TWO PERSON INTERVIEW (HOW TO FILM IT)

hey thanks for joining me here today yes by the way this lighting is fantastic uh check this out these lights up here and these mics gone what's going on where am i going no no he's gone gone forever oh hello i'm going to show you how we did this today step by step meticulously going through every little thing that we did and you're going to enjoy watching this video and when you're done watching this video you'll unsubscribe from epic like media as filmmakers we find ourselves in so many interesting situations this week we filmed a simple conversation video in a factory that makes body armor for foreign governments after the client's video shoot we made a video about our setup this is very typical we see these interviews all the time the barbara walters interview with two people sitting knee to knee with at least three cameras now this can actually get kind of tricky because the lights have to be in very specific places and you have to accommodate that when you're doing the wide angle in this video we're going to walk step by step how to film two people sitting knee to knee talking together the first thing that has to be considered is camera placement i think a lot of filmmakers overlook this aspect they start setting up stuff willy-nilly without thinking about the frame so this is tip one set the frame okay of all three cameras they all have to look good before you start setting up all your stands to light the thing so the first thing we did is set up our main wide camera oh wait where'd it go oh we're using it to film this video so we can't see it here imagine a camera right here see this i positioned the camera and found a good wide angle that we were happy with after that was done and the symmetry looked pretty good and stuff we then placed our a and b camera i really liked the backdrop over there for our main dude our main vip that was in this and so we used our versa right over here for his angle for his angle i had two priorities the position of his head in the frame and the background i wanted the textures in the background to look good and i didn't want any vertical obstructions behind his head or anything that was too distracting in the background once that camera was placed then we placed the other camera over here once the frame for all three cameras was established and we were happy with the way they looked then tip number two happened we turned off our nasty lights i say this in every video we make look at these these top down lights that's not shape that's not cinema you turn them off things start looking a lot more interesting and you have control so uh we turned them off that's that's a big american flag right there somebody must really love america okay here we go aha now we begin our beautiful work of art remember lighting is like painting you're looking at shapes and thinking about the contour of them here is tip number three after you turn off the lights now this gets kind of heady and existential if you will as a filmmaker please please forget words think about shapes think about contrast think about color forget words what i mean is don't think that's a face that's a pipe in the background that's a cabinet no no no let all words escape your brain don't think in words think in shapes lighting texture depth all of those things it doesn't matter what the thing is you could be filming a ball on a table you could be filming an apple doesn't matter what you're filming what matters is the shape keeping that in mind now we start shaping the image so come over here okay tip number four you got to have the right gear and plan ahead this is when gear starts to really matter these stands in particular are going to achieve the lighting that we need i need the lights to be in a very specific place if the lights were by the cameras everything would look really flat typically you want your lights to be coming behind your subject a little bit so you can have more shape so the shadow side of the face can be closer to camera so to achieve that we needed these special stands and we needed to get our lights where they needed to be in physical space so everything we're using today's aperture and aperture's the best okay so we've got some led lights here with soft boxes this light is for this dude that's his key light this light is for this dude that's his key light and crossing behind here is how you want to do it any way you can achieve that that's great they could be hanging from the ceiling somehow i don't care how you do it we realized wait we've got these these big stands that can really boom over so that's why we're using these stands let me show you these stands this is a boom combo stand from kupo and i like it because it's heavy duty it's strong and it can boom out really really far another youtuber that i follow named lewis potts really likes these stands and i actually learned about these stands from lewis potts in one of his videos pulled the trigger and bought some so if you want to learn from the best watch lewis potts if you want to continue to be stuck in mediocrity watch our channel so these in conjunction with each other are our two key lights and the color temperature of these lights mattered a lot i wanted to match some of the ambient light in this room and so we set these lights to 4700 kelvin we just eyeballed that it felt right for the space and this light is at twenty percent after our key lights were turned on our attention then went to the background and this is tip number five don't forget about the background you want there to be some interest to make the face pop with this background we decided to use some aperture novas and make the light kind of blue with that the background then began to look a little bit more interesting we created some nice texture for the background and the background started to look different see that now the background starts to look a little bit more interesting okay let's take a moment here and just talk about the lighting what it's doing in this setup so this is what it looks like with nothing this is just the regular room lights not very flattering just kind of flat so then we turn the room lights off now it's way too dark so first we have my key light and this is my main light source and if you see i'm looking at this dude here the light is coming from this far side of my face and the darker side of my face is closest to camera this is standard lighting this is how you create depth you get the light on the far side of the face this side closest to camera is darker next we're pulling double duty here on both of these setups let's turn on the other dude's key light see it's kind of like a backlight for me it's giving me a little bit of separation here it's illuminating my shoulder in the back of my head so this key light is this dude's back light and this key light is my backlight okay now the background light is turned on and you can see now that it's on there is a separation that's happening uh the background is a little bit more blue and so it makes my skin tones pop on camera and it looks a little bit better also the angle of the light in the background is very important this light is creating interest if this light in the background was coming from let's say the same point of view as the camera from over here it would look flat and boring don't forget about audio this was the kind of shoot where we didn't want to see a lavalier mic on someone's shirt that can be distracting to me so we decided to use boom mics and we boomed the mics over to get to the people here here's my thing about boom mics if you're going to use them get them in as close as you can it sounds a lot better when the mic is closer okay the problem when you bring it in close is it really frustrates your camera operator because the framing gets all messed up and you can't have the proper amount of headroom so that brings me back again to our main angle our wide shot what we did was lock off our camera we made sure it didn't move and we set our lights and mics exactly how we wanted to and then after the interview was over we had everyone walk away and we grabbed a clean plate and we were able to erase the mics the lights and make it look like they were never there so you may ask me thomas what would you have done if you would have had a bigger budget with more stuff you know well i'm glad you asked glad you asked that question i would have had this camera on a slider motion controlled slider that way we could still paint out stands that we don't want to see then i would have had two more cameras even closer to the subjects right over their shoulders to get an even more intimate feel on these interviews did you like how i used the word intimate stephen intimate now if you want to do a knee to knee on a budget i would do two cameras put the lights off to the side and you don't have to worry about the third wide angle but it doesn't quite work as well because then you don't get the two of them together in the same shot and it doesn't feel as intimate intimate if you enjoyed this video and you want to subscribe to epic like media please don't we are not accepting any more subscribers but you can subscribe to louis potts lewis potts is a new youtuber and everyone is jumping on his bandwagon he is getting subscribers left and right and his channel is growing as it should be because he is the most talented most incredible person i have ever had the opportunity to meet in my life subscribe to lewis potts unsubscribe from epic like media thank you [Music] you

Channel: Epic Light Media

Views: 49,539

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Id: HvqoMLjV4R4

Length: 11min 42sec (702 seconds)

Published: Wed Jun 01 2022