>> This is a single interview person set
up that is commonly seen on TV.
We'll break it down so that you, the viewer,
will know exactly how to set it up and do it
on your own if you'd like.
Three characteristics that basically define this set
up are the framing, the lighting, and the backdrop.
First, let's cover the framing.
Our guest is looking slightly off camera to the person
that they're speaking to.
You'll usually want that person sitting close to the camera
so that the guest isn't looking too far away from the viewer.
When that happens, it's a little distracting and awkward
to the viewer, and it can be a little less engaging to watch.
You don't want to frame them up dead center.
Give them just a bit of lead room
so that they'll have somewhere to look.
Always keep in mind the rule of thirds.
If you're not familiar with the rule of thirds, Google it.
There's a lot of information out there,
and it's quick and easy to learn.
It does make a big difference.
Now, if you're going to use a graphic to identify the person,
you'll need to keep that in mind when framing the shot.
If the graphic is covering up part of their face
or even they're neck, it can look a bit unsettling.
It's a good idea to change up the close
up distance during the interview.
This keeps things from getting stagnant
and a bit boring to watch over time.
The differences can be very subtle
and still work quite well.
Extreme close ups are usually used when the person is talking
about the most interesting and revealing part of the subject.
Use some discretion when selecting your shot framing.
Next is the backdrop.
What makes the backdrop interesting to look
at in this case are the shadows created
by the light hitting the ripples in the fabric.
To hold up the backdrop, we're using a savage kit,
which is basically just two tripods
and a horizontal bar that joins the two.
Draped over it is a simple piece of fabric
that has a shiny satin-like side to it.
That's going to give the backdrop a little more shape.
The way to make it look interesting is
to add a few ripples to it.
It does take some finagling, and it's real easy to run
out of material if you bunch it up too much, but eventually,
you'll get the look you want, which brings us to lighting.
While setting up the backdrop, have a light hit it
at a steep angle from the side.
The real trick to the look is how the light falls
on the fabric.
The shadows are adding depth and texture to the shot.
Lighting is the trickiest part of the whole set up
and requires the most time, but when it's done right,
it makes the whole thing work.
Make sure you don't sit the guest too close to the backdrop.
You'll want some distance so that you can light the backdrop
and the guest separately.
Here, we're doing two-point lighting on our guest.
The key light is a rifa light
that isn't too far away from the guest.
This can be problematic if they're wearing glasses
as you will get a big reflection.
If that's a concern, you can use an Omni light with diffusion
on it to reduce the size of the reflection.
The back light is also providing a bit of fill light.
You have to be careful on this because it's easy
to create a hotspot along that side of the face.
Typically, you'll want to use some diffusion.
Now on the backdrop again just for a second,
in order to make it look the way you want, you have to make sure
that none of the lights that are used
on the guest are spilling on to it.
To help prevent this, we're using a TV stand
to block out the rifa.
If you're not shooting this in the studio,
you can find other objects to do this, like, for example,
a piece of cardboard taped to a lighting track pod.
The point is to keep the light away
from the background while still lighting the guest.
Where you put the camera is also important.
If you're too close to the guest,
you may not have enough backdrop to fill in behind them.
In that case, try moving the camera back.
This type of set up can be done in the studio
or an empty classroom.
It doesn't require too much space, but you want
to make sure you're in a room
where you can control the lighting and the sound.
Now, when the shoot is over, and you're back at the edit suite,
be sure to check out the three-way color corrector.
Your footage might look exactly the way you want it to,
but after the three-way color corrector,
it could look even better.
That's it in a nutshell.
Good luck and happy shooting.