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Interview Setup Question

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Daniel Corcoran
Interview Setup Question
on Mar 26, 2014 at 10:55:13 pm

Hi there,

I was wondering if anyone could help me on this camera setup. I'm wondering how to achieve these seamless edits from different angles? From 09:45-10:30.







I'm aware of Erol Morris uses the Interrortron for the direct-to-lens style. I was wondering if the example above is through a single camera or multiple camera setup where by the closeups and different angles are achieved in post? Another example of this technique can be seen in this IBM doc;







Many thanks


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Mark Suszko
Re: Interview Setup Question
on Mar 27, 2014 at 1:39:58 pm

Three ways to do this:

Shoot in 2K or 4K, with a wide framing, then re-position the frame and scale it as you make each discontinuous (or not) cut to create artificial jump cuts.

Or use 2 cameras with the lenses very close together, or sharing a beamsplitter mirror, as in a 3-d camera rig, shooting iso of the same single take with 2 different focal lengths . The 3-d rig could still be put behind an interrotron screen. if the iso cameras are small enough and the prompter head is large enough, they could sit in there side-by side: I have a prompter rig that can do that at the office, with a 40-inch screen.

Or, simplest way: shoot the answer to the question twice, and cut between the two takes.


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Todd Terry
Re: Interview Setup Question
on Mar 27, 2014 at 2:58:51 pm

Mark's right about the way to do this, if you want seamless edits with different (or apparently different) focal lengths.

But here's the thing... you said you wanted "these seamless edits" like in your examples. The thing is, those aren't seamless edits at all, in fact they are very obvious (and purposeful) jump cuts. The pieces are just edited with such a style, pace, rhythm, that the jump cuts work perfectly.

But they weren't created by any of the methods that Mark mentioned... they are simply butt-cut edits out of straight interview footage, jump cuts and all. And the jump cuts work really well, the edits are so well done and pacing so spot-on.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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Daniel Corcoran
Re: Interview Setup Question
on Mar 27, 2014 at 4:26:57 pm

Hi,

Thanks for your responses.

Todd are you saying this was achieved with 1 camera set up ? Say 4k or an Alexia on a wide then using the m/s c/u's by cropping in? What I was trying to say is that the jump cuts are paced so well they don't distract the viewer at all.

I really love this technique of jumping around the frame, one he uses a lot. I would love to able able to achieve this look on a budget without filming on 4K or an Alexia. I shoot on a 5D with with RAW ML.

Thanks again


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Todd Terry
Re: Interview Setup Question
on Mar 27, 2014 at 4:36:16 pm

I only saw one instance where there appeared to be a focal length change, which could have come from blowing up the frame, or moving the camera in, or shooting with a longer lens. We don't know. But it was obvious that it wasn't just a "pop in" from a continuous single piece, there was obviously a "time edit" there as well. In fact, the subject wasn't even in the same position before and after the edit.

Most of these are just jump cuts. Just paced really well by an editor who really knew what he or she was doing.

But yes you certainly CAN shoot 4K and crop in, giving you wide-shot and close-up flexibility just from one camera setup. We actually do this all the time. You don't even have to shoot 4K... you can shoot 1080 and blow it up as much as 150% and still have 720 resolution.

But again, that's predominantly not what was being done in these examples.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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Mark Suszko
Re: Interview Setup Question
on Mar 27, 2014 at 4:54:25 pm

Of the methods I listed, the most likely I think is either the "re-position a very high rez take in post" or the "using two takes" method. Audio-wise, the jump cuts are seamlessly smooth. Continuity wise, he's definitely in different arm and body positions in a few of those, so that's why I think it's jump cutting between two different takes while delivering the same speech. The technique has been done in a number of movies to spice up a monologue, or to convey a long passage of time during, say, an interrogation scene. Why is it so hard to assume the guy ha a speech he can repeat pretty closely?


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Daniel Corcoran
Re: Interview Setup Question
on Mar 27, 2014 at 5:21:57 pm

Thanks for your feedback guys, I really love the look and feel of these jump cuts when used correctly. From what you're saying it's safe to say it's a single camera setup with a few different takes along with physical (diff lenses) and digital re positioning of the frame in post?

Cheers


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Todd Terry
Re: Interview Setup Question
on Mar 27, 2014 at 5:29:02 pm

Yep.

A lot of these I don't even think are multiple takes. It's very conceivable that many of these are long single takes with edits in them, since most of this dialog does not seem scripted.

Imagine someone speaks on some subject for 30 seconds... but you cut all the "fat" out of it so that it is condensed to 15 seconds of the real meat of what they are saying. Your end cut would have one or more jump cuts in it... and they might look great, as-is. We might look at it go "Wow, what clever editing," but in actuality the cuts are just, as Bob Ross used to say, "happy accidents." They happen all the time in editing.

And in life.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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