DOCUMENTARY INTERVIEW STYLES
When I say interview styles, I mean the different ways it can be done, in terms of camera positioning, interviewer/interviewee positioning, and location/sound.
FRAMING/CAMERA/CAMERA POSITIONING
The most common type of interview framing is a medium shot, usually cutting at the waist or chest
Sometimes you can shoot with that framing, but have the interviewer in the shot too.
One thing you need to think about is how many cameras you are using, and this usually depends on how you plan to film the interview. If you are just filming the interviewee's responses, then one or maybe two (for close-ups) cameras will be needed. If you are planning to film a shot with both the interviewee and the interviewer, you may want three, one for the interviewer, one for the interviewee, and one for close-ups or wides. However, if you don't intend to show both the interviewer and the interviewee in the same shot, you could just use one. To do this you would shoot the answers first, and then after the interviewee had left, you'd shoot the questions with a stand-in.
LOCATION
Interviews can be done in numerous different locations. Here are some things to think about before deciding on the location:
- Accessibility
- Lighting
- Sound
- Relation to the interviewee or the topic
Interviews can be done in a studio, or on location. You need to decide which locations best fit your documentary.
LOCATION
Interviews can be done in numerous different locations. Here are some things to think about before deciding on the location:
- Accessibility
- Lighting
- Sound
- Relation to the interviewee or the topic
Interviews can be done in a studio, or on location. You need to decide which locations best fit your documentary.
| Location |
ON THE SPOT VS SIT DOWN INTERVIEW
And the final thing to think about is whether you should ask questions in the spur of the moment, on the spot whilst filming actuality, or if you should sit the interviewee down and formally ask them questions. It all depends on what fits your documentary best. It also can depend on if you want them to be handheld, raw-looking interviews, or tri-pod, stable, professional, and formal-looking interviews.
Overall, this is all information I need to consider before deciding how I will conduct our interviews when shooting my documentary. Regarding on-the-spot or sit-down interviews I feel with the equipment I have and not having a whole film crew that a sit-down interview would give out the best quality result. With location, I will try and film in the best lighting and in an environment that best suits the subject making sure the background has relevance to the topic as well as part of the mis-en-scene. With framing and camera positioning I have yet to decide which to do as I feel the best option is to set up two cameras with two different camera angles and framing and in post-production editing decide which to use and perhaps a mix of the two.
And the final thing to think about is whether you should ask questions in the spur of the moment, on the spot whilst filming actuality, or if you should sit the interviewee down and formally ask them questions. It all depends on what fits your documentary best. It also can depend on if you want them to be handheld, raw-looking interviews, or tri-pod, stable, professional, and formal-looking interviews.
Overall, this is all information I need to consider before deciding how I will conduct our interviews when shooting my documentary. Regarding on-the-spot or sit-down interviews I feel with the equipment I have and not having a whole film crew that a sit-down interview would give out the best quality result. With location, I will try and film in the best lighting and in an environment that best suits the subject making sure the background has relevance to the topic as well as part of the mis-en-scene. With framing and camera positioning I have yet to decide which to do as I feel the best option is to set up two cameras with two different camera angles and framing and in post-production editing decide which to use and perhaps a mix of the two.
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