The Art of Filming an Interview

(Written by guest contributor Chris Harper)

Previously I explained the basics of three-point lighting. Today, we’re going to expand that concept into lighting for an interview. Essentially we’ll be doing two instances of three-point lighting, but we’ll add the dimension of multiple camera angles.

Now before you click away because you think you’ll never do an interview, allow me to give you a reason to change your mind. First and foremost, interviews are connected to credibility. We have been trained to think that if a person is interviewed about something, then they must have a special insight into the topic about which they’re being asked. In other words, if you’re worthy of an interview, you must know what you’re talking about. And do you realize that you can interview yourself? It’s quite common to see an interview on the nightly news that only shows the interviewee, and never the person asking the questions. Sometimes you don’t even hear the questions being asked. So instead of looking right at the camera, look off to the side and pretend to be answering someone’s questions. See how that could be good for selling something?

Before we get started, here’s your equipment list:

Cameras – two or three would be ideal, but one is sufficient.

Microphones – ideally one for each person whose audio is to be recorded.

Chairs or stools – one for each person involved.

Directional lights – you’ll need five or six, and they could be shop lights or reflector lights from your local home improvement store.

A set – essentially any room with enough space to fit the equipment. You can decorate it as much or as little as you’d like.

For the sake of simplicity, I will be assuming that you have one interviewer and one interviewee, and you can adjust as necessary to fit your needs.

Step 1: The Set

The first thing you need to do is create your set. Apart from the camera, microphone, and chairs, you don’t need anything else, but it can be a nice touch if you add something to give the shot more depth. A picture or a small table and lamp can go a long way toward making a bare wall look better. Just try to avoid cluttering the shot. Anything you add to the background should add to the shot, not distract the viewer’s attention. Even the smartest guy in the world wouldn’t look brilliant if there were a cage of ferrets behind him while he talked about the economy. Set up your camera and really think about what is being captured through the lens. If it looks bad, fix it. Since you could be using a variety of microphones, I won’t get into setting them up. Just make sure that they don’t cast shadows or get in your shot if you aren’t using lapel mics.

Step 2: Camera Angles

Your next step is setting your camera angles. A traditional interview will use three angles to capture the interview. Angle 1 is a wide two-shot that shows both the interviewer and the interviewee. Angle 2 is focused on the interviewee and Angle 3 is aimed at the interviewer. The composition of shots 2 and 3 can be a medium shot, a close-up, or an over-the-shoulder shot. If you only have one camera and still want to do a three-camera shoot, then you’ll just need to run through your interview three times. To shorten this process, I would suggest that you film a basic introduction and conclusion of the interview from Angle 1, all of the interviewee’s answers with Angle 3, and only the interviewer’s questions and a couple of generic reaction shots (nodding, laughing, etc.) from Angle 2. This accomplishes the work of three cameras, but with less equipment.

Step 3: Light

Once the angles look good, it’s time for lighting. For now, let’s just set up a couple of key lights, fills, and back lights. It’s the same principles of the three-point lighting I discussed last month times two. It’s up to you, but it might be easiest to light one person at a time and adjust the lights afterwards.

The trickiest part will be keeping your lights out of the shot and keeping them from shining on the wrong person. As you set up your lights, monitor your camera angles to make sure you stay out of them. Generally speaking, you’ll have to set your lights up farther away or find a way to hang them for best results.

As you’ll recall, the key light should be set up at a 45-degree angle from the person’s face on the side that is turned away from the camera. The fill light will be at a 45-degree angle on the camera side of the person, and the back light will be almost directly behind him or her. Again, for a more detailed description, check out last month’s article.

Depending on what your set looks like, you may want to add another light – the kicker. The kicker is really just an embellishment and isn’t necessary if you’re using a table lamp for decoration. The kicker is generally placed behind the subject and aimed at the wall to create a splash of light – and color if you have gels. If you have a professional light, you can use the barn doors to create a narrow swath of light for a nicer look. Don’t forget to keep looking through your camera to make sure all lights and cords are out of your shot.

As always, this will take a bit of finesse and resourcefulness that can only be gained through practice. Be sure to try this a couple of times before you call up a local professor and arrange for her to drop by for an interview. Also, be conscious of the end use of your video. Don’t waste time lighting for the interviewer if you don’t plan to show him in the finished product. Let your message and your end goal determine how you film and not vice versa.

Action Steps

– Consider using an interview as a marketing tool.

– Think about your set and what it says about your brand.

– Work with camera angles for a professional effect.

– Review the principles of three-point lighting.

– Drive sales with the credibility you’ll establish!