Shooting interviews outside presents another set of challenges. The main challenge is positioning your subject so the sun is facing his or her face and not behind him or her. If you shoot backlit, you're going to end up with an unusable mess. Either the subject will be in total silhouette, or we'll have to open the iris to expose for the person's face and end up blowing out all the video behind him. We'll talk more about lighting in the lighting segment but for now Know that you need to position your subjects so the sun is on their face is more pleasing shot if your interview happens to take place either earlier or later in the day, because the sun will be lower and the lighting on your subjects face will be more pleasing. In the middle of the afternoon the sun will be high in the sky, and you will end up with some nasty shadows on your subjects face, especially under their eyes.

You can either reflect some sunlight on their face with a reflector, or on this new lighting segment, or you can move your subject into evenly lit shade. Remember your background. If you move into the shade, make sure your background is in bright sunlight or you will again blow out the video in the background. Also be aware of what's in the background. Make sure there's nothing there that will ruin your shot. If there's a garbage kid back there, either move it or move your subject or your camera until the garbage can is out of the shot.

Also As our society has become more litigious, be aware of people in the background. Unless you're shooting news, he may need signed talent releases for people who are recognizable in whatever scene you're shooting. If you're shooting something commercial, and there are people in the shot, who haven't signed releases, agreeing to be photographed, your shot may not be usable. It's better to play it safe and try not to have people in the background. Or at least make sure they're not recognizable audio considerations, be aware of the audio you're hearing outdoors you have less control over noises and some of them can really ruin your shot. It goes without saying but I'll say it anyway.

Try not to shoot in here loud ambient noise. There's a loud air conditioning unit move your setup somewhere else. Sometimes you won't have the luxury of being able to move to a quieter spot. In this case, try to compose your shot. So that the source of the ambient noise is visually in the background of your shot. as examples, there's traffic noise, make sure we see some traffic in the background.

If there's a fountain nearby that you can hear, so the fountain behind the interviewee it's better to have the viewer see it, then have them ask themselves why am I hearing water? When shooting indoors, you have a lot more control over ambient noise, unplugged telephones. If you hear music in the room, ask whoever's in charge to shut it off until you finish shooting. framing. In most cases, your interviewee will be looking off camera at the reporter or producer who's conducting the interview. Have your reporter standing or sitting as close to the lens as possible.

So your interview subject is not looking too far off camera. It's better to have your interviewee sitting on a rigid chair stool. Some people are interviewed while standing will get nervous and shift back and forth on their feet. Making you try to pan along with them. It looks like you're all on a rocking boat. Make sure your tripod is adjusted so that the camera lens is at eye level with the interviewee.

Frame the interviewee so their face is in the side of the frame opposite of where the interviewer is. So if your interviewer or producer is standing to the left of the camera, the interviewees face should be in the right side of the frame with more empty space on the left side of the frame. Some people try to be cutting edge and do the opposite, but don't do it. It looks really bad. If you're shooting the interview as a medium shot or medium close up, make sure you leave some headroom. If the interview is very intimate, and emotional, put the subject in a tight close up or extreme close up and you should forego using any head room.

Before we wrap up this segment, I'd like to talk about another important piece of gear. Unless you have a camera with interchangeable lenses, and a selection of high quality lenses of differing focal lengths, the lens that came with your video camera or probably not zoom out wide enough for certain shots. The camera manufacturer has provided a lens that is a good compromise between telephoto and wide. But because it is a compromise, they will not zoom in really tight or zoom out really wide. There will be many cases where you'll wish your lens could go wider shooting architecture showing the experience of an outdoor scene or a museum exhibit. an indispensable item to add to your kit is a wide angle adapter that will screw onto the threads on the front of your lens.

These can be a little expensive but you will find plenty of times you're glad you have one. If you get one make sure you get a zoom through it that After. This is much more versatile as it will maintain focus throughout your zooming range. A non zoom through adapter will only allow you to shoot your camera's lens wide his focal length. Secondly, make sure you buy an adapter whose thread diameter is the same as your lens. This is measured in millimeters.

Two of the most common thread diameters for video lenses are 72 millimeters, and 77 millimeters. You can find out this information if you look at the front of your lens where it's usually printed, or check the specification section of your owner's manual. wide angle lenses are more susceptible to lens flare. You can use lens flares and artistic element but need to control it for winning your shooting interviews so you don't get flare all over your subjects face. For this reason, buy a lens shade that is designed to fit over the front of the wide angle adapter B roll What is B roll? B roll is video that you shoot that supports the story that are visual that support the interview.

There are many ways to shoot B roll and we will go over a few necessities. But make sure you're not shooting just for the sake of shooting. When I first got into the business, it was as a 16 millimeter film shooter and an editor. In those days, it was super expensive to buy and develop film. You pretty much had to edit in the camera and shoot a bare minimum of footage. You might shoot a whole story on 400 feet of film, which was around 10 minutes.

Nowadays, probably would shoot several hours of video for the same story. If you intended to do a complex move, you rehearsed it over and over before you hit the trigger, so you didn't waste any film. With the advent of videotape, the cost of shooting dropped and people shot more. Now that videotape is dead and we're all shooting the cards. The cost of shooting is even cheaper. cheaper, and people are shooting more useless video, shooters today will hit record and then go searching for usable shot.

Or they will shoot the same scene over and over again. They do this because they're unsure of themselves, value quantity over quality. Basically, they're covering their butts. What ends up happening is that editors who don't have all day to review hours of footage will just grab the first things they see. So be judicious in what you shoot. And don't just shoot to cover your butt.

Try to plan what you shoot be efficient. Now, I've been accused of overshooting but everything I shoot is usable and does get used. It's because I'm constantly thinking of the story. I know that B roll is much more compelling to look at than a talking head. Here are some basic guidelines for shooting B roll, get establishing shots, which could be a signage of businesses, parks, buildings, etc. wide shots of scenes applicable to the story.

It can include slow pans and slow zooms. action shots of the interviewee to establish the interviewee as he or she is introduced to the story. Medium shots and close ups of action shots applicable to the story, or that can be ambient shots. That is shots that may not have a direct relationship to the story. juxtapose a visual with the subject matter or impact. For example, you may be shooting a story on pollution and include shots of birds soaring in the sky, or fish dead on the shoreline.

Make sure you get a wide variety of B roll shots don't just shoot wide shots. Mix it up. If you're making any camera moves, mix those up too. Don't always shoot a pan going one way. The best advice I got early on was to think like an editor while you're shooting. Think of how this Scenes your shooting will cut together later in post production.

Let's take a look at an example of how it all comes together. I'll shoot an edit a story that has all the elements we discussed. I will interview the main character the story, interviews, some supporting people, and shoot B roll to have visuals to cover all the important points. For this segment, I'm covering five separate auto clips all making up one giant car show that's raising money for charity. I have no crew as I know the final video was fast paced editing with lots of cutting. I know I have to move fast.

For these reasons I have decided to shoot everything handheld. That will be utilizing lots of camera movement in zoom Hi, I'm Wayne Carini from chasing classic cars and I'm here at cars on the fifth in Naples, Florida. I'm in the Ferrari section and it's just fabulous to all these cars that come out here today. There's some great vintage Ferraris as well as a lot of great new Ferraris. It's a great day. The energy is a great time here at the Naples show.

It's all for charity. And we have 125 cars here. And we have basically five car clubs here. We have Naples for our club, which is part of FCA, we've got the cool cruisers. We have muscle cars of Southwest Florida, and we also have the Porsche club of Naples and all coming together to support a good cause. A special needs charity for autism and we're also supporting the Warriors operations.

I've had probably six Ferraris. I just got this one. And it's just a phenomenal car. I've been a Ferrari enthusiast since the mid 80s. And I have other other cars that we also like but Ferraris always been one that's fascinated me the most. This particular model right here is a 1957 Testarossa.

Very few are left in the in the world. It's a rare car to see. It's priced probably around six to $10 million. I was the CEO of feeler. And we have license arrangement with Ferrari factory. Once I did that I knew I needed to have a loose one.

So I drove car home in a hurricane from Houston to Florida. It's been taken to Vermont through Quebec through cow pastures, ended up in a creek on a rally one time, and it just keeps on truckin. It's an amazing automobile. I love being a Ferrari owner. I love the car a long time and he really draws a lot of attention when people take a look at the engine. This particular car which is a hand built copy of the bro mouse World Champion, from 1974, so not involved museum quality reproduction.

They made approximately 82,000 Road Runners and they made just over 2000 of them in a convertible and a column A bench seat car, they made just over 1100 it's our baby. We've been in the cars for years. A couple old German gentlemen came by, knew what this was, and again, just congratulated me on the pristine quality of taking care of this car. For as many years as I've had to learn to be cherished, to manufacture and produce this kind of, let's take next cold February of the seat of the water. Let's read We have a number of interviews chasing. Notice how the interviewee is framed as we discussed earlier.

If looking at the producer standing to the right of the camera, we frame the interviewee in the left side of the frame. The producer or interviewer is standing to the left of the care. We frame the interviewee and the right side of the frame. Notice that to keep the overall video dynamic, we never shoot all the interviewees on the same side of the frame. We mix it up. Notice that we compose the shots with the subject matter behind the interviewee.

And we always shoot a mixture of shots for B roll for each interviewee. We also shoot B roll of the entire event using a variety of shots and moves as we discussed previously. zooms close ups, wide shots booms we always look for the details and incorporate that into our shots. Summer for my level, it's summer from ground level. Try to incorporate everything you've learned to make dynamic creative videos. The next chapters in this video series we'll talk about lighting and audio.

We'll see you in the next segment.