I recently made a film for New York Times Opinion about Covid-19, which required me to film lots of remote interviews. The film was really well received but the experience taught me a lot about filming remote interviews. Here’s what I learnt:
1. Try to find contributors with good AV equipment
This might seem like cheating, but one straightforward way to minimise any tech issues is to cast contributors with good audio-visual equipment. Although modern phones boast amazing cameras, not everyone has the know-how to produce good footage. Some of the best interviews in this film were from YouTubers, podcasters and others who had good kit, and — more importantly — knew how to use it to its full potential.
Youtubers are also natural performers (something you’re always looking for when casting), and able to sound engaging whilst looking into the cold, black hole of a camera lens. (We found websites such as Social Blade were quite good for finding YouTubers.)
2. Be careful with DSLRs
Even if your contributor isn’t a YouTuber, they might have access to a DSLR. These cameras produce quality footage but come with two main problems.
First, the audio is often bad. One way around this is to record sound separately on a phone or other audio-recording device. Ask contributors to place the phone six to ten inches away from their mouth – maybe on a pile of books just out of shot. Voice Record Pro (Apple, Android) is the best app I’ve found for recording sound in this kind of scenario.
The second problem is that DSLRs can be quite complicated, especially for new users trying to navigate the batteries, data cards, dodgy auto-focus (I always recommend turning it off). A better option might simply be the phone they use every day…
3. Harness the power of the smartphone
If the contributor doesn’t have a DSLR camera then the next best option for filming remote interviews is a smartphone.
Ideally, you want to use the higher-quality camera on the back of the phone. However, the downside is that the contributor can’t monitor whether the shot is framed well, in focus or even still recording. One solution is to use the front-facing camera (on newer phones this is still a good quality camera). Alternatively, the contributor can do several quick test records to find the right position when setting up, then during the interview, you can regularly remind them to check the camera is recording okay.
Another option is to ask contributors to use their laptop as a viewfinder, as seen here:
If you have an iPhone and Mac, you can just plug the phone into the laptop with a Lightning cable, go to Quicktime and you’ll be able to select your phone as a camera (more details here). Another option is to use a £16 ($20) app called Reflector 3 (more info here).
Filmic Pro (Apple, Android) is the best app for filming on smartphones but contributors may find it too complicated. Asking them to use the standard apps they’re more familiar with is often a better idea.
For tripods, you can order them something (see point 6 for recommendations) or get them to place the phone on a shelf or pile of books — or use any of these DIY solutions.
4. Use webcams as a the last resort
The downside of webcams is their low resolution. Ideally, you want your resolution to be at least 1080 x 1920 and certainly no lower than 720 x 1280. Having said that, as long as the sound is good, viewers tend not to mind too much.
The big advantage of laptops and webcams is that you don’t need extra equipment (such as a tripod, for example) and it’s a set-up most contributors will be comfortable with. Another benefit of filming this way is that you can have the contributor looking at your face rather than into the lens of a camera, which will make them more comfortable and result in better responses.
If you want better sound, a USB mic can be placed near the mouth (again, about six to ten inches away), just out of sight on the desk or on a pile of books.
To record, you can use standard software (e.g. Quicktime on Mac, Camera on Windows) and some plug-in webcams come with the software required (My Logicam, for example, comes with a great bit of software called LogiCapture.)
Ask contributors to prop up the laptop on some books so the camera is raised (just below eye level is my recommendation). You want to avoid the classic rookie mistake of looming over the lens.
5. Ask questions via video chat but record locally
For my film, I wanted the contributors to look into the lens. Although this may intimidate some contributors at first, it has a powerful impact on the audience.
Also in this film, I had lots of things to show the contributors, such as pictures, videos and various facts about Covid-19 to prompt responses. These all went into a Google Slides presentation, along with warm-up questions and reminders to check cameras were still recording, which I shared on screen during filming.
So this was my set-up for filming interviews remotely: a camera recording the interview locally (on camera, phone or webcam), with me talking to the contributors via Google Meet (free software with no 40min time limit), as I shared my Google Slides presentation on screen.
After the recording, I simply asked contributors to send me their recordings (I recommend MASV as the fastest, most foolproof way to send large files like this.)
6. Send out equipment in advance
- A plug-in mic – good sound is more important than footage. I’ve got pretty good results from the Rode smartLav+ (Amazon UK) – however you might need an Apple Lightning or a pixel adaptor if the phone is USB 3 only. (An extension cable may also be useful.)
- Tripod with phone holder – this from Joby seems a good option, though I haven’t used it myself. (Amazon UK)
- Ring lights. I haven’t got a personal recommendation but I’ve heard good things about this one. You’ll need a stand for it as well.
7. Consider remote video technology
Since making this film I’ve come across OpenReel, a remote video creation tool. I haven’t used it yet but it looks great – though possibly expensive. The idea is you can remotely control the contributor’s phone, iPad or computer and play about with focus, exposure and so on. Then when you start the interview, it is recorded locally on their computer and automatically uploaded to the cloud. I’ll update this article with more information when I get a chance to use it.
8. Make an instructional guide
A set-up guide will help your contributors. It should include the following advice:
- Try to find somewhere quiet – beware of noises emitting from large appliances such as fridges, dishwashers and air conditioners. They emit more noise than you realize.
- Place your phone horizontally.
- You want the set-up to look roughly like this example. The shoulders are in shot and there is some space above the head.
- Lots of natural light is the ideal. What usually works well is having a window behind the camera. Avoid fluorescent lights as they can cause weird patterns to appear on film.
- If part of your face is in shadow, add a lamp or (if you’re feeling professional) use a white board or sheet to reflect light from the window.
- Lighting is a real skill, but to be honest sometimes the best advice I can give contributors is “move the camera around until it looks good.”
- Examples of mistakes to avoid: lighting casting distracting shadows on the wall behind you, sun setting into the face, bright windows in the background, camera angle looking up (like on all Zoom calls).
- Avoid filming against a white wall — a bit of detail and depth (e.g. down a hallway) can be nice. Or maybe film against a background that’s relevant to what you’re talking about.
- When recording on your phone, turn off notifications and other interruptions.
- Ensure your phone/computer is fully charged before you start.
- Wear something with a bit of colour. Avoid big logos or strapless tops (you’ll look like you’re naked).
- For those with more advanced camera skills, please don’t try to achieve a n arty blurry background. People tend to move around quite a bit during interviews, so this narrow depth of field means you risk going out of focus.
As well as these general points, I also:
- Remind them to consider whether they need exttra equipment, e.g. a pair of headphones or a laptop.
- Send them examples of other videos in a similar style to give them an idea of what I’m looking for.
- Tell them how long it will take — I usually suggest two hours, one for set-up and one for recording.
Here’s a filming guide you can use or adapt, and here’s another example from filmmaker Ivan Cash. (You can read about his experiences with remote filming here.)
9. Practise!
Always do a rehearsal to ensure everything looks good. Even the most experienced contributors can miss things.
10. Diffuse nerves with warm-up questions
I always recommend warm-up questions in interviews and it’s especially important to help your contributors relax into this strange set-up. Here are some favourites:
- Would you rather always be cold, or always be hot?
- Would you rather be the funniest person in the world or the most intelligent?
- Would you rather have a dog with a cat’s personality or a cat with a dog’s personality?