Type of interviews & Preparation 4th lesson

Prepared or unprepared How to prepare for a spontaneous interview Setting up for a prepared interview Who’s asking: Who What Why Lighting Types of Interviews

Preparation

Prepared or Unprepared?

Certain types of interviews depend on complete spontaneity - a reporter with a microphone doing "man-on-the-street" interviews where they stop passers-by and ask for an instant response to a question. This works well for getting a quick sample from somewhat random people, but it doesn't work at all for some things.

Compare this to and interview between a presidential candidate and a major news anchor. For weeks before the interview, the candidate and his advisors will carefully prepare responses to every question they think it's conceivable the interviewer would ask, and the interviewer will also spend a large amount of time researching current topics to the most relevant questions they can. Both the interviewer and the subject are prepared and usually have a general idea of how the interview will progress. We also expect that this interview will have perfect lighting and perfect audio in a studio, office or well-planned location with the perfect background.

When doing a prepared interview there's always more time available for you to set up equipment because you know several critical things - namely the where and the when. When chasing a disgraced CEO up the steps of the court house shouting "How much money do you have in your offshore accounts?" there isn't the time nor the facility to set up lights, to pre-focus and to attach a lav mic to the subject. You maybe put a light on your camera, make sure your batteries are charged, and go for it.

How to Prepare for a Spontaneous Interview

If your assignment is to try to catch a celebrity and get an unscheduled interview, (this is often called an "ambush interview" even when you're a wedding videographer getting reaction from people at the reception), there are some things you can do to increase your chances of getting usable footage.

Research: Find out the where and when as far in advance as possible. Do you know that your subject is scheduled to make a court appearance? Will they be walking down a red carpet? Arriving on an airplane? Getting out of a limo? Arrive early and survey the area - are there things to watch out for? Noise in the background? Alternate entrances your subject may use? Are there people there who may know more about the scene? Other videographers? People who live nearby?

Be Polite, be firm: Very often "no" means that you just haven't asked the right person. Bob Woodward, one of the journalists who broke the Watergate scandal said years later that the phrase that worked best in getting people to talk was "I need your help.”

Be Prepared: It would be great if you get to ask ten questions, but plan for only getting one, try to make it one that hasn't already been answered. "Do you like your new movie?" is a question actors are asked and answer all the time. "How does this movie compare with your favourite childhood films?" is more unique. Someone on trial for bank robbery probably isn't going to blurt out a confession on the courtroom steps because you shout out "did you rob the bank?" but they may have something to say to a more practical question relating to their experiences with the trial. Setting up for a Prepared Interview

Depending on what you want your final product to look like, there are a number of different things to take into consideration when setting up your lights and camera. Will the interviewer be in the shot? Will the interviewer be audible to the audience? Will it be shot with multiple cameras? Will the subjects be seated, or moving? Will you be able to stop during the interview, move cameras, or re-ask questions? Who's Asking Who What Why?

Interviews can be held for a number of purposes - some of them might be:

1. To find out information that your subject might not want to divulge,

2. To find stories and anecdotes that will entertain an audience,

3. To create a historical record,

4. To help the interviewee get information across.

Interviews are usually considered either "soft" or "hard". A soft interview is one where both the person doing the interview and the person answering the questions have similar goals, which may be to promote a book, introduce a person to an audience, or honour a bride and groom. "Hard" interviews are ones where the interviewer's goal is finding out something, usually news, and the subject may have a different agenda. (such as covering their company's liabilities). This doesn't mean that a "hard news" interview is an unfriendly interview, but it may ask tough questions. The subject and the interviewer may decide beforehand the scope of the questioning ("Senator Smith will do the interview, provided no questions are asked about the incident in the cake factory.") Interviews can be set up in a number of ways:

1. Both interviewer and subject visible in camera shot,

2. Interviewer not visible, but heard,

3. Interviewer not visible and not heard,

4. Interviewer and subject in different locations entirely ("remote"),

5. Live or edited?

Having both the subject and the host in the shot doesn't have to be "talk show" style, it can be two people walking down a road, or sitting on a bench. This style of interview is often used when the host is part of the interview's selling point because of their position or reputation. (Think Oprah.)

The host can also be off camera with a steady shot of the subject. You can cover this with one camera by shooting "reaction" shots afterwards. When the interview is over, turn the camera on the host and have her nod, frown, listen patiently, and then repeat one or two questions, this will give you some cutaways and keep your interview from being a single, static shot. It also gives you the option of cutting out some portion of the interview during a long reply.

Sometimes also, common in documentaries, the person asking the questions is neither seen nor heard - this requires the collusion of the subject along with open ended questions such as "Tell us about the early days of the band" which will give the subject room to talk at length. In the editing room, these longer answers can be woven into a narrative of the subject's own words.

"Remote" interviews are typically done by TV stations with the use of satellites bouncing audio and video between locations but there's no reason you can't do a remote interview on the cheap with the aid of an accomplice with a telephone and a video recorder. Your subject can even wear an "in the ear" type of telephone receiver to avoid having someone relay the questions. Need to interview a baker in Sausalido for your documentary but don't have any friends there? Try online resources like craigslist.org to locate a camera operator.

Some interviews have to be done live, you don't have a choice. But others can be edited - this gives you the opportunity to stop, go back, and re-ask or re-answer a question. You can tell your subject "if you get off track on an answer, you can just stop, pause to give us some space in the editing room, and start over."

Be Prepared (like a Boy Scout)

Regardless of the type of interview you've chosen to do, some things remain the same:

1. Do your research. Start with the subject. Authors, actors, and business people often have prepared biographical information that you can start with. Don't read from it, but use it as a jumping off point.

2. Keep your subjects calm and happy. Meet with them before the interview, explain what's going to happen, where they'll sit, who the other people on the set are. Put them at ease.

3. Start out with easy questions. These are often called "low balls", questions that are easy for your subject to answer well and will get them into the swing of the things.

4. Avoid questions that can be answered "yes" or "no". Instead of asking "Is it hot in Florida in July" ask "Compare the summers in Florida to the summers in Maine, where you grew up." This invites your subject to tell parts of their story that you might not know about and opens up a conversation, providing more avenues to explore.

Lighting

"Three point lighting" or some variation of it is very common for interviews. Advantages of artificial lighting are that it can be recreated in different locations and isn't dependent on the weather. Natural lighting is often nice and can add a softer touch - placing your subject by a large window or in a shaded area outside. You can use a single reflector to throw a little extra light onto your subject. Watch out for hot-spots (over exposed areas) in the background and don't be afraid to set your exposure manually.

Sometimes you have no choice but to use whatever horrible light is existing. Remember to set your white balance and look for features in the room such as reflective walls that may lessen the worst parts of the existing light. Sometimes and on-camera light can be used just as a fill in conjunction with existing over-head lighting. SVN has several articles on three point lighting and you can see tutorials on SVN-TV. Your Homework

While watching television now, pay careful attention to interviews. How many cameras were they shot with? Were they done live, or edited later? What types of backgrounds and lighting were used? How did the video team utilize available space? Listen to interviews on the radio as well - how were questions formatted? How long are they compared to the length of the interview? How many were biographical and how many factual? What techniques does the interviewer use to put the subject at ease? Paying attention is the first big step to understanding. Write your questions ahead of time

Start with a few simple questions that will set your interviewee at ease, for example, “How do you pronounce your name?” When the video camera rolls, ask easy questions to warm them up. Ask them what they had for breakfast, where they are from, how many kids in their family.. anything to get them talking and comfortable. This is a key interviewing tip!

Think ahead about the type of questions you want to ask your interviewee. What kind of information are you looking for from this particular person and what are the type of questions that will best get them to give you the information you’re looking for? No need to go crazy. 5-10 questions is usually enough.

Avoid “yes” or “no” answers

Your questions should be asked in such a way that you won’t get “yes” or “no” answers. You need your documentary interviewees to give you substantive answers that you can use in your video edits. Instead of “Are you happy with the outcome of the court case?” Ask, “What is your response to the outcome of today’s court case?”

Prepare, but be spontaneous

Even though you have prepared questions in advance, allow yourself to veer off from questions if the interviewee says something interesting or unexpected that you’d like to explore further. Sometimes the unplanned “spontaneous” questions & answers create the best moments.

Don’t give out specific questions in advance

I cannot stress this point strongly enough. It’s perfectly acceptable to give someone a general idea of what the interview will be about, but do not give them your list of questions. If you do, they will try to memorize their answers in advance and you will lose spontaneity and freshness. Your interview will end up feeling stale, unauthentic and rehearsed.

Have them repeat your question

This is a great idea, especially if you plan to have no narration for your documentary. Get the person to repeat back your question in their answer. This will help you with the video editing and storytelling later during the editing process. For example, you ask, “How are you feeling?” The interviewee says, “How am I feeling? I’m feeling excited!”

Choose the location

To achieve quality sound, look for a quiet place, such as a living room. For a more creative approach, put the interviewee in a setting related to the topic. For example, you might interview a pianist in a concert hall or a Little Leaguer at a ball field. When shooting indoors, if possible turn off noisy appliances like a refrigerator or furnace . Be sure to turn the items back on when you’re done.

Proper positioning of interviewee

If you are the person both shooting AND interviewing, the person may end up looking into the video camera, which gives the feeling of a personal and direct connection with the person talking. However, the off-camera approach is most common. The interviewer sits or stands right next to the camera so that the interviewee is looking just off camera. You get your best results if the interviewer (you) is standing right next to the camera, that way you can see the full face of the person you’re interviewing and not a profile, which can be unattractive and distracting to the viewer because you can’t see their eyes and facial expressions very well.

Stay quiet when the other person is talking. You don’t want to hear yourself in the background. (Watch out for the “hmmmm”, “Oh right..”) Just ask the question and then keep quiet. It’s good to nod, and make gentle facial expressions, just no sound. Unless of course, YOU are part of the story and the camera has both of you in the shot.

Use an external microphone

If you rely on your phone’s built-in mic, it likely will pick up background noises airplains, leaf blowers, and cars passing by. A lavalier overcomes this problem by allowing you to clip a tiny microphone to your subject’s clothing. The microphone is then connected to your smartphone via a cable with an easy-to-use plug. For best results, put the microphone 6″ to 8″ away from the subject’s mouth. Test the set-up to make sure the sound recordings are OK.

Put your smartphone on a tripod

Make sure that the camera’s lens and the subject’s eyes are at the same level.

Have the interviewer sit off-frame, next to the camera

Have the interviewee look at the interviewer, not at the camera. This will not only give your interview a professional look, but in most cases, it will make the experience less stressful for the interviewee.

Let the camera roll for a few seconds before and after each take or answer

This increases the odds that you won’t accidentally cut off a response. It will also make editing easier.

If possible have someone else operate the camera while you ask the questions

This will let you concentrate on what the subject is saying, while your assistant monitors framing, lighting, and sound.

Ask the interviewee to repeat or paraphrase each question

This way, you won’t need to use your voice in the finished video. For example: Interview: What was the scariest time you had scuba diving? Interviewee: The scariest dive I ever had was when…

If the Interviewee gives an incomplete answer, ask a follow-up question

Often, responding to something the interviewee says will lead to the really interesting material. Interviewer: Why did you quit the job? Interviewee: I had problems with my boss. Interviewer (follow-up): Could you give an example?

If the interviewee messes up an answer, simply repeat the question

Explain that it’s no big deal, and you will cut out the unwanted material later.

After one or two questions, pause the interview and move the camera slightly closer or further away

Changing the size of the image will add visual appeal. You can do this using the zoom lens, but it’s best not to zoom while the subject is talking.

Here, the music store owner is seen in a medium shot…

…and in the next shot, the camera has come in for a medium close-up.

Shoot additional material of the interview when not answering questions

This is called “B-Roll” footage. An example would be showing your subject engaged in an activity discussed during the interview. When edited into the footage of the Interviewee talking, it will give your video a professional look. Ask for final comment

Here's a great video interviewing tip: at the end of the interview, always ask the person if they have any final thoughts. Ask them if there was anything you missed. This can sometimes bring out some great information you hadn’t thought to ask about.

Don’t stop filming when the interview is “over”

Especially when you have someone who is nervous and never got quite comfortable with the interview. When you’re done with your official questions, say “OK, that’s the end of the interview.” Make sure the camera continues to roll at this point because often the conversation will continue. Psychologically, the person no longer feels the “pressure” of the interview and will loosen up. This is the time I have often gotten the best quotes of the interview!

Vox Pops

The term "vox pop" comes from the Latin phrase vox populi, meaning "voice of the people". The vox pop is a tool used in many forms of media to provide a snapshot of public opinion. Random subjects are asked to give their views on a particular topic and their responses are presented to the viewer/reader as a reflection of popular opinion.

For video and television vox pops, the interviewer approaches people "in the street" and asks them simple questions about the topic. These people will be new to interviews and will often be nervous, flustered, giggly, etc. It's therefore important to make them feel comfortable and relaxed.

When asking people to participate, fast is best - don't give them time to worry about how they look or what their friends will think. Use a short, sharp standard question such as "Would you mind answering a couple of quick questions about genetically modified food for TV3 news tonight?". (Note: Everyone will want to know what channel you're with and when the programme will be broadcast, so it helps to get that out of the way quickly.)

As always, ask open-ended questions and avoid leading questions. At the same time, you must be specific enough to obtain brief answers.

Camera shots are usually framed as an MCU or close up. It's important to think about the guest's looking direction, and get an equal number of left-facing and right-facing subjects. These can then be alternated in post-production. Some producers go so far as to get all answers with a particular opinion facing one way, and answers with an opposing opinion facing the other way. Whether or not you think this is effective is up to you — you may feel that it is too contrived.

It pays to ensure that an accurate mix of genders and races are represented, appropriate to the population being surveyed. Here's an example of how some vox pops can add interest to a news item on genetically modified foods. At some point in the story the journalist would say something like "meanwhile, public opinion is still divided..." The following sequence is then inserted:

"I think we need more research. I think we've seen this product arrive on our shelves in a tearing hurry, without any long-term case histories available for us to look at any possible harm."

"I think it will be better in the short term, but in the long run it will promote more diseases, some inherited ones like cancer or something like that." "I don't actually have that much of a problem with it. I think that basically science enters every part of our existence anyhow. Scientists have been genetically modifying animals and things since the beginning of time, so no, I don't have much of a problem with it."

"I don't really have a problem with it myself. I mean, it's coming up to the year 2000, the new millennium, we're going to have new changes, aren't we? People have got to get used to it. If they don't like that, if they can't stand the change, well... get out of the way and let those who can stand the change look after it."

"I'd prefer not to have it, not to use any of it, but I'm not sure what's been altered and what hasn't." Studio Interview Settings

There are many possible settings for conducting interviews. The first one to become familiar with is the seated interview. Whether it be in a permanent studio or someone's living room, you need to arrange the interviewer, guest(s) and cameras to achieve the look and feel which best suits your objectives.

There are a number of common floorplans from which you can choose. Often you will be limited by factors such as space and number of cameras. The guidelines below include options for most settings.

1 Guest, 1 Camera In this simple case the interviewer and guest are given the same framing and appear with equal prominence. This is useful if you aren't sure who will be doing most of the talking, or if the talk-time is spread evenly between the interviewer and guest.

It is a fairly casual setting, especially suitable for less formal interviews. 1 Guest, 1 Camera

Taking the same situation and moving the camera to one side gives a different feel. Now the guest is much more prominent and becomes the main focus. The interviewer can face the camera at the beginning and end of the interview, but not usually during. This leaves the interviewer with profile framing so your 1- shots will be reserved for the guest. From time to time you can zoom out to a 2-shot, then back in to the guest.

If the IV is to be edited, you will probably frame most of the interview on the guest. At the conclusion of the interview, move the camera to the other side and shoot the back-cut questions and noddies (more on this later). Mobile Interviewing Techniques

Shoulder-Mounted Camera Shooting "off the shoulder" is an easy and flexible method for recording interviews. Typically this will involve one camera, although other cameras can be added easily enough.

This is the most common technique for field shoots in which speed and efficiency are important. A minimum of equipment is required and the production team can move around quickly and easily.

It is also a useful method if the surroundings are likely to be included in the interview. Because the camera operator is so mobile, (s)he can move around and show objects and scenery as they are talked about.

The standard technique is pictured here, with the camera situated just to the side of the interviewer. This gives a nice front- on shot of the guest. The interviewer and camera should be close together so the guest is facing just slightly off-camera.

Off-the-shoulder interviews tend to have quite a different feel to tripod/pedestal interviews. They are less formal, less restricted, and involve more movement. Because the participants are usually standing or moving around, the impression is given of being "up and about" rather than sitting sedately in a studio setting. Indeed, off-the-shoulder cameras are sometimes used in studio settings to achieve this effect.

The amount of movement involved depends on the production requirements. News stories tend to be quite static, concentrating on what the guest has to say and minimising distractions. Programmes which are more entertainment- focused may include a lot more variety, with the camera operator moving around and showing different angles of the guest, presenter and surroundings. Tripod-Mounted Camera

You can use a tripod in much the same way as above.

Advantages:

Nice steady shots - important if the interview will be edited alongside other tripod-mounted shots. Reduced fatigue for the camera operator, which will make a big difference if the interview is going to be long or if you'll be shooting lots of them. Off-the-shoulder shots can become wobbly as the operator begins to tire. Disadvantages:

You are much more restricted in terms of movement and framing. You have another piece of equipment to carry around (and good tripods are heavy). Walking and Talking

A nice effect is the walking IV in which the interviewer and guest stroll side-by-side toward the camera. The camera operator walks backwards maintaining a constant distance. Obviously this must be well planned. The camera operator should have someone to act as a guide — the usual routine is for the guide to place their hand in the middle of the operator's back and walk with them.

In the example pictured here, the sound operator is doubling as the guide (he needs to keep turning his head backwards and forwards to do both jobs). We reached our final session.

Hope you enjoyed the class and that you’ve learn enough to start doing your own projects!

Wish you all the success in the world! You are amazing and you can do whatever you want!

THE END