviewing 101\n\n\n
- #7 630-645\n\nOther tips from Interviewing 101\n\n\n
- #8 7-730\n\nMissing project proposals from:\nMichael, Morgan, Jason and Annette\n\n\nGet together in groups and give story advice\n\n\n
- #9 7:15-745\n\n3 point setup\nSoftbox\nLight Panel\n\n\n\n
- #10 745-815\nTripod/Monopod for stabilization\n\nNatural Lighting\n\nShotgun straight into camera.\nShotgun or built in on external recorder, in camera for backup.\nShotgun for ambient and wireless lav into external recorder for talking \n\nSyncing is not that hard if you’ve got a native channel\n\n\n\n\n
- #11 745-815\nSyncing is not that hard if you’ve got a native channel\n\n\n\n\n
- #12 745-815\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- #13 745-815\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- #14 745-815\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- #15 745-815\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- #16 745-815\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- #17 745-815\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- #18 745-815\nSo how would this setup look?\nDiagram it on the board\n\n\n\n
- #19 Has anyone heard of this?\nDivide the canvas into thirds both ways.\n
- #20 \n
- #21 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\nNotice how both cameras are on same side. Sometimes long dist between the two, sometimes short.\n\nEven if you’re doing one cams, think about which of these you’re trying to get.\n\nAlso think about the zoom on the one camera interview\n
- #22 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\nNotice how both cameras are on same side. Sometimes long dist between the two, sometimes short.\n\nEven if you’re doing one cams, think about which of these you’re trying to get.\n\nAlso think about the zoom on the one camera interview\n
- #23 745-815\n\nVideo Portrait -- like we took their snapshot, but over time.\nWhat we really want is them thinking about what we were talking about \nSometimes this just happens naturally. \nWhat’s he thinking?\nWe already talked about how we need to get room tone, and getting people to sum up, and getting a vid portrait -- so there’s a great way to do that all at once.\n\n
- #24 815-900 \nPair people up.\nCapture at least 10 full sentences\nRemember to listen to what they say so you know what’s good later. Take notes\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: 9:30\nWas that hard? That’s why you need a helper\n\n\n\n
- #25 815-900 \nPair people up.\nCapture at least 10 full sentences\nRemember to listen to what they say so you know what’s good later. Take notes\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: 9:30\nWas that hard? That’s why you need a helper\n\n\n\n
- #26 815-900 \nPair people up.\nCapture at least 10 full sentences\nRemember to listen to what they say so you know what’s good later. Take notes\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: 9:30\nWas that hard? That’s why you need a helper\n\n\n\n
- #27 815-900 \nPair people up.\nCapture at least 10 full sentences\nRemember to listen to what they say so you know what’s good later. Take notes\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: 9:30\nWas that hard? That’s why you need a helper\n\n\n\n
- #28 815-900 \nPair people up.\nCapture at least 10 full sentences\nRemember to listen to what they say so you know what’s good later. Take notes\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: 9:30\nWas that hard? That’s why you need a helper\n\n\n\n
- #29 815-900 \nPair people up.\nCapture at least 10 full sentences\nRemember to listen to what they say so you know what’s good later. Take notes\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: 9:30\nWas that hard? That’s why you need a helper\n\n\n\n
- #30 9-920\n
- #31 920-935\nCite examples of each in Barzan:\n\nFamily Pics (don’t be afraid to take video/pictures of photos\nArchived: Iraq, Pakistan, 9/11 Sound\nCC Photo of sillohette guy\nNew reports from Youtube\nFootage of Iran Iraq War\nCourt documents shot through camera\n\n\n
- #32 920-935\nCite examples of each in Barzan:\n\nFamily Pics (don’t be afraid to take video/pictures of photos\nArchived: Iraq, Pakistan, 9/11 Sound\nCC Photo of sillohette guy\nNew reports from Youtube\nFootage of Iran Iraq War\nCourt documents shot through camera\n\n\n
- #33 920-935\nCite examples of each in Barzan:\n\nFamily Pics (don’t be afraid to take video/pictures of photos\nArchived: Iraq, Pakistan, 9/11 Sound\nCC Photo of sillohette guy\nNew reports from Youtube\nFootage of Iran Iraq War\nCourt documents shot through camera\n\n\n
- #34 920-935\nCite examples of each in Barzan:\n\nFamily Pics (don’t be afraid to take video/pictures of photos\nArchived: Iraq, Pakistan, 9/11 Sound\nCC Photo of sillohette guy\nNew reports from Youtube\nFootage of Iran Iraq War\nCourt documents shot through camera\n\n\n
- #35 920-935\nCite examples of each in Barzan:\n\nFamily Pics (don’t be afraid to take video/pictures of photos\nArchived: Iraq, Pakistan, 9/11 Sound\nCC Photo of sillohette guy\nNew reports from Youtube\nFootage of Iran Iraq War\nCourt documents shot through camera\n\n\n
- #36 920-935\nCite examples of each in Barzan:\n\nFamily Pics (don’t be afraid to take video/pictures of photos\nArchived: Iraq, Pakistan, 9/11 Sound\nCC Photo of sillohette guy\nNew reports from Youtube\nFootage of Iran Iraq War\nCourt documents shot through camera\n\n\n
- #37 Check out fair use guidelines\n\n\n
- #38 Check out fair use guidelines\n\n\n
- #39 Check out fair use guidelines\n\n\n
- #40 Check out fair use guidelines\n\n\n
- #41 Check out fair use guidelines\n\n\n
- #42 Check out fair use guidelines\n\n\n
- #43 935-945\nNext week we’ll hold editing til end of class so you can have help or have an early night.\n\n
- #44 5 mins - 9:45-9:50\n
- #45 \n
- #46 Set up the camera, let the action happen in front of it\n
- #47 Or if they’re your family or friends they get used to you.\nHow does Sarah feel here?\n
- #48 Kneeled Down\n
- #49 Think about depth -- more than one element in the photo\n
- #50 Think about framing\nLook at professional photos, almost always many layers and stuff cut out of the frame.\n
- #51 Other secret tips\n
- #52 What do you notice about focus in the picture?\nThats what depth of field means\nYou can control it with the F Stop. Size of the little hole light goes through.\nBigger, more light, less depth of field\nDon’t need to know why, just know it will make you look pro.\n
- #53 Compare these two. Which has a shallower “depth of field”\nYou can control it with the F Stop. Size of the little hole light goes through.\nBigger hole, more light, less depth of field. Don’t need to know why, just know it will make you look pro.\n
- #54 You can adjust f-stop on most cameras. On HV30 if you go into manual mode. \n
- #55 Lower F stop number or use the flower icon.\nAlso allows for low light shooting\n\nAgain here, showing something our eyes can’t see.\n