The traditional shot of a talking head is face on or profile.  They will be slightly to the right or left of shot to show they are talking to someone, but by facing the camera, the audience is included in the conversation.  This is essential for engaging the audience in the dialog between the people on screen.

If there are two subjects talking to one another, then they should be facing each other.  This is to show the audience they are discussing between themselves, not to anyone else or just to the camera.

The main shots used in a talking head scene is mid shot to medium close up.  You may seen the occasional wide shot for establishment or for a cutaway but the rest will be the standard mid or medium close up.

Different shots are called when the subjects are delivering different types of information.  For example, if one of the talking heads is offering factual information or statistics then a medium close up is the most appropriate.  If they are delivering personal or emotional information then the shot goes closer.  That way the viewer gets pulled in to the conversation and the emotional space.  It increases the connection between the two.

There is often an established sequence of shots with an interview that follows a pretty standard course.  The scene will start with a loose shot of the studio, to include the interviewer.  To begin with the shots will be very similar between the interviewer and the guest.  Once the audience is familiar with them, the shots can be varied between them.

The most common shot is the mid shot for both subjects as the subject or the facts of the discussion are laid out.  If the conversation involves emotion the shots close up to draw the audience in.  If the subject gesticulates, move the shot out a bit, or cut to them if they aren’t in shot.  Vary these shots depending on the actions, and the discussion.  It’s important not to stay in close up for too long as it can make the audience feel uncomfortable.  Like they are invading the subjects personal space.

If you think the interview is going to need some heavy editing, then keep the shots between the two similar, so they can be spliced together easier.  There will be less jarring in a sequence if shots of similar scope are used.

Shooting an interview is a fairly simple process, and one that can be learned fairly quickly.  Despite that, it does take a while to get them just right, and it is something that only experience can teach.  Try watching interviews and current affairs programs and study the types of shot the director calls at different times.

Close Up (CU).  Part of the subject most often the head, takes up the whole frame.  Often used in news when there isn’t much else going on, or on scene where there are people around playing to the camera.

Extreme Close Up (ECU).  This moves further towards the subject, highlighting a particular part of them to great detail.  Most often the face, but can be injuries, or some defining feature pertinent to the piece.  Not used too often because not everyone likes seeing so much detail.

Cut Away (CA).  This is a lightening shot, a brief shot of something other than the action, or the subject.  If the subject is intense or emotive, cut-aways are used to lighten the atmosphere for a second or two before returning to the action.

Cut-In.  This shows something of the subject in detail.  This can be an injury for a news piece, fidgeting or other manifestation in an interview, or a sidearm in a police scene.  Something that adds character to the subject and context to the happenings in the scene.

Two-Shot.  A shot that fills the frame with two people, often standing or sitting side by side.  The frame is similar to a mid shot, waist up with a small space above the head.

Over the Shoulder Shot (OSS).  Looking from behind one person at the subject.  Often used by news crews for interviews.  It gives the interviewers perspective on the subject.

Noddy Shot.  This is a reactive shot where the frame is filled MCU or CU with an interviewer listening and reacting to what is being said to them.  Named so because interviewers often nod unconsciously when taking information in.

Point of View Shot (POV).  Extension of the OSS shot, showing the complete point of view of the subject.  This can often lead to some strange camera angles, depending on the context.  It is ideal for putting the viewer into the shoes of the subject.

Weather Shot.  Exactly what it says really.  A shot with something in the foreground that concentrates on the weather, most often the sky, but can be of the sea or mountains.  Used for weather shows, news broadcasts or sports.

A video or movie is made up of many more shots than the average viewer would detect.  Now you know what kind of shots make up a piece you will begin to see your TV in a different light.  You will begin noticing the different shots and how they are used in different contexts and styles.

Watching how other people do things is a great way of becoming a better filmmaker.  I encourage you to do it whenever you can.

The choice of shot differs from person to person, that’s what makes movies by different directors all the more appealing.  They all see the same thing in different ways, and will want to portray that thing in their own particular style.  Choice of shot and camera angle are one of the ways different directors distinguish themselves from each other, and one of the ways they make the piece interesting.

So to the shots.

Extreme Wide Shot (EWS).  This shot covers a lot of ground and is most often used outside as an establishing shot.  Often the subject isn’t even visible in an extreme wide shot, but it can set the scene or give an idea of scope for a later shot.

Very wide Shot (VWS).  We have moved into the subject a bit here, but they are still in the background, and not the focus.  It is a continuance of the EWS, placing the subject in context or scale with the surroundings.  Often used is establishing shots for reality TV, where an EWS wouldn’t work.

Wide Shot (WS).  Similar to the long shot, where the subject takes up most of the frame.  To continue putting them in context with their surroundings, or to include activities around them in the shot.  Also used in reality TV a lot where a group of people are all in the scene.

Long Shot (LS).  Works the same as a wide shot, has the subject in full frame, but also includes the surroundings, including anything that is pertinent to the scene or makes for interesting viewing.  Useful for when you want to portray the subject being in the middle of the action.

Mid Shot (MS).  This is a half body shot, which half depends on what the subject is doing.  Most often this is a shot from the waist up, which also gives an impression of the whole body.  This is a popular one for news broadcasts.  Upper body only with a small space above the head at the edge of shot.

Medium Close Up (MCU).  This is a halfway house between a mid shot and a close up.  The subject fills the frame which is cut off high chest and leaves a little room above the head.  The standard new anchorman close up.  CU is often too close for studio work, so the MCU is used instead.

Those are just some of the camera shots possible in modern film making.  I will go through the others in my next post.  There is more to movie making than you think!

That isn’t to say that those enthusiasts or smaller operators aren’t any good, because they probably are, but in their own little niche.  You wouldn’t ask a wedding photographer to make a music video, the same as you wouldn’t ask a news crew to make a movie.  Each operator has their own expertise, and should know what they can and can’t do with their training and resources.

That’s where outsourcing comes in.  You don’t just hire the most expensive you can afford, you hire the best you can afford in the given genre.  Like the example above, you need to find the professional outfit that has the style level and niche expertise that you’re looking for.  They need the skills to make your intended genre come to life.

On the flip side of that you need to have an idea of the level of your intended video.  If you want it on prime time news or MTV then you’re going to have to pay for it, and hire the appropriate crew to do it for you.  If you’re making a video for the net or local use then you could probably save a few thousand dollars and hire a smaller scale company.

If money is an issue, do the pre-production yourself, let the crew do the production and some or all of the post.  You may be able to post-produce yourself, only you can know that, but again, it will save you money if it’s an issue.

If you can’t afford a whole professional crew, try asking at your local TV station.  They often hire out crews when they aren’t busy or permit them to freelance.  Whatever their arrangements, they can often be much cheaper than a video studio.  If they don’t have someone to hire, they will probably tell you the whereabouts of some if you’re polite.

Whoever you decide to hire to do the work, make sure you see a demo reel or portfolio first.  If you can, watch them in action on a shoot before you engage them.  If you know movie making too, you will soon be able to tell if they’re any good or not.

When you employ someone to make a video for you, appoint yourself executive producer.  Make sure you’re at the top of the organization for the shoot and make sure you call the shots.  Lean on the crew for advice and stay out of their way when they are working, but convey to them what you see in the finished movie and ensure they are keeping to that vision.