When telling stories, you will most likely need to interview someone in order to progress the story and back it up with facts. So, this video I have made addresses some of the best tactics I like to use when interviewing (conversating) with your subject. I know when I interview someone, I want them to be as comfortable as possible. The lights, camera and microphones add some anxiety to some who are not used to being in front of a camera. Taking time to get to know the induvial is key for a great interview. If you cannot meet up beforehand try calling them on the phone and ask questions to get to know the individual. Doing this will build trust and give you an idea of what questions you will want to ask when you conduct your interview. One of the tips I use that I did not mention in the video is to ask open ended questions. Instead of asking “Do you like your job?” which would lead to a yes or no answer, I like to ask, “Give me a few examples of your work that brings you joy.” This allows the interviewee to elaborate.
Hello, today I'd like to talk to you about a few tips on interviewing. Many people feel very nervous in front of a camera with the lights, the camera, the microphones, so it's our job as storytellers to be able to make them feel at home as much as possible. What I like to do is I like to make sure that I talk to them before hand, and get their side of the story before we even meet up in the studio. Whatever the interview is about, I like to ask them about that off camera. This could be at a coffee house, this could be over the phone, but I wanna build that rapport, you wanna build the rapport with the individual that you're gonna be interviewing, so you can build trust, and not only that you get a sense of their story. There's nothing worse than sitting behind the camera, and interviewing someone and trying to get their story while the camera's running. That's not a good use of time. You're wasting their time, and your time, and the wear and tear on your camera. Tip number two is when you're talking to them off camera, and you're trying to figure out what the story is. Think of a beginning, middle, and an end. Every story has a plot, right? So what is their plot? Figure out what their plot is before they even sit down in the interview chair, and that will save you a ton of time when you're editing. The third tip I like to offer is listen. Listen to the interviewee. You might have gone into the situation with several questions that you wanna answer, but listen to some of the answers that you're getting from the interviewee. You might be able to find a question that you did not even think about. You gotta listen, and that might lead you to a better question than the one that you might have already had. Try not to bring notes, I always, always try to just come to the interview, and I don't even mention it's an interview. I mention that there's a conversation. I wanna make them feel as secure in this spot as possible. So when you say interview, it feels like they're doing a performance, and that's not what I want. Especially when you're doing documentary work. You don't want them to be performing. You want the real story. Who is this individual that you're interviewing? You want the real person, you don't want an act. So I say, we're just having a nice conversation, pretend we're having a conversation like we would in a Starbucks or any coffee house. Start off slow, ask them questions that can build up to the major ones at the end. You don't wanna go straight from the very beginning asking them questions, the hard questions. Don't ask them the hard questions right at the beginning. Another tip is, if they didn't answer the question, you think they may have shied away from it, ask 'em again, but don't ask them right after you just asked them. Save it for a little bit later on in the conversation. Little bit later at the end, so that they feel more comfortable, and you never know, you might get a different response. Here's a bonus tip, whenever I'm asking questions during the conversation, I always nod my head, and respond to them after they're done talking. Kinda like we would, in a coffee house. I wanna build that rapport with them, and make them feel that they're not performing. I want to talk to them, just like we would in a coffee house. They're not on stage, they're not performing, and I wanna make sure that they don't feel that they're performing. I hope this helps. My hope is that I am able to share my knowledge, and grow with you guys, and just to be able to make sure that you guys get the knowledge that you need in order to conduct a interview, so I hope this helps. If you have any questions, feel free to contact me at cookfilms.co that's www.cookfilms.co and I will see you next time. Thank you.
When you are shooting a video, you want the picture to be as great as it can be. Many photographers underexpose or overexpose their image while filming. There are two tools l would like to inform you about that can help you with nailing exposure every time. The tools are zebras and false color. Zebras can usually be found in the settings of your camera. They are an exposure tool that lets you know what part of the picture has reached a certain IRE level. IRE is measured from 0 (black) to 100 (white). When you set the zebras to a certain IRE level let’s say 95% any thing over 95% IRE will begin to show a zebra pattern in the picture. This is to tell you that certain area of the picture is hitting the 95% IRE level.
Another tool that usually is found in on camera monitors are false color. False color uses IRE values but instead of showing zebra lines in a certain part of the picture it shows blotches of different colors. These colors represent different IRE levels. The monitors have a color scale on the right or at the bottom of the screen that indicates a color scale represent each IRE. I have created a video to better explain these two wonderful tools.
I want you to think about the movies and some of the latest commercials you have watched. Most if not all of them cooperate movement. Weather the camera was following an actor during a scene, or a camera moved closer to a product them movement can be seen. Of course, there are times when you want a static shot, and have the actors do the movement, but for most high-end production videos or films directors of photography use tools to get the movement they want. And in doing so they create a certain mood to their film.
I would like to write about three tools that will help you create movement within your production. The first is a gimbal. You will need to balance your gimbal so that it doesn’t sway left or right. Gimbals are great because you can follow a subject. You’re not restricted, and you can pretty much go anywhere the actor goes. I like to follow my subject from behind and then do a quick round about movement to the right or left of them and start capturing their face. I have to back pedal when doing this, but you can simply look behind you at times and still manage to carry the gimbal and get a great shot. You can even sling the gimbal upside down and capture some vey low angle shots. Some people like to do this in order to get shots of feet moving. This could be your first shot of your actor so that you do not reveal what he looks like for example. He may be mysterious, and you may want to hold back his identity.
Another great tool that can be used to create movement is a camera slider. A slider consists of tracks that are made out of carbon fiber. You attach your camera to a moving sled that glides left to right on the track. You can place the slider on a tripod or two light stands. One of the tricky things about setting up a slider is that you need to make sure it is leveled. Some sliders come with a levelling bubble or you can rely on your tripods level bubble. Sliders can be used to shoot products or food. For example, you could have a hamburger on a table and position the slider so that it moves toward the hamburger. As you move it forward the hamburger gets bigger and may come into focus if you are shooting with a shallow depth of field. There are plenty of great shots you can get with a camera slider you just need two light stands or a tripod or two tripods depending on how long your slider is. One other idea is to set your slider on the ground and get some moving shots from down below. If you place a tripod fluid head on your slider you can maneuver it like you would a tripod but also get the movement the slider allows for.
The third tool I would like to mention is the tripod. Tripods have been around for ages, and they have their place in film. Tripods not only keep your shot rock steady, but they also allow you to pan and tilt. If your tripod has a fluid head your movement can be done with little effort that looks very smooth and professional. Some people like to pan the camera to follow a subject in the frame, or, you could follow birds in the sky. You can also use your tripod to tilt down or up.
Which tool is best for you all depends on what your covering and creating? If I only had the option to choose one of these tools, I would buy the tripod.
My heart goes out to helping nonprofits. Nonprofit organizations help their community by serving those who are in need. People who serve charities do so from the bottom of their heart. At times, nonprofits have a hard time raising money so that they can continue their soul serving work in their own community. If a nonprofit organization does not have the money which feeds its purpose, they really can’t be as effective as they wish they could be.
There is a solution however, for those nonprofits that are looking for strategic ways to receive more donations, it’s called the internet. We live in a social media society. A society that can be reached through the means of social networks such as Facebook, Instagram, and so on. Some may say it is easier now than it was 20 years ago to get your message out because of the internet. There is one problem though…there is a lot of people trying to stand out just like you are and with that comes NOISE. Everyone is trying to get others attention, but many are just creating NOISE. How do you stand out?
When people give donations, they usually like to see how their money or gift is being used. What better way to show people where their hard earn money is going than to showcase someone who benefits from the donations through a video highlighting their story? I strongly suggest you get the recipients approval. People relate to people, that is why stories have so much impact on us. Stories draw us in and create an emotional charge. The video production team needs to focus on the right person for the right reason. Build your story around one or two ideas, and make sure those ideas fit the person who benefits from your service. When you use people to tell stories you can build trust and it really takes a hold of peoples’ hearts. People want to help it’s in our nature. So, what better way than to create a story that shows this?
You can use these stories to promote your cause, which will create a buzz and it is these stories that will help separate you from the noise.
Personally, I would want to see and hear from someone who has benefited from donations and how their life has improved versus “Please donate.” So yes, story is one very crucial and very effective way to increase donations and recurring donations from donors. Donors want to see progress.
If your organization is looking to promote a fundraiser or event you can also create a public service announcement. Television stations run a certain amount of public service announcements for free each day. Because they run the psa for free, they need to look and sound professional. Your organization should hire a professional video production company to help create the psa. This will give you a better chance for getting your information out on the air which in return will help with a better turn out for your fundraiser or event. The more people who turn out increases your chances of receiving more donations. You could also use the same psa on your website and social media platforms. Create a video campaign on Facebook to help promote your event.
In 2019 I want to help many nonprofits tell their story as well as those who they help. Remember, stories move people into action. If your nonprofit needs help telling their story or those they help please contact me.
When it comes to setting up a key light for your interview you have many options you can choose from. Choosing the correct lighting goes hand in hand with the subject matter. If the subject is light and airing, you can choose a real flat lighting approach where there is not much contrast. If the subject is harsh in nature you may want to use minimal lighting which will create a more dramatic feel.
After I shot this project I thought I would share my tips on achieving book lighting. Book lighting is a type of soft light that wraps around your subject. I got away with only on key light and back ground light for this shoot. The light wraps around the interviewee's face so nicely and leaves a little shadow on the right side. I used a back light to separate her from the wall which outlines her.
Here's a quick answer of a question that I usually get on lighting. Right now I'm just gonna show you a real quick setup of how to use a particular lighting setup that I've learned from Shane's inner circle. You can tell right now that on the subject, her face is lit by just one light to the left, and we've got a back light as well to enhance the back of her, kind of separate her from the wall. So I wanna show you this real quick setup that I have, it's called a book light. You can use a really inexpensive white piece of cardboard, they call it foam core at Michael's or any of those art stores. And what I've got here is, I've got a nice silk, I picked this up from Amazon for about 10 dollars. I've got the white board right here clamped to a C-stand, and then we've got the light shining at a 45 degree angle bouncing that light into the silk. And what, you know, what this does, is it creates a nice, soft look on your subject. It's not too far from the subject, and you wanna be able to go as close as possible, because remember, the closer you are, the softer the light. And what I like to do is, I like to have the light around, maybe three feet from the subject. So this is what it looks like. I hope that answers your guys' questions.