Interviewing Couples

[Dan Brockett]

Some of the posters bring up a good point here and that is, “does it work to have more than one person at a time on camera?”. I find that a lot of the time, my clients or sometimes a producer will decide that we should interview x and y together. Unless there is going to be some interaction between the two talent or if they visually need to go together, you will usually end up with a more solid looking interview if they are shot separately.

Earlier this month, I shot groups of animators being sort of interviewed and discussing different subjects with each other for a popular Fox show. Three talent, two cameras, all lit and shot by myself. I put them at the end of a curved conference table, facing at 3/4 angles to each other. They would look over at the interviewer to answer her questions but some of the best stuff we shot was with the animators, character designer and director all riffing off of each other. I had my hands full but it turned out great, great sound, good lighting. The table was made of polished cherrywood so I not only had all three on camera in the master, I was able to arrange the talent and the camera so that I had a nice “iTunes/iPhoto” matching reflection of each of the talent in the gloss of the tabletop.

This was a case of it being the best decision to shoot the groups all together.

But for the same project, I interviewed the EP alone with the same black BG. They all intercut beautifully. I liked having the EP/creator alone because he was of a higher level in the hierarchy of the show so it made sense.

But the best observation is that when you interview two or three people at once, often one person dominates the answers and often the other talent in the shot looks bored or their eyes glaze over. Then, when everyone sees that shot sequence, master to CU of the talker, then cutaways of reactions, the viewer is usually thinking, “why interview these people together?” IMHO, I will only usually do it if there is rapport, interplay and good conversation on-camera. If there isn’t, you are wasting your efforts because multiple talent and cameras is a lot more work and hassle.

So my vote is no interviewing couples or triples unless it is going to work emotionally and with dialogue between them. If not, why do it?

Dan

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[Kevin Herrin]

Great discussion. It’s helped me think through what I’m going to do.

I can see that in most situations you wouldn’t want to shoot doubles. My project is a geared towards people who have a marriage on the rocks. So I’ll have several couples that have walked through similar situations and have recovered using the presented techniques. So it makes sense to have the couple together. Actually I’m thinking that I’ll interview the couple separate for the beginning of the session where they would talk about how bad their situation was and then towards the end when the host presents solutions to the problem go to the couple on a double talking about their results. I’m going to shoot with two cameras, as it turns out I have access to two of the same, so they will cut nicely.

I like the tip on the wall angles, that makes a lot of sense. That’s one of those things that adds a subtle difference.

thanks again,

Kevin Herrin
Digital Dynamics Media
Raleigh, NC

[Todd Mcmullen]

kevin, fwiw, sometimes it is not what the subject is saying, but what they are doing. You mentioned most of your interviews are couples with, issues?. You might give it a more documentary approach and focus on what these people are doing as they speak or what the other person is doing. ie, fidgety hands, raised eyebrows, facial denial. you get the point. I shoot a tv show for nbc called friday night lights and I have my operators looking for this type of story telling in every scene. it is very powerful and takes you away from the normal talking head.

As far as lighting goes. I like to use a cross key backlight with two people. especially if they are looking at each other a lot. when they face each other you get a very nice backlight. of course i have as oft front key when they are looking at camera.

good luck

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com

[Richard Herd]

“Cross key backlight,” can you explain that? It probably makes sense from its name, but just to be clear…thanks!

[Todd Mcmullen]

Sure.
Let’s say 2 people are talking to each other, somewhat face to face. and camera is holding a 2 shot from the front of the subjects. I will have a 1k baby with diffusion and color if necessary, behind the person on the left side of frame, out of the shot, pointing to the face of the person on the right. And another baby on the other side of the subject on the right, lighting the person on the left. keying the subject from behind and acting as a back light. depending on mood of scene I will sometimes use a soft bounce fill from the front. Hope this helps. here is a still of the close up of that example.

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com

[Richard Herd]

That’s what I thought. Thanks for clarifying.

‘Nother quick question: How are you lighting the background?
Thanks again!

[Todd Mcmullen]

basicly what ever makes sense at the time. Is it morning/night/mid day?
can be a hard light through a window can be a practical lamp
i hope I am addressing the question
cheers

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com