From the course: Lighting a Video Interview

Set the eye line

From the course: Lighting a Video Interview

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Set the eye line

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So we're just about ready to start our interview. And this is why I love working with Jim. He makes things look great. So, fortunately, all I'm going to do as the producer and the director is check the shot. I want to make sure that the vision that I had lines up with the DP's vision, and just look at it through the actual viewfinder. One of the things that's important if you're the producer or the director is try to stay out of the crew's way. Express what you're trying to accomplish but don't constantly sit over their shoulder and give them advice, or say, oh, you know, that looks a little blue, or are you going to fix that, it's kind of busy back there. Wait until they ask for your opinion and it'll be much more welcome. But as you're going through, just try to be helpful, offer up any sort of opinion when asked, and just have a healthy back and forth relationship. At this point, the framing's looking great. Jim's checking the shot. How we doing? >> Good. Look right here, Rachel. That's good. The highlight's great. >> Okay, so I'm going to go ahead and move into position for the interview. And before I take the position, what's going to be very important is I actually ask the DP where I should sit. What becomes important is that you have the right eye line. So Jim's composed the shot here with Rachel looking in a particular direction, so the lighting is flattering and the composition is good. Jim, where are you going to want me to sit? >> In this case, you're going to stand to the camera left side with an eye line right to left. >> Okay, so I'm going to need to move myself and get into position, so we have proper composition. And should work pretty well. >> When you're busy lighting and you've set a frame, a lot of times the last things you want to look at are when the director sits in for the interview, you want to determine how close you want that eye line to the lens. Generally speaking closer to the lens is a little more intimate than one of those wide off look-offs off to the side. So, and also you want the subject to be not looking too high up or too down. So you make sure your, your interviewer is sitting at the same level as the the talent, unless there's a reason not to do that.

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