Beautiful tips and examples! My general rule for interview shots is to place the off-screen interviewer between the camera and the key light. That way you always know you’ll be filming the dark side of the subject’s face. For example, left to right: key light, interviewer, camera A, camera B.
Thanks so much for reiterating the shoot on the shadow side. Sometimes i forget with all the other stuff to remember when your a one man band. If you do a part 2, PLEASE include more overhead diagrams to show where to sit (interviewer) in relation to lighting setups. Thanks again….LOVE LOVE LOVE your content!!
Will do! Always sit the interviewer as close to camera A as possible and on the side of the key light. That way they Aren’t looking too far away from the camera.
Good question! You can still see someone’s eyes through their glasses. You just have to make sure you don’t get glare from your key light. Go check out @dslrvideoshooter page. He wears glasses and you can still see the catch light in his eyes.
5:54 Best tip I’ve learned about catch lights is that unless you’re achieving the catch light with a bounce, if your talent can’t see the light source, then there won’t be a catch light in the eye. This is useful when you’re moving the light around and can’t monitor the camera - Just ask the talent to tell you when they can see it. If they can also see the camera, then angle of incidence and angle of reflectance should mean you have a catch light
this just popped up on my screen and I decided to click on it. This video literally just leveled up my podcast LOL. I cant wait to go record the CORRECT way now LOL. thanks. SUB EARNED!!
thank you for these tips, i think showing an example of the 180 rule for the camera placement would be great, if you could do that with a friend or just pretend you were talking to someone else that would really drive your point home and help us learn. cause i was confused a bit when you were explaining how NOT to break it... if that makes sense. but again we appreciate you as always Brittney, you doing ya thing!
I was going to do that but didn’t have the time. But that’s why I created the overhead to try to show. But basically if you don’t have an interviewer the 180 is between you and the camera. If it is a second person the 180 is between the two people. Don’t have the two cameras crossing the line. Lol idk if that made it better or not
Brittney, this was extremely helpful, thank you. Especially the part about the catchlight. I always look as to where the catchlights are positioned in my subjects eyes in still photography. I think that's important especially when photographing beauty portraits and headshots.
The 180 degree rule one happened to me on a recent talking head shoot. It looked like the client was looking in both directions when I cut the footage :/ I know for next time now!!
Nope doesn’t matter! The cool thing is you can look at a shot with catchlights and kinda tell what modifier was used, like octo compared to square. Helps me see how some of my favorite things were shot.
So dope as always, Brittney. I’ve seen on your channel how you light interviews. I’m curious how you would light two person podcasts with a three cam set up. (A two shot and over the shoulders) - Anthony
Thank you! I’ve lit two person podcast in many different ways. Usually putting two KEO lights by camera A and B. Or using an overhead light and bouncing from below. The next time I have one I’ll record!
Do you have any advice for when and how often to cut between the A and B cam views in the edit? I know it is used partly to hide cuts and partly to emphasize what the subject is saying, but that still leaves a lot of options while editing
Honestly editing really is about pacing. That’s what makes an editor a good editor. I can’t say that there’s a specific time or how many times you should do it, you really have to just feel when it’s time. Crazy to say. There are times when I feel I cut too fast and it doesn’t feel right, or I feel I cut too much, so I go back and watch it. But you don’t want to disrupt the story being told so really trying to find that pacing. Learning J and L cuts. But I’m sorry I don’t have a concrete answer. I’ve been doing it for so long that I can just feel when a cut is bad or when a cut is good and when pacing is off and when it’s good. Don’t just cut to cut, really listen to the story and let that guide your cutting experience.
When it comes to catch light, what’s the thought process when client is wearing clear prescription glasses. Do we want to avoid reflections? Would we try to balance between reflection and eye lift?
Yea you would have to raise the light a little higher so you don’t get reflections in the glasses which means you wouldn’t see as much catch light which is okay. But you could also try using a bounce below that would reflect from the key to get the catch light.
Great tips. Have you ever had a celebrity questiion your lighting setup? I've heard of a couple examples of that before. They apparently know what kind of lighting looks better to them.
Normally I don’t. I usually turn the monitor around an let them see. But there was a case recently when the lighting looked good, but I saw a reflection in the window and when I tried moving the light the celeb stopped me lol. They just want to look good. But they don’t factor in everything else.
@@BrittneyJanae This was a singer (in her 60's now)...she was being interviewed by a TV news crew. She wanted only the flat lighting from the light mounted on the camera.
The catchlight usually is in the eye. You don’t really place it anywhere. It’s just a reflection from your key. The position all depends on where you place your key
You can keep it the same but you may have to go higher on the light so that when they move their head the light doesn’t show in their glasses. So you may get less catchlight but because glasses reflect you should get something
Usually yes! A cam is considered your main camera. It’s probably going to be the most used angle. B cam is usually the backup, the one that gets the second angle or detailed shots. In film it can just be the second angle to the a cam.
I have a color grading video on my channel! But first it starts with lighting the right way to being out the persons skin tone and then using the right rec 709 to get a good foundation. And then getting the skin tones right in post
Some people may have a small 1ft or a mc4 that they use to get catchlights if they don't see one. Catchlights are easy to achieve. If your light is direct on the subject most times it's automatic. If it's a side light it may not hit as hard but most time at a 45 or directly on, you're getting one. I'll be talking about it briefly on my next video but will also do a video on them.
So how do they hire you? Are you an employee of People or do you work for an agency that People uses or do they contract you directly as an independent freelancer? Are you a solopreneur or do you have your own company?
I’m a freelance Director of Photography. So most times I’m hired by word of mouth! If you’re work is good and your spirit is right people will want to work with you and spread your name! I’ve learned the industry is about who you know. Just make sure you have the skills to keep yourself in the room.
Brittney! I love it! Just wanted to say I appreciate your channel! Love seeing my sista out here doing her thing! Crushing it and just doing it with such style! Also, your video on skin tones changed the game for me! Thank you!
Thanks for producing this great video and dropping these tips!!! I will definitely be using these tips in my next interview. I even took a screenshot to ensure I remember the angles of the camera! Keep up the great work!!!
These are great tips - I love your videos and your filming styles and tutorial style - do you have any suggestions for lighting or composition for 2 person interviews where the interviewer is also on screen - and not doing the typical 60minutes over the shoulder - I am trying to get better 2 person interviews when I am on camera interviewing someone - basically how to get two people talking but not look weird!
@@BrittneyJanae yes - and maybe only with 2 cameras at times - I have tried keeping one wide with 2 people and then the other close on just the subject - the issue I am having is trying to get a good look with 2 people talking to each other wide. The close angle for the other person usually looks really nice but I dont always have access to a third camera for a second close. A lot of times my situation is - I am solo - walking into a record store or studio - and then trying to get me and the other person in the interview but still have it look cool and cinematic. I feel like once 2 people get in there it becomes very NEWS like - or at least that is what I am achieving and I want to step it up!
