American Cinematographer - November 2021 - 12

Shot Craft
In another " talking head " interview from The
Social Dilemma, Aza Raskin, co-founder of the
Center for Humane Technology, is presented
against an interesting background that brings
depth to the image.
The subject's eyeline is critical in the documentary interview.
make use of two slightly different
perspectives - another stylistic
choice. More commonly, the second
camera is positioned farther off
to the side, sometimes even far
enough to capture the subject in
profile. In such instances, both cameras
should be on the same side of
the eyeline so that the second camera
doesn't jump the established
" 180-degree line " that extends
from the eyes of the subject to the
off-camera interviewer.
" Rules " for using a second
camera to shoot talking-head segments
is the topic of some debate
among documentary filmmakers.
Should the primary camera have
the closer lens (i.e., longer focal
length or physically closer) and
12 / NOVEMBER 2021
the secondary camera be wider?
Or vice versa? My own preference
is for the secondary camera to be
wider (unless it creates a more
drastic side-profile angle, in which
case it should be longer). This
allows the primary camera, with the
longer or closer lens, to have a more
intimate connection with the subject's
eyeline, and the wider camera,
where the direct connection isn't as
strong, to have a looser connection
with that eyeline. (See " Lens Selections, "
this page.)
A second or third camera can
also capture B-roll footage - such
as shots of the subject's hands,
their environment or objects they're
discussing - to provide editorial
cut points. It's also possible to
accomplish all this with a single
camera by continuing to shoot
casual conversation after the interview
is over, or directing the subject
to repeat movements so you can
create cut-away moments.
Lens Selections
In my experience, nothing beats a
zoom lens for documentary work.
It gives you the flexibility to alter
the relationship between camera
and subject on the fly as you're
shooting. Even in talking-head
interviews, a zoom allows for quick
compositional adjustments without
significantly distracting the interviewee
and interviewer from the
conversation at hand. Zooms even
allow for adjustments to be made
during the conversation. (During the
interviewer's questions, the cinematographer
can quickly reframe the
composition on the subject.) They
also provide dynamic mid-conversation
focal-length alterations. For
instance, as the subject discusses
an emotional topic, the cinematographer
has the ability to slowly push
in to a tighter composition to underscore
the drama of the moment.
However, some cinematographers
prefer prime lenses for documentary
work for their faster speed,
lighter weight and more compact
size. Using primes also creates
a certain discipline, in that the
cinematographer must change the
camera's position - or the lens - in
order to modify a composition.
There is no rule regarding focal
length for a talking-head sequence.
IMAGE COURTESY OF NETFLIX.
American Cinematographer - November 2021

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