Members of the Voodoo Dolls car club, Austin, Texas
during their interview for “Chevy 100: An American Story”

Whether you’re producing a documentary, doing an oral history, making a video of a parent or grand parent, creating your video blog, interviewing your family on vacation, or making a home video, shooting with your iPhone or Android, I can show you how to get a good interview. Here are some first steps that can transform your film.

Chris Mak emailed a great question about interviewing, then posted it on our Facebook page:  ”I am just wondering, every Ken Burns film, and all the Films Mr.Sherman has made, have amazing interviews. I am trying to get such a loose but DEEP meaning feeling.  Are there scripted questions, or do you just have themes and go where the interview takes you?”

Actually, both. The most important decision is choosing the right people to interview. Just because someone is an expert or knows the subject, doesn’t mean they will be good on camera. I do research on the subject and the person. I write a series of questions based on what I want the interviewee to talk about. I read articles and books they’ve written, look them up on YouTube and other places where I might be able to see how they talk. They may have been pre-interviewed, but hopefully not by me. I let my team talk them first. People never repeat the same story twice with the same passion. So, if I must do the pre-interview, I don’t actually talk much about the subject of the film. I talk to the person about other things trying to determine if they’d be good on camera.

When I get to the interview, I try to make the person feel relaxed, which is not easy with lights, camera, crew. I talk to them about all kinds of things like their house, family, town. The idea is to get them to trust me. And, that is probably the most important secret to a good interview. If you get the interviewee to trust you, you’re half way there.

I begin the interview with some very innocuous questions, ones that I know won’t be in the film. Again, I’m getting the person to relax and to trust me. The second most important technique to a great interview is the follow up question. It doesn’t matter how much research I’ve done on that person sitting with me. I cannot know what he or she is going to say. I ask a question, then follow up, go deeper. Ask another and allow the person to take me on a ride. I want to go where she wants to go. By doing that, not only will I get great material for the film, the person will speak passionately about their subject. The interview and the film will be better.

Everyone wants to feel like others care about what they have to say. If I can get my interview subject to really believe I care, they will open up to me, maybe in a way they haven’t before. When I was creating Medal of Honor, I had the privilege of interviewing a dozen living Medal of Honor recipients. The challenge was to get them to talk about their battle action in a way they hadn’t before. But they’ve retold these stories literally a thousand times. I was very nervous. I decided I needed to go even more slowly than normal. I talked first about their childhoods, what they were like as teenagers, what it was like to be in the service. I asked what it as like to be in war. What did it smell like, sound like. “Most people have never been to war. Tell us what it feels like.” I didn’t begin to tak about their Medal of Honor action for a good half hour. By that time we were just chatting like old pals. Then, I followed up and followed up and followed up. Two wives sat in on separate interviews and told me after that their husbands had spoken about things they had never spoken about before. That was very gratifying. You can watch Medal of Honor on Netflix.

How to ask questions in an interview is also a very important skill to learn. That’s covered in my book as are more crucial skills. It’s about technique not technology.

It didn’t take much insight to know what Hillary’s answer would be when he began by asking if the sit-down was a coming out for Hillary’s presidential campaign. (Why is this asked by every reporter – Andrea Mitchell asked her this morning asked on Today – when we know she ain’t going there.) And, Croft asked if they are friends. What did he expect them to say, “we hate each other?” Ahem, tick tock.

It was great to see Obama and Clinton interacting, she touching his hand, the close body language. It was a very positive moment – great PR – and shows Hillary to be very much in control, recovered from her concussion, ready to be POTUS. (btw, was it okay to call her Hillary the whole time and not Madam Secretary? Would he have called Kissinger, Henry? A little sexist?)

And, even if Croft wanted to keep it light with the two most powerful foreign policy makers in the land sitting down for the first time ever, there are many topics viewers would find eye opening that they wouldn’t dodge. For example, wouldn’t you like to know how they actually communicate? Is it by secure Blackberry, email, assistants, only on the phone? Do they touch base first thing every morning? Re-cap every night? In a crisis are they on the phone together five times a day? What’s their process? I have a long list of other questions, bet you do too.

Sadly, Croft is not alone in doing wrongheaded interviews. Every time I hear a journalist ask “Tell me how you feel?” to a person who is grieving after some horrible incident or celebrating an amazing success, I want to reach through the television and slap them. They come off as completely insensitive or clueless.

And, it’s not only one-on-one interviews. Every news program, is dominated by guests who only spout the party line. So, why not ask them questions that don’t allow them to go there, or don’t invite them them on the show. It’s PC to get both sides of an issue, but not helpful if we know their answers in advance.

Journalists must take their share of responsibility for the public being turned off to politicians and politics. Reporters are being manipulated every day by their guests. I cannot figure out why reporters don’t call them on lies and distortions more often. The news has become one big infomercial. People allowed to say anything or simply evade the question. Most interviewers accept the answer no matter how off it is, and proceed to the next question that’s NOT going to be answered. How about a few follow ups aiming towards a less distorted answer, or informing viewers that the guest is wrong. Ali Velshi recently called  U.S. Senator Ron Johnson on his distortions and lie on CNN and wouldn’t let him off the hook. When the senator kept repeating his false answer, Velshi came back again and again in a perfectly reasonable tone. It was so refreshing.

Journalists have a very important role in our democracy: to go after truth. If they let a guest get away with telling falsehoods, viewers might believe that what was said was true. Or, they get turned off because what’s said is pablum. As news programs have been driven more by entertainment, viewers are turned off. It’s no wonder ratings are tanking.

Journalists, let’s stop being part of the problem. The bar needs to be raised.

The intro outlines the easy learning system I invented called The 10 Shot Video. I hope you’ll watch the ones that I shot in many different circumstances in order to give you ideas for your own home movies. I’m continually shooting them, so stop back when you can.

Also, check out my blog posts for some tips to help your videos. And, please send me questions and comments. I hope you like it.

Follow us on Facebook and Twitter @GreatHomeVideo to learn more.

Thanks for looking!

Here’s my Thanksgiving video; it’s just 10 Shots.

I hope it gives you some ideas for shooting yours.

TIPS:
Wait for good moments.
You might shoot a few shots of people arriving.
A few more of having drinks and appetizers.
Serving and eating turkey.
A toast or two. You know who will be funny and cool and who will put you all to sleep. So, don’t record every one.
And, don’t forget to get a shot of those uncles snoring in their easy chairs after dinner!

You could create a style by asking everyone the same question.
What’s your strategy for eating on this day.
What’s your first Thanksgiving memory?
Tell me a joke.

If you can keep your video to ten minutes, twenty tops, your family may actually want to want it.

Don’t forget the rules to great videos:
Short shots.
Close ups, especially of food.
No jerky camera moves.
Zooming is DEATH!

It’s all in my book.

HAPPY THANKSGIVING!

It’s a storyboard of the video shots designed to give readers a sense of how to tell a story.

Christopher is NatGeo Traveler’s reader advocate and a nationally syndicated columnist through Tribune Media Services, which distributes his columns to publications from the Seattle Times to the Miami Herald. He writes a weekly column for The Washington Post and is a personal finance blogger at Mint.com.

Good filmmaking is accomplished by being flexible. So, why limit to just 10 when these cars are so amazing. I think you’ll agree it’s worth a few extra shots.

The operative word is TIGHT for this video. The more close ups the better. Stay in tight and you’ll make better videos.

my basic set up for close up video and photography

If you’re doing a product shot, a black background often works great. It makes the subject POP and avoids any distraction. Buy a big piece of black duvateen, a soft fabric that doesn’t reflect light. Two light stands hold it up. It can also be used as what we call a seamless, laying flat on the table and arching up as the background.

Black background close-up with natural base        

full neutral background, black all around

The key light (main source) is to the left of the ceramic in these pics. Lighting unevenly – a bit more light on one side than the other often results in a more pleasing look. The more you light from one side, the more dramatic your shot.

Sometimes a full neutral background works, other times leaving a natural base likea table, table cloth, napkin, plate adds to the look.

Natural light background, backlit objectNatural Light Background, backlit

Don’t get sucked into always removing the background.It can look wonderful.

Depending on the subject, tighter shots are usually better shots. If you’re shooting food, often seeing off one side of  the rounded edge of a plate helps anchor your shot, gives it some form. It defines one edge of the frame. Most of the time seeing the whole plate won’t look as good. And, neither is always shooting from directly overhead. Lower the tripod –– I assume you’re using a tripod –– to different angles, shooting, until you find the most pleasing and revealing height.

The plate itself, or table, or cloth, is also important. Choose something that compliments the “hero” of the shot. Earth tones, like a cutting board don’t steal the scene. You don’t want the viewer’s eye to stray from the subject. When I’m in very tight, I try to avoid seeing a background unless it’s completely out of focus, indecipherable. I try not to see off the table either. Anything that is a distraction is to be avoided.

the duckling who runs after its master

This is an absolutely adorable video of a duckling running with, well, a pair of running shoes. As sweet as it is, I wonder how much better it could have been had the shooter spent a few moments thinking about the shots: not recording constantly, cutting when the action stopped or changed abruptly. The variety of shots — wide, medium, close — is good, but could have even been utilized more.

The camera is clearly a GoPro-type, a tiny camera that can be put on a bike’s handlebars, a helmet for skiing, snowboarding, or skateboarding, a snorkel for underwater shooting, or in this case on the end of a pole. It’s also is a great demonstration of how versatile the GoPro cameras are.

Even with my critique, I still love the video.

Dear Suzanne,

Oops, the type of tripod you need is a fluid head. Especially if you’re shooting sports,  if you’re a traveler, or you’re kids are running around and you can’t capture their wonders hand-held; mandatory for video bloggers, (vloggers). A still camera tripod will NOT work when shooting video. As the name connotes, there’s some viscous fluid in the tripod head that causes resistance when panning or tilting. Make sure there are separate controls for the pan and tilt “drag.” Again, just like it sounds, as you pan or tilt you can adjust how much resistance or drag you encounter as you make the move. In different situations you’ll want more drag others less. In a previous post you said you’re using it to video your son Ethan’s lacrosse games. Since you want to move the camera quickly to follow the action, less drag will serve you better than more in that situation. (I’m glad you found the chapter in the book on shooting sports so helpful.) If you’re panning across a family photo – zoomed in tight – you’ll want more drag, more resistance. Test out a few different settings and you’ll find the one right for that shoot. I change my drag settings all the time; it all depends on the shot.

use two hands for smooth panning & tilting

Set the tripod to a height that’s comfortable for you to shoot standing, so you don’t get back ache. The secret to the smoothest move is to hold one hand on the pan handle and the other on the tripod head (see photo). Apply pressure to both hands simultaneously and your pan will be even smoother. This is especially helpful in those very tight, zoomed-in shots like on photos. When zoomed in real tight, any bump will become more apparent, risking ruining the shot. Slowly apply gradual pressure to the hand holding the tripod head. As you feel the head begin to move, apply pressure on the handle. You’ll avoid a bump at the beginning of the shot. When you come to the end of the pan reduce pressure with the pan handle hand first, then the head hand and you’ll make a smooth stop.

a bubble level is essential

Be sure to get a fluid head with bubble leveling, just like a carpenter’s level, so the horizon will always be straight. Check it each time you place the tripod down. A little extra money is worth spending on one that levels with a simple twist (see photo below); you don’t have to adjust one leg and then another, then go back to the first; it can drive you crazy, especially if the shot is not waiting for you to get level.

twist the post for quick leveling

Buying a tripod is one of the best filmmaking investments you can make. The more you’re willing to spend, the smoother it will pan. Match the weight of the tripod to the size camera you’re shooting with. The one pictured is made by Manfrotto. It’s much bigger/heavier than needed for the palmcorder. Since I often use heavier, pro-sumer cameras, that’s the one I rely on. They make very good tripods, small very light ones, bigger ones too.

If you’re traveling, a small tripod can be carried over your shoulder on a strap and almost forgotten as you make your way to new adventures. It will come in VERY handy. Promise! Better tripod heads are sold separately from tripod legs. Buy the one that best suits your needs.

Keep asking. I’ll be here to help you shot better videos.

It' hard not to dance when everyone is

I’ve been asked many times about music for film. Music is an essential element in a finished film; it helps tell the story. It can add life to a home video, a vlog, blog, and do wonders for corporate videos. Music that’s too strong can overpower the story, and I’m not only talking about how loud it is. I wouldn’t use upbeat, danceable rock and roll in a sad scene. Music that doesn’t work with the picture and natural sound can be distracting. Music with lyrics fight narration and interviews. Every element of a film must work seamlessly together or we risk losing our audience.

 Not being a musician it’s hard for me know in advance what music will work best in a particular scene. I may have a sense that jazz or classical, or country, or percussive rhythms might work, but I’m often wrong. So, I try not to be tied to a particular idea. I won’t know until I hear the music while watching the scene. Now that iPods are ubiquitous it’s easy to watch and listen at the same time. What’s so interesting for me is I instantly know when a music cut is not working. It’s like fingernails on a chalkboard. TURN THAT OFF! Knowing if it’s working well, is harder. So, I listen to dozens of tracks, a few seconds each, longer if I like a track, make a list of what might work and then cut those “selects” into the scene, adjust the volume levels and watch the scene over and over, winnowing down my best picks until I’m happy with my choices.

On a home video, whether it be a family barbecue or a cruise through the islands, music can help move the film along, give it energy. Finding the right cut that works in a particular scene. Many editing programs like iMovie can add music by simply checking a box. Likewise, vloggers need to find music that keeps the momentum going. Music can really help when you’re explaining a complicated how-to process. If you’re editing, not just checking the add music box in the editing program, let it work for you. Look for instrumental music, not too slow, or you’re audience will fall asleep, not to fast or your video will feel rushed. Read your narration pausing for a beat in your sentence structure, commas, periods, paragraphs, to allow the audience to take in what you say, to breathe. Adding a pause of ¼ of second can make the difference between feeling rushed and being just right. If it’s a new thought or new paragraph, pause longer. Cut to the next image, let a moment go by before we hear your voice again. Let the music work for you.

Levels are very important. Too loud and viewers can hear your narration of a person being interviewed. Too low and it’s bothersome. Usually a bit lower than what you think is perfect, works. If you have a sequence without talking let the music swell, then drop it down just before the next dialogue is heard. Ask a friend or family member whose opinion you trust watch your film, not just for music, for everything.

Don’t just cut any piece of music in. If it doesn’t work, don’t use it. It might even be your favorite song of all time. Doesn’t matter, it still might not work. In fact, most music won’t. You need to be picky, because when it does work, it will capture the attention of your audience and make your film better.

Please don’t add wall-to-wall music to your vacation or vlog videos. Constant music can become incessant and really disturbing. If you’re shoot at the seashore, for example, let the natural sound of the waves be your sound track. Bring the music in again later. Space music out, change the pace and rhythms to match the mood.

And, beware of copyright infringement. If you post on YouTube and mark it private, it’s probably illegal but most likely you won’t cause a stir. If, however, you check the box allowing the whole world to see, DO NOT use a copyrighted song. You can be sued; and they will win. “Oh, it’s just a little film,” you might say. Sorry, that doesn’t matter. Someone worked very hard to get themselves to a place where you now love their song and wish to use it. I advise not using it.

A family country band

Recently, Kateri Jochum, a talented radio producer, suggested I put music on my 10 Shot Video exercises. She thought they’d flow better with music. She’s right, they would. But these aren’t finished films. They’re practice. I want you to look at them to see how one shot leads to another – wide to medium to close – how stories are told in their elemental state, visually, even with the sound off. I’m not editing my 10 Shot Videos. They’re straight out of the camera, like the learning system I teach in Ready, Steady, Shoot. If they were finely cut finished films, I would absolutely add music.

Music is not easy to incorporate. Just like shooting it takes practice to get it to work for you.
What do you think?

The photos are from my film The Rhythm of My Soul. I profiled country, bluegrass, mountain, and gospel musicians in Southern and Eastern Kentucky> Most didn’t make their living playing music, but they sure could rock!
(photos courtesy Kenny Dunn)