All language subtitles for Choosing composition and subject eye line

so we're scouting

the brewery is in full action here

so it's like a normal scout

we're not coming in here and asking people to stop

what they're doing

we're just trying to find

the places where things are going to happen

on the actual shoot

so we're not as concerned about sound right now

we're not as concerned about

how the lighting is in the space

what we wanna do is find out where our interviews

are going to take place

and we've landed here for Kyle

who's one of the co founders

because from the description on the website

and conversations we've had

he's a little bit more of the chemistry kind of guy

I mean there is Casey

who's a head Brewer

who are also gonna interview

and he's obviously

going to be doing a lot of stuff with all of this

but we felt that here in the back of the house

where stuff is made

would be a great place for Kyle to be interviewed

so again we've landed here

and what I wanna figure out is

what direction

camera right or camera left is Kyle gonna be facing

I wanna see what our widest and our tightest shots are

and once we do all of these things

you'll see what happens

all of the other stuff starts to fall into place

now I'm little

I'm Hobbit size

Kyle he's tall

like a giant

so I need to get up on something

I always bring

just because I am short 1/2 apple box

and I mean actually use this for two purposes

one to be at about the same height as Kyle is gonna be

for the interview

so we can get the right composition and No. 2

this is what I'm gonna stand on when I conduct

the interview

so my eye line is about the same as Kyle's

which is important stuff um

I've got Greg over there

he's got our a and our B cameras set up

because when we shoot interviews now

clients expect to have two cameras

and what I wanna do is

I want to look

camera right and camera left

and I'm gonna have Greg

look at our widest and our tightest shots

I'm gonna figure out

if this is the place that we wanna shoot this interview

and if it is

then again everything will fall into place

so uh great

if you don't mind

let's go to uh

a camera right

and we're gonna go to our widest shot

I'm talking good

maybe not quite a cowboy

you know where you're just below

if you had a guns

you'd be just below the waist

but this is

feeling pretty comfortable

as sort of the hands

and I'm looking right now

I have a reference for the monitor

and it looks nice to frame

and let's go ahead and take a look at our Titus shot

we're on a actually

on the a cam for now so

let's just go in the tightest that we can on our a cam

and we're on a

I think we're on a 20

four to 1:05 right now

so is that our Titus Greg

it is okay great

so I think that's okay

what we might wind up doing is

bringing that camera in a little bit closer

or going on a longer lens on a

because I think I want a slightly tighter shot

at a certain point in the interview okay

but it does give me an idea

and we're shooting at a

what's our f stop right now for

before lighting okay

so we've got a super 35 millimeter sensor on there

so we're gonna get a relatively shallow depth of field

especially when we're on

the longer end of a zoom lens

1:05 or if we put a 70 to 200 on there

we're gonna get a very shallow depth of field

so to push this to a 2

8 might be a little bit much

because if Kyle likes to move around

then he's gonna

go in and out of focus a lot

so I'd say an F4

between F4 and f

5.6 would make a lot of sense

once you decide what your f stop is though

you lock it in

it doesn't change throughout the interview

so that's our camera right

wide and tight

and let's go ahead and take a look

at a camera left okay

and I'm not even gonna worry

about our B camera yet

because I wanna see

kind of what we have

so there's our white okay

and we can actually see a little bit of Ben right there

which is okay

because we're doing instructional video

so he's a little bit in frame

but I get an idea of what we've got

and I can see that

and that looks pretty nice

I like what's happening here with this

and it's giving a little bit of color um

maybe I'll adjust

let's go in just a little bit tighter

for a while

and we might adjust a little bit

to get a little bit of this machine

out of the frame

but there is something about this that I'm liking

a little bit more

than the other frame that we had before

so I think I'm actually gonna look

camera left

and look over there

and I think that's the way we're gonna go

now this brings up

a couple of things

in this space

we have a skylight

so we already have

sort of a motivated keylight

if I'm looking camera right over here

so if I wanna shoot

in this direction

and have talent look camera left

what does that mean

well it means

that I'm almost always gonna put my key

on the same side that

the talent is

facing camera

interviewer

key light if I

was looking camera right

then it would be camera

interviewer

key light so

I've got a motivated sort

of already in place

key light over here

but I like the frame over here more

so we're gonna

now have to

address that

with lighting control

but if I like the frame

and I have the time to set it up

then we go with what we want

and that means

I'm gonna have to block some of the light

that's coming in over here

I'm gonna have to set a

key light over here

so Greg and I will work on that

and I think that's the

way we're gonna set this up

so we're actually gonna do it

and then I'm gonna take

you through

where all of

the lights were placed

for this interview

and then we'll interview Kyle