When filming a professional interview, having the right camera operator and equipment can make a significant difference to how smoothly the production runs.
Recently, I was brought in as a freelance camera operator by a DOP working on a four episode interview series for a client in the investment and financial services sector. The production required a consistent approach across the series, so the DOP wanted to keep the same crew involved for the fourth episode.
My role was to provide camera operation as well as the professional camera and lighting equipment needed for the shoot.
The production involved a DOP, freelance camera operator, sound operator and makeup artist, with the shoot taking place at the client's offices in St James's, Central London.
Why continuity matters when filming a multi episode interview series
When a client is producing a series of interviews, keeping the same production team can be valuable.
It means the crew becomes familiar with the client's expectations, the way the interviews are being filmed and the overall workflow of the production. It also helps create consistency across the finished films.
For this project, I had already worked with the production team, so I understood the way the DOP liked to work and what was expected from my role. This meant I could arrive on the day ready to work within the existing setup rather than having to establish a new workflow.
For DOPs and production companies, having a freelance camera operator who can slot into an existing crew and work independently can be particularly useful when additional camera operation or equipment is required.
Providing both camera operation and professional camera kit
One of the main requirements for this project was not simply camera operation. I was also responsible for supplying the camera and lighting equipment needed for my role.
The kit supplied included two Sony FX6 cameras, a selection of Sony G Master lenses, an Atomos Sumo 19SE monitor, two Aputure 300d II lights and a selection of reflectors and other lighting equipment.
Being able to provide both an experienced camera operator and professional camera equipment gives production teams another option when planning a shoot.
Rather than booking a camera operator separately and then arranging additional equipment through a rental house, the DOP could bring in one person who was able to provide both.
It also meant the equipment was familiar to me and ready to be used as part of the production setup.
For production companies and DOPs, this can make the process of organising an interview shoot much simpler.
Preparing a corporate location for interview filming
The shoot took place at the client's location in St James's, Central London.
For professional interview filming, preparation is an important part of the day. There can be a surprising amount to consider before the first interviewee even arrives, particularly when filming inside a working corporate environment.
For a standard interview setup, I generally allow around two hours for preparation. If access is more complicated, such as when equipment needs to be brought through a loading bay or parking is some distance from the location, I will normally allow around three hours.
On this occasion, we arrived at approximately 8am, with the interviewer and interviewees due to arrive at 11am.
This gave the crew enough time to unload the equipment, prepare the cameras and lighting, arrange the interview space and deal with the practical requirements of the location without putting unnecessary pressure on the client or interviewees.
Allowing enough time for setup is particularly important with corporate interviews. The production needs to be ready before the people being interviewed arrive so that the filming itself can run efficiently.
Creating the interview set
The interview was filmed in a seating area within the client's lobby.
Rather than simply using the space as we found it, we were able to change the layout and dress the area to create a more considered look.
The aim was to give the interview the feel of a comfortable fireside conversation while still keeping it appropriate for the corporate environment.
This is one of the areas where having an experienced camera operator and production team can be useful. The location itself becomes part of the visual design of the interview, so thinking about the background, seating arrangement, composition and lighting before recording can make a noticeable difference to the finished footage.
Managing natural light during the interview
One of the challenges at this particular location was a skylight directly above the interview area.
Natural light can be useful when filming interviews, but it can also create problems when the amount of daylight changes throughout the shoot. If the light changes significantly during a long interview, exposure and the overall appearance of the footage can change as well.
To help control the daylight entering the room, we were able to access the roof garden above the skylight.
This allowed us to manage the amount of natural light coming into the interview space and maintain a more consistent look during filming.
It is a good example of why professional interview filming involves much more than simply positioning a camera and pressing record. The location, available light, camera exposure and environment all need to be considered before the interview begins.
Operating multiple cameras during a long form interview
The interview itself lasted approximately one hour.
I operated two of the cameras, with one positioned as a locked off wide shot and another providing a tighter angle from the right side.
Having multiple camera angles gives the editor more options when cutting the finished interview. It also allows the production to maintain visual interest during longer sections of conversation without relying on a single static shot.
My role was to concentrate on operating and monitoring my cameras while the DOP oversaw the wider production.
This division of responsibilities allowed everyone to focus on their part of the shoot while maintaining the overall visual direction established by the DOP.
Monitoring multiple camera angles with an Atomos Sumo
For the production, I used an Atomos Sumo 19SE monitor to monitor the three camera angles.
This was particularly useful because it allowed both the DOP and the client to see what was being captured during the interview.
Being able to view the different angles during filming provides an additional level of reassurance. If there is a framing issue or something needs adjusting, it can be identified during the shoot rather than discovered later when the footage is being edited.
For an interview production, where there may only be one opportunity to capture a particular conversation, having that level of monitoring can be extremely valuable.
Working alongside a DOP and wider production crew
A freelance camera operator is often brought into a production to support a DOP or wider production company.
The DOP remains responsible for the overall visual direction, while the camera operator can take responsibility for operating cameras, preparing equipment and supporting the production on the ground.
The ability to work independently while following the DOP's creative direction is an important part of the role.
For this shoot, having worked with the team previously meant that I was already familiar with their workflow and expectations. That familiarity helped the day run smoothly and meant the DOP could rely on me to manage my part of the production.
The same approach can be useful for production companies looking for additional camera crew in London or elsewhere in the UK.
The practical side of corporate filming in Central London
There is also a practical side to corporate filming that can sometimes be overlooked.
Working in Central London offices often means dealing with loading bays, service lifts, access restrictions and moving a significant amount of camera and lighting equipment through occupied buildings.
After filming, we wrapped the equipment and used the client's loading bay and service lift to remove the kit from the building.
Having experience working in corporate locations means understanding that these logistical details are part of the job. Arriving with the right equipment is only one part of a successful production. You also need to be able to work efficiently within the location and adapt to the practical restrictions that come with it.
What does a freelance camera operator provide on an interview shoot?
A freelance camera operator can provide much more than camera operation alone.
Depending on the production, this can include professional camera equipment, multiple camera setups, lighting equipment, location preparation, monitoring and practical support throughout the shoot.
For DOPs and production companies, having someone who can provide both camera operation and professional equipment can also reduce the number of suppliers involved in a production.
On this project, I was able to provide two Sony FX6 cameras, professional lenses, lighting equipment and monitoring alongside the camera operation itself.
The raw footage was handed back to the DOP after filming so that the production team could back up and manage the footage as part of their existing workflow.
Can a freelance camera operator provide their own equipment?
Yes. Many freelance camera operators have their own professional equipment and can provide it as part of their role on a production.
The equipment required will depend on the project, but for interview filming this can include cameras, lenses, lighting, monitors and other supporting equipment.
For this production, I supplied two Sony FX6 cameras, Sony G Master lenses, an Atomos Sumo 19SE monitor and Aputure 300d II lights alongside other lighting equipment.
Having access to professional equipment through the camera operator can be particularly useful for DOPs and production companies that need additional camera crew and kit for a specific shoot.
How much setup time is needed for an interview shoot?
There is no fixed setup time because every location is different.
For a standard interview, I generally allow around two hours. If access is more complicated or there is additional equipment to move, I will allow around three hours where possible.
Giving the crew enough preparation time means the cameras, lighting and interview space can be ready before the client and interviewees arrive.
For corporate filming, this preparation time can be especially important because the production is often taking place within an active office environment.
Freelance camera operator for interview filming in London
This project was a good example of how a freelance camera operator can support a DOP and wider production team beyond simply operating a camera.
From preparing the interview space and managing the lighting to operating multiple cameras and supplying professional equipment, the role involved several different aspects of the production.
For DOPs, production companies, agencies and corporate clients looking for a freelance camera operator for interview filming, having someone who can provide both experienced camera operation and professional camera equipment can make the production process more straightforward.
I work with production teams on corporate interviews, filmed conversations, podcasts and other professional productions in London and across the UK.
If you are looking for a freelance camera operator with professional camera and lighting equipment for an upcoming interview production, get in touch to discuss the project and requirements.