How to Setup video Interview Dakota Digital Film Festival Bismarck North Dakota

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How to Setup video Interview Dakota Digital Film Festival Bismarck North Dakota

all right I have an excellent all right hello everybody my name is cute off get off and we own three full video production here in Bismarck and we are brothers as well so how’s ur day goin you guys have to go so far if your we save the most boring topic for last so if you guys fall asleep don’t know no Paul snake interviews are super basic and they seem super basic and they can’t be really basic there’s a million ways to do them right but there’s a million ways to do a Roth too there’s a lot of things that you can do to make your interviews a lot more successful and be really really happy with the way that you do it and there’s my kids that there’s tons of ways to do it wrong and it’s easy to overlook and kind of just freeze over not listen but there are a lot of can be one of the most important parts of your film or video or whatever you’re doing and can have a huge impact and maintain safe experience from doing the lotto and the more we’ve done the more we realize that they’re not as simple as they seem and there’s always something to learn to do with them so so if you pull back up far point we’re going to be covering two parts to this and the first part is going to be the technical stuff so the technical stuff is giving delighting the sound of the camera composition and everything that goes in with the setup that we have here under the second part is going to be an actual interview itself and some techniques and some things that we do to see a fee a little bit more successful with Jamaican people behind the camera a little more comfortable and as we go over some of this stuff there’s there’s a lot of equipment up here some of you guys might not have access to all that could be creative get creative with how you guys to use your equipment and you might use Windows is lice I’ve used different things to do your budgets on a low I renew your films on a low budget so the first part we’re going to cover is a basic three point lighting so let’s go pats how many people know ever have heard of the three point lighting and not many that it’s good we got some things to do to you then so the four there’s is 34 you know there’s more up there three-point keep feeling here so who out there can tell me what the key light does someone anyone okay life yeah that’s exactly if your key line is our main light it’s going to be doing all the lighting the majority of its most important if you take the other two away you can give by with online poll will touch on that just a bit your feel life does exactly what it says it fills in what the key light isn’t hitting helps reduce our shadows and things like that and then your hair light your third one is going to be the one that helps distinguish your subject from the background it’s really simple but it can be really important especially the scenario like this we’re going to be setting up a really basic one here but in a situation like this when you have someone with dark hair in a black background if you don’t have a hair light their hands is just going to disappear into the background and there’s no separating their hair their head from the background that it can look really funny so this is the last series where you don’t have to use a hair like it and we have an example of that too or you have someone with dark hair on a light background you don’t need to separate on the background two cases you can pretty easily see they’re not sinking away into the background so we with the examples will kind of show you and explain what we used in what we did to kind of get the look we have so here’s perfect example this is something we shot a couple months ago and this was a shocker for the keylight views window actually and a lot of times that’s what we prefer you because you get really great light from the window and it can be a really minimal setup with great results for Philby’s same LEDs as we have up here and here like same thing we do celli beats this is another example this one you use the key in a film we didn’t end up using hair life ah and for the key can we use light and as you can tell probably in this this was a very small room so we were super limited but we did it with just one light and it’s a pretty natural looking interview I’d say it doesn’t look necessarily like it was lit but his face is still exposed properly you have a nice background and we chose to not go with a hair light one for the size of the room and the second reason was he had dark hair the background was the light there was that separation there so it wasn’t as vital to have that compared to if that would have been a really dark background CC we have the winter light coming out of this

side and into the fill light we had one like that was bouncing off the wall so rather than pointing the light directly at him we took except to life and put into his wall and it created a lot softer lighter glow on his face that wasn’t such a harsh direct light of right beside him yeah and that’s that’s an important thing to do with lighting a lot of lies that you guys have within their LEDs or just normal lights where you can even use hardware legs which when i first started that was a big one that i used i just used basically whatever get but a big thing you want to do when you do it is you want to use diffusion it’s a lot will be really hard and what this is a pretty simple form that we’re using here but it’s just a really simple way to soften the light because if you just hit them straight on with life and a some really harsh drastic shadows and so by diffusion you get a lot softer light it looks a lot more flattering so these lights are daylight temperature who knows what like number k is daylight temperature okay see color temperature for daylight with me about 5,000 and your shitty interviews that’s another essential part to like it when we use daylight as it as our key light we make sure that our other two lights that were using in conjunction with it art daylight balanced the lights you see in here are really warm there a lot of them are tungsten so you don’t want to be mixing daylight and tungsten or whatever it would be because when you start mixing a lot of lights you start getting weird skin tones and you can just not help with the interview of the way it looked so you want to stick with the same color temperature lights so these are some examples of key and fill lights we’re gonna show you some examples of breaking that rule and you can always break rules and that’s the great thing about photography and doing videos is you can always do something new you can always try something new when you try something new or you break some rules sure you have a reason behind it we have a few examples here this is a video staff picked by a breakwater studios and it was just recently picked through some pecan rice so this was the interview that they did it was just a single point lighting and its really drastic and really harsh you can see you can hardly see the whole right side of his face but the reason it worked the reason it was so close it was the intimate really heavy topic he just talked about how his business have failed and shortly thereafter a few months later his wife was diagnosed with cancer so it was a really emotional topic for him and he was really opening up there’s one point in the interview that he levels broke into tears and you can see him and hear it in his voice the emotion that’s coming through and to the drastic lighting and the close shot really helped to portray that story rather than setting something farther away like we have in this video when something that’s really well-lit so this worked for their story so make sure you have an interview set up that really works for your story it helps tell your story this next example this ricotta caught my eye personally and I’ve really been really gravitated towards it because of the way they live it and I’ll give you a little context to what’s happening this was made by veteran Revis films and there are some production company out of Salt Lake City Utah they did this for distilling company and what’s so unique about this to me is they interviewed three guys that started in this business all three of them really have a passion for distilling and I wanted to make your business but they’re all very unique in the film and that’s showing but the way that they live each one so separately and unique really portrays and helps but put that in place how we need each one of them are is and in the top right you can see that guy she’s kind of the engine behind the whole operation and the only one that has a wide shot and it really tells the story it helps show the tools and everything uses in the background really well it is really unique to the way that they lit it and the other one that had all the knowledge of how to distill he was their technical guy that knew everything from the starting tending to making really great distilling drinks and the other thing and the reason I really like this one 3 to your guys’s attention is for this as you probably can tell they have one source of light and that’s just a key like Android app they didn’t even use a light base to garage so it was super basic super simple and something anyone can do without a lot of equipment and the way they did that too is it’s just a single point lane really drastic lighting but they made it work and they took the time to set it up right and get it positioned the people then they have reasonings for doing short side lighting on the top right guy broadside on the bottom and to give you context of what that means is when you have someone facing doing an interview off-camera interview where they’re not looking into the camera they’re always going to be looking off either’s the right words 11 and whichever way the where you see the most of their face the bronze out of

their face would be so on the bottom that will be the broad side of the studies obviously it’s the one that’s getting hit with the key light so that matlab’s up most like the broadside late has been most light and then the top the short side lighting you see you have the broadside of space but it’s all dark so that’s considered short side Lighting’s because you see the shortest a little bit of his face that’s actually be lit by the key light and they’re both super simple techniques there’s tons of other you can google and research tons of different leg leg I think like Rembrandt and just there’s so many ways with photography and film multiply and they’re just different they’re both different ways either ones writing the runs wrong and it’s super simple to do to it with a little bit of research stuff and these help to tell their stories they all had a different unique thing that they brought to the distillery and the first two that were interviewed were the two on the right side that had a darker interview and they talked a lot more about the challenges and the struggles that they faced as a business and starting and about three fourths or halfway through the last guy was introduced and he really talked about the process and why they chose to do what they did and generally made sense for them of that interview to be a little bit farther away and not so close and personal because the topic was a lot like a little less close and personal for most so on to the next part now we’ve covered lighting the next part that we’re going to cover for the technical stuff is sound and sound is just as important as the video and there’s too many ways that we do sound with being keen and set of priorities what we have set up right here is a boom mic and that’s use your go-to that’s what we have for our main source and then we always do a lot like as a backup now you can do a lot like as you remain one into a booming history back up it doesn’t matter we prefer both but both are really great options and there something to not overlook and a lot of times it’s really easy to set up an interview make sure your frame looks good check with the camera and then overlook checking your audio levels over checking or not checking if there’s noise in the background things like that so the biggest thing with audio is set up good audio put just as high of importance on it as video and test it always test your audio put on the headphones before anyone’s ever even in there before you’re going to view sits down and make sure that there’s not clocks and fans appliances things BB in the background because we found ourselves a lot of times or we’re looking at and we didn’t even notice the somme in the background that Mike was picking up so it’s really easy to over blogging Tesla screw it up yeah that’s no but just little extra time to make sure there’s not a crackle in the microphone that picks up when they move around a little bit put your headphones on and really give it a listen because sometimes you can through the fan in the background that’s just blowing a little bit and the mic is picking up and you don’t realize that likes picking it up as loud as it is and you can also get into the editing process and half of your interview is ruined because something is going on in the background and it really pulls away and Tom is one one of those things that you just don’t want to distract what they’re saying you don’t want to distract them from the story anymore with distractions in the audio so the next one we got is Cameron opposition it’s up and this one there’s a lot of guys that do it but these are kind of good rules to go off rules of thumbs on and that one is and like I said with lighting you can try to break the rules you can try to try something new that’s the part of being creative and it’s part of what makes making films really fun but keeping your a camera which in this case this is going to be our a camera and this is our b-town keeping it at eye level will really help the viewer to connect with the person being interviewed a lot of times you need to low can be a little unflattering things like that the other thing you want to do is avoid wide-angle lenses and there’s two big reasons for this one whiting was can make people look unflattering and construction or face the perspective on wide-angle lenses just isn’t the best coaching choice for interviews and the other thing is because it’s going to make them feel uncomfortable because it’s going to have to be a lot closer than it is and so like Daniel talked about they have a lot of actors a lot of people that are used to acting on set and doing and doing things that will help them do they were doing things used to wear is an interview a lot of times you’re with people that are nervous about being interviewed they’re not very comfortable behind the camera and so they really want to be able to feel as comfortable as possible until you really want to be able to distance yourself a little bit kind of let them forget that the camera he’s even there and then the other thing is for me camera so that kind of cover some like little things on a camera composition and stuff and we’ll go over a little bit more dare we have some people come up in just a second and help us look better with B camera and a camera you never want objects coming out of people’s heads it’s always get back with the reservation it’s always really important to make sure that when you set up an interview you put someone in the seat

that there’s not something kind of like a pole or something coming out of someone’s head that’s the last thing you want an interview is you know funny years in the back or something that’s distracting or a tree or something like I said with audio a pole or a tree coming out of there and ahead of the background can be one more thing to distract them from what they’re saying and a lot of times it’s a matter of moving the camera a few inches to the right or to the left with interviewer images so it doesn’t take much to avoid those distractions and in the last last part about the camera composition this calculus for a and B camera when you position someone don’t pinned them up against the wall give them a little bit of space between them and the background so you give them a little bit to breathe and they don’t feel so end up with the wall right behind it so we’re we gotta be camera and we can have some people come up off really need someone to you be in the hot seat there may be something to be viewer and then person on Quillan fill or key or fill and hair light excuse me then one on the key light or before of volunteers all right I saw that hand go up really fast King please jean jacket has somebody from the back much thing like it’s early in the back trying to come up so while you guys are coming up I’m just going to cover the importance of a b town became a super great it makes any post-production way easier to cut an interview because when you’re cutting it it doesn’t have to feel into cutting out parts because you’re just switching to New Caprica so we’re going to set this up there and we have you on so as we set this up I can we bring the house lights out and we’re going to show you this maybe believe it at this for a second we’re going to kind of show you how adding in we have the house lights just a little bit brighter for right now the stage lights dude even just dim we’re to show you how adding each light kind of affects the look of the interview we can switch this to camera seven all right so have you come on ok so you okay so we’re just going to bounce back on the original topics we talked on there just lighting so first we’re just going to bounce back to life and see us NLCS rates so right now just you mean you can tell that’s bikini now like you said this is kind of similar to what we saw on some of those interviews those single point lighting setups that we showed you so now if you want to turn on the fill light ones for us now turn this up just the hair now the fill light you don’t want it to overpower the key light unless you’re looking for a really even you still want your key light to be your strongest source of whether we switch you can track eight so you’re doing great so do you want to flip the fill light off for a second do you see how that fills in look the right side of her face kind of takes away some of those really harsh shadows so another thing to point out before you’re on the hair light is right now right here she sort of just sinks off into the background and you can’t really tell where where the background is or workers head ends and it can make it like look a lot longer than it is so that’s the importance of a hair light with dark with a dark background so we’ll turn to fill light back on okay so now you feel get that a little farther back down so now and obviously these took these could be a just a lot more but we won’t fiddle with the lights for too long onstage here to save time so what you look at the interviewer now if we turn this on and off you can sort of see that on the screen how much of a difference that makes it kind of lights up or shoulder right here and bring some

lights back to her head and it doesn’t let her sink off just in to kind of oblivion yeah now the next second example with the boom I’m sure everyone’s pretty familiar with booms you always seen on the TV shows them bouncing into camera shots everything like that now in our case we always like to use a c-stand now that’s not going to be the case of everything but obviously you’re going to want the boom as close as you can without getting in the camera it’s a pretty obvious you don’t love that in the camera and the other thing that we choose to do is we choose to use a c-stand it is less distracting to a lot of times you see people even if you have a person holding the boom mic they’re going to be alone there’s going to be a little bit of movement and if you have something moving up and down in front of a person while they’re being interviewed it’s not exactly the most comfortable thing it makes you feel someone that’s not comfortable being in front of a camera is going to feel a little bit so so another thing to point out as unique to who our interviewee is right now is if you notice our glasses there’s a glare and you won’t pick the time right now but a lot of times you can get that glare away and you can pull that away by just moving the lights in a few attractions are lifting a lot just a few inches or lifting them down and she’s looking and you want to make sure that’s all set out at looking at the interviewers so that’s another thing to take into consideration that there’s not a super hard Blair on three classes you want to be able to see their eyes when they’re being interviewed okay so we’re going to move to ah the camera composition for cameras so if you want to be on this this works too so then if you want to come over here punch the middle heppell jessi van a camera woman a camera yes okay so with camera composition we did we touch on 180 degree bro no way I don’t think we’re just on a degree and this is a second PowerPoint really think so 180 degree rule how many have heard of this i chant okay so we got a few that’s really good now this is super important when you’re shooting with two cameras because an invitation to a live picture pertains the dialogue and films and propensity interviews it retains basketball games and sports and what this does is could we get split screen both cameras up your ones okay so right now as you can tell looking at the frame we have two cameras obviously we have a and B and the interviewee is looking off to the right of the Frank which is good so when you’re editing that every time you cut from a counter to be Cameron to a camera you’ll be getting the person looking off to the same direction you know get we’re talking to the same person so now I will sue preconceived looking off the right side on on both of them so what you don’t want to do is we’ll show it right here we’ll have Caleb grab camera B and this would be breaking 180 degree rule is right here imagine there’s a line you can see it in that picture that video earth the picture that we had up there bored you know but I cross that imagine in line that a fashion line starts where the interviewer is and if we switch once in six boxes split screen you’ll see that in one camera she is we move that like normally well you would she like this but in one camera she is looking off to the right and one cat in the other camera she’s looking off to left so it can be really confusing to know who she’s actually talking to or who they’re talking to whether he really is and just is going to pull them away like one more thing to pull them away from the actual interview so now we’ll show you a few examples of side profile we’re going to be moving yeah so the great thing about her making mural is you can start right at that interviewer and go all the way around you get right behind her or get a side profile and it still works because she’s still looking on to the same side she’s still looking off to the left side of the frame try something here so now as you can tell and you can get really creative with the beat Kamryn the great thing about Abby camera and not that you’re always going to have one when you’re shooting but what do you happen you can get side profiles you can get hand when shots they’re really very for editing you can punch in and get a lot tighter shots from the interview and them and the interviewee is getting really you know emotional or intense parts of the interview so it can be really useful and helpful for that just like she’s doing getting a you know a

tight shot so that kind of explains 180 degree will work even though we’re doing a side profile shot she’s looking off to the right bold shots and that’s exactly what you want and like I said this pertains basketball and retains into sports and dialogues because with basketball for instance if you don’t cameras breaking them on maybe piri rule one shot you have 18 running Malcolm Park going left and then if you switch to a Xiaolin opposite side you could have beat you running in the exact same direction and just get disorientated so so and the last thing is the camera as you kind of saw there the B camera can really pick up a lot of body language and a lot of things that she’s expressing through her face for facial expressions or these with your hands a little more detail shots that a camera can pick up because it’s a little bit wider so and one last thing we’ll do now you can’t see directly but i’ll have you just a hair this way now if you see the composition right now if you kind of see that there’s a c-stand and then they’re served in the background and this isn’t a bad scenario but if that film strip wasn’t there it was just a chrome see strip or C stand in the back that would be an example what we’re talking about where something’s coming out of their head really distracting and you just want to avoid that where a camera we don’t have that it’s just her on the black canvas you can have objects in the background but when is it sticking out like a sore thumb and that’s not something you want so so you all right that concludes part one so give it up for all of our volunteers and now we’re going to move on to the second part the interview itself with interviewee so this is the part that we take really seriously that we really like to kind of go above and beyond because this is another part that really is a major break or your interview and we’ve got banana just doing lots and lots of interviews and we get better every time that we do one so practice definitely comes us get better so the first thing is spread now we always think you’re pretty seriously win we don’t want someone to sit in on the camera and be where they’re supposed to be for the interview if we haven’t set up like we haven’t set of audio camera or any of that stuff we want to have that stuff prepared beforehand because if you set someone in there an interviewee and all of a sudden there fiddling with lights and making like setting up stuff and testing all that stuff it’s going to make them more nervous because oftentimes like he needs em you said multiple times when you’re doing an interview you’re trying to get really authentic reaction and you want to get real with the person and most people you have on camera are used to being a camera unless they’re act or something like that so a lot of times people aren’t comfortable being behind a camera like I said and so you want to eliminate the amount of time that they have to sit behind the camera so if you sit in behind the camera and you’re still setting up tripods and setting up lights and setting of audio it gives them that much more time to think about and be nervous about the interview and noticing every little thing around the words if you can have everything ready so that they sit down and you make one little adjustment or something and all they have to do is think about the questions that you’re talking to him about it pulls a lot of those distractions away and that’s why we avoid things like action rolling sound speed and those are really great when you’re on a bill working with actors but when you’re working with someone who’s not used to being on the camera yelling out action is only going to make a purpose and so a lot of times what we can do will start rolling the camera ever before they even think it’s rolling and you give you really great reactions great smiles things like that from your interviewing self the second part is research don’t worry you’re interviewing if you’re doing an interview for company over you know a single person a little bit about a goal of beyond what the interview is actually about and the five things you want to cover and have some things to talk to him about them will relate personally to them and while you were the interview don’t be afraid to talk about those things it’ll make it more comfortable it’ll let them trust you and ability in turn give you a lot better answers and be a lot more authentic with you on camera there’s a lot of times we’ll have a few minutes 5 minutes 10 minutes of footage of the interview that doesn’t really apply to what we’re talking about but it made it a lot more comfortable while they’re sitting there getting ready and talking about it and when we get to the questions that we really want the answers for there any answer because they are certain things that they really like about filling dogs I talked about dr. few minutes also you have small business and a really comfortable honorable like ABNA this is this is how we do it and they’re a lot smoother that way yeah that goes into our next topic which is connected with

the person this is hence all the most important parts is deal to connect if you’re doing an interview with it can absolutely make a break you can have great audio you can have great sound what about the end of the day the person wasn’t comfortable as they didn’t give you a good good interview that can a lot of times be your fault and we take that one times or personally if interview to turn out you can in some point fingers persons are interviewing because in New going and they weren’t comfortable is your job to make comfortable and be able to connect with them and this is where Keenan’s really good because when we do is year I’m going behind the camera doing a lot of the technical stuff and kian’s the one that sits down and once we get an interview and start talking with that interviewee she doesn’t fit a look the camera’s not touching you the lights he’s not messing with this out he’s 100-percent engaged with who easy they’re doing and nothing else because when you can connect with them and make them feel like they’re sitting down for coffee instead of sitting down work the camera you’re going to get so much better sound bites you’re going to give way better interview and I start that conversation a long time before we ever sit down at the interview there’s a lot of times I’ll be in another room or outside weather well we’re still setting up just outside the room or dinner you’ll be taking place it killed me be getting things ready and all have a chance to talk with them and have a conversation at that point I knew I be a legacy will just kind of keep getting things ready and also we’re starting into the interview and they don’t even really know that it’s happening yet so that brings us to the next point of questions how do you ask questions and so we have Christian from the presentation presentation earlier on zombies you guys remember him he’s gonna be helping us out for an interview Christian will have you take a seat there and I’m gonna run him through a few questions and I want you guys to pick out a few things on how we do the first interview is everybody ready miss everybody think Chris you for coming up and helping us alright we switch to camera a that’s right Henry one of the cameras either gap alright so Christian is this your first notice if you’ve ever been to yes do you what’s your favorite food hot dog how I was right here good okay so let me play back what we got from him thanks good all right they’re going to pull that out and then we’re going to pull out point out a few things on what happened compat interview marina okay we need an audio but there’s something for my house and to gather any with any of your remaining attention what was one thing that you notice about the interviewing what was what was she doing what should I do it wrong exactly so it’s asking a lot of bad questions to start with it was spending a lot of time looking at my piece of paper and if I couldn’t tell left from there but that’s another thing that could distract because if I’m interview again I Christian is digging there and I asked him a question I look right back down the paper he really thinks about Terra Bobby’s answer and if I’m spending a majority of my time looking at the piece of paper instead of him I don’t care what he’s saying i’m thinking about the next question or some things that are not important to what he’s saying what he’s saying should be the most important thing coming across and not only not our United presentation real quick it not only wasn’t the answers that were wrong he was giving one word answers which was very obvious and obviously this was exaggerated in this case what the second thing was in the video you can tell you is uncomfortable because the person he was talking to was to engage in piece of paper so his body language didn’t look natural he didn’t look comfortable it didn’t look like you wanted to be there so that’s another important thing is not not only the audio but how is body like its language detour so we searched the presentation real fast maybe okay so no

yes or no questions and no your questions before you go in and be able to rephrase himself some you can use if you ask go back question you realize they gave that answer like hot dog you can spin it wow that’s awesome what do you love about hot dog so much why fire is hot tubs your favorite food and also you can start getting the answers that you want to get even if you answer even if you have to close any questions they gave you a one word answer know how is their answered into another question and give them to talk a little bit more out of it so we’re going to do the we’re going to that same thing one more time we’re getting bad you’re here in every regard it so and we want to just play it back and this will be a good example of them is your possible yes what’s your favorite food for the record haha there we go 10 if we have it playing in okay so sounds not working but we will you can dad in anything this is a good example but pay attention to a body language and this is also another example of a degree rule coming from an a camera to a beam camera you still get the sense that he’s looking off to the right is one little bit more things to keep in mind to suffer so one thing that we do and one thing that is more viral with what how our interviews go is I’m research and I know the questions I want to ask them right into the interview and we don’t show up with a piece of paper so I don’t sit there with a piece of paper and make sure i’m multiplying every question that i wanted to get across oh i know a lot of the answers I want him to say before we ever step in there so bill what you want to get out of your interviewer and you’re able to ask a lot of good questions and let questions I use another question because again piece of paper can be really distracting you can be muscling you can pick that up on the mic and it can distract him from saying something really emotional or diving in to something that you might talk a lot about so we’re going to go through that’s a great face well do you want the interview how I guess would be the right way to do it you can kind of get the example Christians welcome 50 for being here we’re so glad you can make it to the North Dakota Bismarck so tell me how did you get started filmmaking how old are you what what drew you to fill me oh it was watching movies who was watching how movies were made those specials that would come on and show you how they did things behind the scenes and that just like like I guess was the bug got me to really want to be in like motivated to make films and when I was a little kid I just been now trying to make movies ever since and it’s been great it’s awesome I love it yeah what was the first movie you ever made Wow it was probably my little brother and probably don’t want to be in it and our dog and we it was in the mind of the dog we pretend the video camera went into the dogs and it chased my brother around the house and all that was great that’s where I started really learning how to work with actors and really start learning how long it takes to make a movie and problems with dogs on set so yeah it was really fun yeah and ever since its I’ve been making would be sentence what’s a movie you’re most proud of movie I’m most proud of is probably the one I’m working on or just finished right now is my zombie movie so I’m use of the lookin day and I’m so proud of it worked really hard on it so fun movie it’s a comedy you can tell when you watch this film we’re having to last so what r you to Asami out of it everything else you do what drew me to a zombie comedy movie was well there’s a lot of zombie movies right now there’s a walking dead there’s a lot of you know television shows out there and I thought

well why not you know like they’re fun they’re messy there especially with comedy thrown in there to look for ER and gore it could be really silly they’re really fun and so and they’re just too really the technical aspect of it it’s your funder we’re going to work review with friends Wendy I know it looks disgusting on camera but the dumb fun we’re having behind the scenes or making the movie that’s really I think why I chose that because they’re just fun over other like a drama or something else like that some of these films are really fun sister brothers to make it sorry he is and just being a music video a few that Jonas adjust but who made a music video with a zombie in and starring me fast a zombie actually yeah it’s a veiled tombs this is a veil as if and tombs is the music video and it’s about a zombie go around attacking these animal like people so it’s like zombies and monsters in the music video so yeah we’re still we still have that young at heart you know kids making movies aspect all right give it up yeah oh there’s some important things in there and it’s like it’s being fully engaged in what he’s saying you’re the ones interviewing him make sure you care about what keeps saying to you because you just gonna be doing the editing it and the actual putting together the film and you want to make sure that he knows that you care what whose name so that little bit like I picked up that he mentioned his brother and even though it’s a you know he’s here his brother may not be as applicable to the story and what I want to get it all sent me started diving in to his brother so watch this real quick turn off your lights Oh fun Connie simply design and that they’re real quick but you get the idea is that you can get a lot more authentic answers and asking about his brother even though it kind of let it down rabbit trail and asked me what his brothers career choices are may not be very applicable to and interview about him but also he talked about zombie movie or zombie music video that he got the star in it and some more things that he’s still working with his brother in your films and so it can lead to some fun things if you can pick up things that they’re talking about that they really care about and the other thing to keep in mind too is this is definitely a skill it takes time every time you’re on set and you’re doing it like this you’re going to learn something from it they can like I said being even been doing this a long time and if that was me in the seed interviewing him it would be horrible because I’m just not used to it I’m not good at it keeping his done and hundreds of times and he knows how to do it well and you’ll learn so don’t be afraid to mess something up but do your best and be authentic with it shoujo at the end there you don’t be able to capture like body language things like hand movements things like that with the B camera without ever affecting the ATM so with that we’re going to sort of wrap up our presentation does anyone have any questions for us it can be yes or no questions yeah we do we have three cameras multiple cells we just used to for the sake of editing it definitely can get a lot more work intensive doing more than one cam or two cameras and file sizes obviously can get pretty hefty we shoot with for case that we have some flexibility and closed again and so shooting for campus only adds to that all right if you guys do have more questions give it to email me keenan wolf at Quillan threefold and kelvin through phone TV we’d love to answer any questions would love to be helped any of you honestly if there’s anything at all we help the community and help you guys or Joshua’s on Instagram ask those

questions out there and lastly before we finish out want to give a big thank you to Jim and you go to any access and all the work they put in give them a round of applause and you guys have a great afternoon you you