how to do a headshot zoom shot

FlintMI

FlintMI

Well-known member
you know when you watch an interview, say on 60 Minutes, they usually have one camera angle of the subject. right.

sometimes when the person says something provacative or interesting, or just perhaps to chop things up, they cut to an extreme close up of the subject. it's almost like they have two cameras, one set for a medium shot, and one extreme closeup.

I doubt 60 minutes is taking 3 cameras for one interview... but maybe...

the reason I'm confused on this, also, is because they never show the camera "zoom in" during this so-called provacative statement stuff -- the shot goes from medium to close zoom in one cut.

I don't think they are doing this "zoom" in post... so based on the "single camera theory" what are the techniques to obtain both medium and closeup shots in a single sitting for an interview subject?
 
Without three cameras? Do the interview two or three times. A common technique on television. I'm not sure if this is what 60 minutes is doing. If they do this several times in an interview, a third camera would seem like a pretty standard piece of equipment to bring.
 
most of those interviews are shot with 2 cameras. The other camera is a reversal for the reporter/host. When I am shooting long format stories for the news, I sometimes right in the middle of the interview do zooms....SLOW zooms that is! I may do a quick zoom in when the reporter is asking the question and start tight on the talent. As they begin to speak I will do a slow pull out to a medium wide. I know that doesnt answer your question. One thing they may also do on the network shows is get a lot of cover shots either before or after the interview. Extreme close ups, cutaways of the talents hands, eyes, reversals, etc. Then when you go to edit you have those extra elements to edit with.
 
You ever see one of those network crews in action? I recently did a big news story where a crew from Good Morning America was setting up right next to me. Their Reporter was only doing 1 hit (live shot) and they set up all these HMI's, Flags, Diffusion Screens, a tent that the camera was under...I tend to set up a lot of lights too when I am doing shoots like that but its always a thrill in a way to watch the network crews set up for shoots...
 
hmm, this must be a tough one

hmm, this must be a tough one

Calling all DP's...

These are great comments, but I'm still at a loss. Remember, when you watch the interviews, there is no clear visible technique as to how they zoomed in on the person when they make those 'provacative' statements. These are almost assuredly one takes. But, I could be wrong. But for hostile interviewees (esp. on 60 Minutes) I doubt the interviewee is willing to say the same thing twice!

I know they have a camera on each person, and my three camera theory was that they have a 2nd camera zoomed in on the person just for this shot, but my gosh, how ineffecient.

I've seen some post-production zooms that are blurry because they blew the frames up, but the big networks don't often have this fuzzy zoomed frame, its crystal clear.



P.S. I've been behind the scenes at Good Morning America at their ABC/44th & Broadway studio (Times Square). I guarantee they spend more on bicycle messengers and diffusion material than anyone on this message board has spent making a movie... they go crazy. When they go out in the field, they have one person manning each light.
 
your not lying about that! LOL! Its funny, I do all set ups myself and those network folks need a person for each light, an audio guy, a field producer....and low and behold I do all that stuff by myself on a regular basis they just make more money than me since they are working for the network! LOL!
 
FlintMI said:
I doubt 60 minutes is taking 3 cameras for one interview... but maybe...
Click to expand...

Actually, yes, they do shoot some interviews with three full size cameras or using a smaller cam for a third wide shot with the remaining "big" cams dedicated to each person in a two person interview. Using the new Sony Z1 as a wide-third camera is becoming popular with producers due to cost savings as well as space concerns of the interview set-up.

Do not assume the soundbite you mention really happened like that. Words said in that order straight from one to the other. Editing is a more likely answer.

I'd be willing to bet a lot of money that the change you saw, from medium to very tight, was shot by the same camera.

I don't shoot for "60" on a very regular basis but know several who do. Several who have been that third cam!

During the interview, one of the things a good photog does is listen. The answer being given starts out generic, then you know they are getting more intense with their answer then, quickly and smoothly in case the move gets used in the final product, zoom in tighter on the subjects face.

Doing this means you don't need to waste a cut-away shot to go from one part of the bite to the other. You straight cut between the two and it's what I call an acceptable jump-cut...even though I was taught years ago a jump cut can only be avoided by changing BOTH angle and distance. In today's world they don't worry about the angle and the viewers see who is doing the talking all the time instead of a nodding reporter in the middle of an interviewees thoughts.

What gets on the air is the first part of the answer, then an edit to end with the more intense part. The viewer at home see what you saw. A static beginning and a tighter ending to the bite.

There are some edit systems which allow you to zoom the picture in a bit without too much noticeable signal loss. You see that a lot more on entertainment programing like ET or Extra. It's more obvious and you can see the slightly degraded picture as a result of the "zoomed in" effect.

These are just a couple of ways what you saw on the air can be achieved.

I appreciate those who are proud they can do it all. Most of us can but time frames to produce the required product don't allow an individual to spend much longer on set up when an experienced crew, with a lot more "toys", can do the quality job in a much shorter amount of time.

That's not meant as a slam against anyone's abilities or thoughts here. :happy:
 
One Method....

One Method....

Hi FlintMI - We do interviews in various parts of the world with at times some very difficult subject matter - On one such Doc, there was myself (camera,sound,lights) and our researcher (very well read and great with people - this is important). We had one camera and needed medium/close up shots. A lot depends on the subjects your interviewing - however most people will be ready to do what you ask them if for example you can genuinely engage them in the subject they are talking about (that means do your homework on them). When I see the subject getting really expressive - after they have finished, I will say something like - "you know that was really great, it was really good the way you put such and such over.... listen I'd like to get that again, perhaphs you could" ......and so on (yes, very often we can get them to say something many times if needed - where there is a will there is a way). Zoom in and off we go. Sometimes my researcher will get nervous in case our subject is pushed for time.... but I don't travel the otherside of the world not to get a good interview.... more often than not you've just got to stick your neck out and take control of situations to get what you want/need... every so nicely:) for us, getting sharp interesting interviews (particularly with one camera) is about teamwork, your subject needs to feel at ease with you, know your subject, keep smiling and look in control..... hope this gives a little insight as to one approach with one camera....

Stu...
www.studioscotland.co.uk
 
Lensmith said it - it is usually the operator, sensing that drama is building, who begins a slow zoom into the subject. During rebuttal from the interviewer, he will usually pop out to the MS or MWS for the next question.

Two cameras over the shoulder of interviewer and interviewee is the norm. More cameras - usuallly a third prosumer BTS camera dedicated to getting the lights, talent and setting - are becoming more prevalent in network.

Conversely, we often shoot two cameras on the talent only - one (CineAlta F900) in a 1080 24p single tight with a second (Z1U) in a 1/4 profile from the talent's left with our AP off-camera asking the questions.

Good interviewers let the talent do the talking and don't necessarily need coverage at all. This isn't the rule by any stretch - there are many shows that showcase the host as much as the subject during any given interview.

e
 
Its done by listening.
When I shoot interviews Ill compose a shot, say a head and shoulder CU. After the interviewee answersa question, then while the interviewer is asking another question Ill change my composition like zoom in for a closer CU. Let the interviewee answer that question . Then change my composition again. I like to vary each answer so in editing it looks like more than one camera.
Keep in mind if the interviewee is saying (this is where the photogs listening skills come into play) something emotional this is where you need to have your electronic zoom setting set to slowest and zoom into a tighter extreme closeup very slowly, knowing the zoom may acually be edited into the package.
 
I've shot many interviews with one camera, and re-framing is done while the interviewer is talking (these bits are usually edited out).

I listen to what the interviewer is saying, and decide how emotional the question is. If it's a very emotional question, I'll zoom into the face. If the interviewee is being obtuse, I'll zoom out to make him little in the frame (and disconnect him from the audience.)

The interviews are never editing in the same order than they're shot at, so you get the effect that many different camera's are being used. Ideally, the audience shouldn't even think that there's a camera there.
 
FlintMI said:
I don't think they are doing this "zoom" in post... so based on the "single camera theory" what are the techniques to obtain both medium and closeup shots in a single sitting for an interview subject?
Click to expand...
They aren't "zooming" in post. They have two cameras rolling on the guest. Although I've never shot for 60 Minutes, I've shot for Dateline, and the technique I've used before uses as many as four cameras to get that two-frame size angle:

Camera 1: Talent.
Camera 2: Center wide shot/dolly shot.
Camera 3: Guest MCU.
Camera 4: Guest ECU.

Typically, all four cameras are 2/3" broadcast-class cameras. All cameras are matched using identical set-up memory cards, in the case of BVW600s. The two "guest" cameras are literally side-by-side, each with an operator. I mean those cameras are REALLY close together. Now, this is not a typical set-up--this is reserved only for the big network shows when they have a really important interview.

Sometimes the show I shoot for on NBC uses three 2/3" 60i cameras (one 60i camera on a wide shot or dolly) and a fourth 2/3" 24P camera like an SDX900 or HDW-F900 as a B-roll camera. But this is only for BIG interviews. Typical celebrity interviews that I shoot utilize two 2/3" broadcast cameras (one talent camera, one guest camera), and often, a DVX100 shooting in 24P mode as an additional B-roll camera.

During typical two-camera shoots, as others have pointed out, you listen to the interview to anticipate the dramatic motivation and timing for pushing in or pulling out. I usually "snap-in" or "snap-out" to change my framing as quickly as possible, so that I can give the editor the most usable footage before and after the cut (where I snapped), instead of "commiting" him/her to using a possibly constrictive "slow zoom-in" which he/she may not want to use to cover the shot.
 
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