We’ll Fix It Before Post No.2: The Interview Setting

The contributor was in place.  The background was a mixture of punk paintings and amps, fitting in with the documentary’s musical theme.   The camera operator and the sound recordist were ready.  We had checked over the venue and carried out tests previously. The AD marked the shot.  I called action, and the interview began.

And it was only when I got home and checked the footage that I realised the second camera view gave the impression that the contributor had a guitar sticking out of her head.

Thank goodness for recording in 4K, which of course meant that the scale could be increased to hide the offending item.  But stories like this did make me consider and reflect on the surroundings and environment used in filmmaking and content creation.

It seems that every filmmaker has their own horror story of things going wrong during shoots due to problems either with the location, trying to spin too many plates at once or things happening outwith their control.  When the opportunity to discuss this with filmmakers arises, it seems as if everyone is wishing to gather around a campfire to swap their tales.  A bin lorry making a guest appearance during a period shoot.   A light and tripod stand being included in a shot.  My personal favourite was when someone told me a few days ago that they were interviewing A Very Famous Politician for a tv channel, and halfway through the interview, realised they had forgotten to hit record.   I actually love it when people do tell me these accounts, as it’s so much cheaper than therapy.

So how do we minimise disruption and risk during our surroundings during in our shoot location?

A few tips I have learned:

- Try to do test-shoots. This isn’t always possible if you are on a tight schedule/running-and-gunning, but at least visiting the venue should give you an idea of what it is like, even if just for a quick recording on your phone.    A venue assessment form (there are templates available on websites such as Studiobinder) will give you an idea of what possible disruptions are: anything from internal noises such as fridges switching on (which almost ruined one of my shoots) to external noises such as roadworks (which also almost ruined one of my shoots).

- Risk assess it:  again, there are a number of template resources out there, and having at least a think of what the risks are and how they could be avoided will save time should they arise. Plus, if accidents do unfortunately happen, an insurance company will at least be pleased to know a risk assessment was in place.   If you know someone who is used to creating risk assessments in their jobs, ask them to do it.  I have created risk assessments for friends in filmmaking when they were up against the clock.  Which leads me onto…

- Don’t be afraid to ask for as much help as possible.  Under the ‘I Forgot To Hit Record’ category is my own personal experience of trying to direct and camera operate during my film ‘A Tight Five Hours’, and was so busy directing the actor, I of course didn’t film what later transpired to be the actor’s best performance for that shoot.  And who subsequently has not let me forget that either.  Having someone there just simply to switch the camera on (it was a static shot) would have avoided that error. - Filming outside?  Ask for help in crowd control.   Having someone outside in a hi-vis jacket to guide the public round will help stop potential invaders and people wandering into set by complete accident.  (And always have some excuse ready when passers-by ask what’s happening: there is an ongoing joke that productions are ‘mayonnaise commercials’ amongst those in the industry).

- Get the biggest viewing screen possible when filming. Admittedly if you are creating content on your phone, you may have to work with what you have, but if there is some way to view content on a tablet means details which are not noticeable on the small screen will be identified on a larger one.  A cheap monitor on top of my trusty camera means that I can pick up more detail.  Although make sure the viewing screen is completely clear: footage from another interview I did a while ago showed big white boxes at the feet of the interviewer which had been obscured due to rotoscopes on the monitor.   I have only just learned how to switch them off.

- Be prepared and flexible for the unexpected.  Having a plan B will help immensely.  When rain halted a shoot on a friend’s film, we resorted to filming in the Clyde Walkway, which actually gave a great opportunity for the cinematographer to do a great zolly shot.    Although the AD did have to keep shouting “BIKE!” at the top of his voice every time someone cycled into view (and that AD, dear readers, was me.  I intend to get those words emblazoned on a t-shirt at some point).

- Of course, make sure you get permission.  And it’s from those at the top.  A weekend shoot in a college was abruptly cancelled as although an office receptionist had agreed permission for filming, it hadn’t been cleared with the college health and safety officer, who waved the organisation’s policies in our faces and point blank refused to let us in.

- If filming actors/contributors, make them aware a reshoot may be required.  You can do all that you can do to clear permission and organise everything, and it still all can go wrong.  We cannot control the weather, equipment breaking down, or a sound recordist not turning up due to illness.

But!  What tips do you have?   More so, what has gone wrong with your filming location and how did you overcome this?  Pull yer chair up to the metaphorical campfire and share! NEXT WEEK:  The final instalment of ‘We’ll fix it before Post’... B-Roll!