How to film interviews people actually want to watch.

Most interview videos are forgettable.

The lighting is fine. The framing is fine. The answers are fine. Everything is fine.

But they don’t make you care.

Maybe it’s the script. Maybe the gear. Maybe the B-roll isn’t “trendy” enough.

But the truth is simple: if the interview doesn’t land, nothing else matters.

Interviews are the backbone of great content.

Testimonials, brand stories, founder stories, documentaries, behind-the-scenes.

If you can’t capture someone speaking with clarity, emotion, and purpose, it all falls apart.

Yet interviews are usually an afterthought.

People throw on a mic, hit record, and hope for the best. But that’s not a strategy.

It’s a waste of time for you, your subject, and your audience.

When done right, though, interviews create something people want to watch.

Something that builds trust, shapes perception, and gives people a reason to take you seriously.

That’s what this guide is about.

The real-world process I use to plan and shoot interviews that actually work.

So whether you’re loaded with gear or running solo, here’s how to do it right. Start to finish.

And we’ll begin where every great interview starts: with the story you’re trying to tell.

How to plan your interview video to tell a compelling story.

Before we think about cameras, lights, or where we’re going to film the interview, we need to know why we’re filming an interview in the first place.

Is it a sales tool to build credibility? A recruiting piece to attract better talent? A brand story to solidify trust? Knowing this will help determine how we approach everything else. The questions we ask, how we capture it, and how the story comes together in the edit. Skip this step, and you might get lucky. Or you might end up with something that looks good but does nothing for your business.

You already know video is too much of an investment to gamble with.

Questions to answer before filming your interview video.

1. What’s the goal of this video?

   Are you trying to build credibility, shorten the sales cycle, attract talent, nurture your audience, or something else?

2. Who is it for, and where will they see it?

   Define the target viewer and the primary platform. A 2-minute homepage video is different from a 30-second Reel.

3. What story are we trying to tell?

   Is this about a customer transformation, a founder’s vision, or a product development story? Getting clear on the core narrative shapes what you capture.

4. What action should the viewer take after watching?

   Contact sales? Share it? Remember your name? Decide what success looks like before you hit record.

5. How will this fit into your broader content strategy?

   Is it a one-off, or will it be repurposed into cutdowns, reels, or a series? Know where it fits before you spend the time.

How to pick and prep the best location for a video interview.

The location sets the tone for the whole interview. It affects the light, the sound, and how the person on camera actually feels. A good location lets people settle in and focus. A bad one makes the whole thing feel rushed, uncomfortable, or flat.

The good thing is, any space can work if you’re willing to make changes. The trick is not settling for what’s already there. Move furniture. Add things to the background. Do whatever you can to make it more interesting and fit the style of the interview.  The difference comes from designing the set, not just showing up and shooting whatever’s there.

That said, often, the quality of your location comes down to access.

A small conference room with no windows and low ceilings might be easy to book, but visually, there's very little to work with. On the other hand, some of the best-looking locations are also the busiest. Warehouses, lobbies, and open office floors can look great, but they're often crowded, making it hard to get usable sound. But, if you're set on using them, plan to film during off-hours when there's less activity and more control.

With that in mind, I prefer to shoot in the client’s space whenever possible. It adds context and feels more personal. But if the space isn’t right, it’s worth looking elsewhere. A rented studio or Airbnb can be the difference between content that feels thrown together and content that feels intentional. No one has to know it’s not the client's office.

Interview location scouting checklist.

Here’s what I look for when scouting a space:

• Room depth and ceiling height.
  I want room to separate the subject from the background and raise my lights or boom mic without crowding the frame.

• Materials and surfaces.
  Carpet, fabric, and soft furniture help absorb sound. Hard floors and glass walls create echo chambers that will destroy your audio. Warehouses, for example, are great for b-roll but usually a nightmare for interviews because of the reverb and background noise.

• Load-in and access.
  Is there parking? Are there stairs? How far is the space from the nearest outlet? Don’t wait until shoot day to find out how difficult it is to get into a location, as it might change the kit you bring to the set.

• Windows and ambient light.
  Natural light can look great, but it changes constantly. Pay attention to the sun’s direction, the room’s fixtures, and how much you can actually control. We’ll get into lighting in a bit.

• Control of the space.
  Can you stop people from walking in and out of your shot? Can you turn off the AC? Unplug the fridge? Close the blinds? If not, you'll be fighting the room the entire time.

Once the location’s locked and you know what you're working with, the next step is deciding what your camera setup is going to look like.

Single vs. multi-camera interview setups.

While the strategy and location set the tone for the video, the camera setup is what brings it all together. It affects how connected the viewer feels, how clean the edit looks, and how easy it is to actually use the footage once it's shot. These are subtle things that are easy to overlook, but they make a major difference in the final outcome.

Choosing your primary frame.

Once I’m in the location, the first thing I do is find my primary frame. That’s the wider A-cam, and everything else is then built around it.

Depending on the complexity of the shoot, here’s how I think about it.

Single-camera interview setup: pros and limitations.

If we’re working fast or I’m shooting solo, I’ll sometimes run a single camera. It’s quicker to set up, easier to manage, and still looks great when it’s framed well. In that case, I’m usually going with a medium or close-up shot using a 50mm to 85mm lens. Those focal lengths give just the right amount of compression to make people look like themselves.

Shooting in 4K gives me breathing room in the edit. I can crop in and create a pseudo-second frame when I need it. While it’s just a punch-in of the main shot, it gives me something to cut to when someone restarts or goes off-track. That said, a single camera is still limiting. You don’t have much flexibility in the edit. It’s very much what you capture is what you get.

Two-camera interview setup: my go-to approach.

This is my go-to for most interviews. Two cameras give me one wider frame for context, and a tighter frame for emotion. Usually a 35mm or 50mm paired with an 85mm or 135mm. A general rule I follow is to double the focal length between the A and B cameras.

If I’m working solo, both cameras are locked off on tripods so I can manage the set. If I’m also conducting the interview, that’s the only way. But if someone else is asking the questions, then the B-cam can be handheld to add a bit of movement.

I like this setup because it gives me room to cut around stumbles, reshape the pacing, and draw attention to the moments that matter most. It also keeps things moving visually without being distracting. The one thing I always double-check is the eyeline between cameras. If the angles don’t match and it suddenly looks like the subject is talking to a different person mid-sentence, it kills the whole flow of the piece.

When to use three cameras (or more).

Once we go past two cameras, I’m working with a team.

If I’m running three angles, it’s usually a medium shot straight on, a tight shot slightly off-axis, and a third angle for something more creative. That could be a profile, high or low angle, or tight b-roll-style inserts. It adds flexibility in the edit and helps keep the pace from feeling flat, especially in longer-form pieces.

Three or more cameras aren’t necessary, but when they’re done right, they increase the production value in a big way. Of course, once you’re juggling that many shots, you need more hands on set.

Tripod vs. handheld: how I use both.

For most sit-down interviews, I keep everything on tripods. It’s clean, stable, and looks more polished. But when there’s at least a two-person team, I’ll sometimes add a handheld B-cam to mix in cutaways like hands moving, subtle reactions, or small environmental details.

That handheld angle adds texture and energy, especially in founder stories or less formal pieces. You just have to use it intentionally. Too much movement pulls attention away from what’s being said.

Framing techniques for interviews.

Here are the framing considerations I run through every time to make sure the interview looks sharp.

• Headroom and eyeline.
  I place the subject’s eyes on the top third of the frame. Whether they’re looking directly at the camera or off to the side, I make sure both cameras hold the same eyeline so the cuts between angles feel natural.

• Centered vs. off-center.
  If it’s a testimonial or direct message, I center the shot. If it’s a story or conversation, I frame the person off to one side. When they’re off to the side or turned slightly, I leave more space in front of where they’re facing. Otherwise, the shot feels tight and awkward. That said, I’ll sometimes break this rule for creative framing if it fits the story.

• Background awareness.
  Even though the location defines the background, I still spend time looking at what’s actually in frame. I want to make sure nothing’s distracting, like reflections, no weird signage, or anything awkwardly sitting too close to someone’s head.

Interview lighting tips: my real-world setup and best practices.

Lighting is what brings everything to life. It shapes mood, makes the subject look their best, and sets the emotional tone for the story. You can have the right location and perfect framing, but if the lighting is flat or uncontrolled, it will never feel professional.

The way I think about light is simple: it tells people how to feel. High contrast with deeper shadows feels dramatic and serious. Softer light with less contrast feels natural and approachable. Neither is wrong. What matters is that the choice matches the story you’re trying to tell.

Working with natural light.

Soft daylight can look incredible if you control it. The best time is when the sun isn’t blasting directly into the space, so morning or late afternoon are usually safer than midday. I’ll place the subject so the window acts as the key light, then put the camera on the shadow side of their face to add depth and dimension.

From there, it’s all about control. A sheer curtain or silk takes the edge off direct sunlight. A reflector or even a piece of white foam core can bounce light back into the shadows. A piece of black fabric on the opposite side as negative fill can deepen those shadows and make the face pop.

The challenge with natural light is consistency. It’s great for quick shoots, but if I know I’ll be filming for a while, I won’t trust the sun and clouds to stay the same. I’ll bring in artificial light to keep things stable.

One-light interview setup.

If I’m working with just one light, I use it as the key. I’ll place it about 45 degrees to the side and slightly above the subject’s eye line. This mimics window light and gives a natural falloff of shadow across the face. The bigger and softer the source, the better. A large softbox or bouncing it through diffusion usually does the trick.

If I need to, I’ll use the environment or a reflector to lift shadows. Or, if the room has too much ambient light, I’ll use negative fill on the shadow side to bring depth back into the face.

Two-light interview setup.

With two lights, the options open up. Most often, I’ll use the second as a backlight or hair light to separate the subject from the background. Sometimes I’ll use it to bring life into the background itself. Balance is the key. If the second light pulls more attention than the subject, it’s wrong. It should feel like it belongs in the room, not like I dragged in extra gear.

Three-light interview setup.

The classic three-light setup is key, fill, and backlight. I rarely add a dedicated fill unless the shadows are distracting. More often, I’ll let them fall off naturally and use negative fill for control.

What I do add light to is the background. A splash on the wall, a practical lamp in frame, or a subtle highlight creates depth and keeps the shot from feeling flat. These little touches make the image feel alive.

Advanced lighting techniques for interviews.

Once you start layering in multiple lights, the focus shifts from just the subject to the whole space. I’ll use practicals in the background to add warmth, edge lights for subtle highlights, and motivated lighting so it looks like the scene is lit by natural sources. These details make a shot feel cinematic without calling attention to themselves.

How to adapt lighting to the room.

Not every space makes lighting easy. In small rooms, I’ll bounce light into a wall or ceiling to soften it without eating up floor space. In large open areas, I’ll use flags to control spill and keep the focus on the subject. Reflective environments can be tricky, so I’ll reposition the subject or flag off shiny surfaces to avoid hot spots.

The trick with all of this is making sure the light feels motivated. The best setups look like the light belongs in the room, not like it was forced in. A simple way to get there is to start by turning off every house light. Overheads and mixed fixtures almost always create a flat look and mess with the colors in the frame. Once everything’s off, I build the lighting from scratch so every source has a purpose and feels like it belongs.

Interview audio setup: getting clean, professional sound every time.

Even though you can't see it, audio is the most important part of an interview.

Viewers will forgive a shot that’s a little soft or imperfectly lit, but they won’t sit through bad sound. If your subject sounds muffled, echoey, or drowned out by background noise, the footage is basically unusable.

Clean, clear audio is what keeps people engaged.

How room acoustics affect audio quality.

Before you even set up a mic, listen to the room. HVAC hum, traffic outside, a refrigerator in the corner, or even footsteps upstairs can ruin a take. If it’s loud now, it’ll be louder on a recording.

The second thing to watch for is echo. Bare walls, hard floors, and glass create reflections that make voices sound hollow. Soft surfaces like rugs, curtains, and blankets absorb sound and instantly improve a space.

Knowing how the room sounds changes the type of mic I'm going to use. A boom mic is usually best in a quiet, controlled space. A lavalier is safer in noisier rooms or ones with too much echo. No matter what though, keeping subjects away from walls and corners is best as that's where reflections are strongest.

Boom mic setup for interviews.

A boom mic is a directional microphone mounted on a pole, kept just out of frame. When the room is right, nothing beats it. It gives you an open, natural sound without worrying about clothing rustling.

Placement is everything, though. Keep it 6–12 inches from the subject’s mouth, ideally aimed at the chest or throat. Don’t point at the top of the head, and don’t drift closer or farther away as the subject talks. Consistency is what makes it sound natural.

Booms can struggle in noisy or echoey spaces. If there’s traffic outside, a loud air vent, or if the subject moves a lot, you’ll run into problems.

Lavalier mic placement and best practices.

A lav is the little clip-on mic you’ve seen in countless interviews. I like them when mobility matters, or when the space just isn’t good for a boom. If the subject shifts around or the room is working against me, lavs give me consistency.

I always aim to hide the lav in the subject’s clothing. Seeing a mic on camera looks unprofessional. I clip it mid-chest, about 6–8 inches from the mouth, and use tape or a small mount to secure it under a shirt or jacket. The trick is keeping it close enough for clean audio while avoiding fabric rub, jewelry, or hair brushing against it.

The tradeoff is sound. Lavs are closer and less natural than a boom. Not bad, just different.

How to record interview audio.

The best approach is to use both. A boom and a lav together give you a safety net. If one fails, you’ve still got the other.

Record them on separate tracks so you can choose the best in the edit.

I also record everything using 32-bit Float, which gives enough dynamic range to avoid clipping or not capturing quiet sounds.

And, while audio is the last thing to set up, good audio doesn’t happen by accident. Take the time to listen, set up carefully, and record with a backup. It’s the difference between a video people finish and one they turn off after a few seconds.

When to hire a crew and when you don’t need to.

You can see there’s a lot involved, and each part of production could be its own role: a Director of Photography for cameras, a Gaffer for lighting, a sound recordist for audio, and even someone dedicated to leading the interview. With more people, each area gets more focus, and the overall quality goes up.

That said, it’s not always necessary. I’ve run plenty of interviews on my own, and for most setups that works just fine. But if you want camera movement during an interview, or you’re working with a larger set that needs building, lighting, and fine-tuning, that’s when a crew becomes essential.

Of course, the tradeoff is cost. Adding more people always raises the budget, so part of my job is helping you decide when it’s worth it. Sometimes, lean and simple is the right call, and other times investing in a bigger crew gives you the polish and production value that really makes a piece stand out.

How I prep interview subjects to feel comfortable on camera.

Obviously, the most essential part of any interview is your subject.

The thing is, most people aren’t used to being on camera. They’re not actors, and they don’t want to feel like they’re being put on the spot. My job, or whoever is conducting the interview, is to make them as comfortable as possible so they can focus on sharing their story instead of worrying about how they look or sound.

My interview preamble goes over these few notes:

• I start by giving them a sense of what we’ll cover. Depending on the subject and the topic, I might send them the themes ahead of time so they’re not going in blind.

• I always tell them they can stop, restart, or redo any answer they like, which takes the pressure off immediately.

• I remind them this will be edited, and my job is to make them look and sound their best.

• And I ask them to slow down, breathe, and speak casually. It’s not about being perfect.

The goal is to create a space where they feel relaxed and excited to share their story.

Interviews matter more than you think.

At the end of the day, interviews aren’t complicated. They just need to be done with care.

And, if you plan the story, prep your subject, and don’t cut corners on sound and lighting, you’ll end up with something that feels real and people actually want to watch.