A talking-head interview video is one of the most common types of corporate video production — and one of the most frequently under-covered. Productions that treat an interview as simply "set up, press record, collect enough usable sound bites" often hand the editor a set of rushes with no b-roll, no cutaway coverage, and no ability to cut between interview sizes for visual rhythm. A proper interview shot list ensures the editor has meaningful options at every stage of the assembly.
The interview hero shots
At minimum, every interview should be covered at three sizes: a wide shot that establishes the subject in their environment, a medium shot that serves as the primary interview angle (the most-used size in the edit), and a close-up that allows you to cut in for emphasis on key statements. If you have a second camera, run it simultaneously at a complementary angle and size. Two-camera interview coverage dramatically increases editing flexibility with no additional time cost on set.
Over-the-shoulder and reaction shots
If the interview involves an on-camera interviewer, add over-the-shoulder shots from behind the interviewer (showing the subject) and behind the subject (showing the interviewer). Reaction shots of the interviewer listening are also valuable cutaway material, allowing the editor to bridge cuts in the interview without jump cuts. These shots take five minutes to capture after the interview content is complete and add significant editing flexibility.
B-roll: location and environment
Document the environment in which the interview takes place with a range of wide, medium, and detail shots. Location b-roll provides the editor with visual context, breaks up long interview stretches, and allows interview sound to continue over non-interview visuals — one of the most fundamental editing techniques in corporate video. Plan at least ten to fifteen distinct b-roll shots per minute of anticipated finished video.
Subject-specific b-roll
Capture b-roll showing the interview subject in their professional context: at work, in a meeting, using relevant equipment, or in environments that illustrate the content of their interview. This type of b-roll is more interesting than generic office shots and much more convincing as coverage for interview sound bites about their work. Brief the subject in advance so they can arrange to be shown doing representative tasks.
Insert and detail shots
Insert shots — extreme close-ups of hands, objects, screens, documents, or other specific details — are often forgotten on interview shoots but are among the most useful cutting tools for an editor. A close-up of hands on a keyboard, a detail shot of a product being demonstrated, or an abstract texture from the environment all serve as valuable bridging and illustrative material. Add a dedicated "inserts" category to your interview shot list with at least five to ten planned shots.
Building the shot list with the editor
Ideally, build the interview shot list in consultation with the editor who will cut the piece. Editors know exactly which coverage gaps are most difficult to work around in post — no cutaways at a specific key moment, no b-roll covering a particular topic discussed in the interview, only one usable size of the hero interview angle. A 20-minute conversation with the editor before the shoot produces a shot list that gives them genuine options in the assembly.
“Every minute of interview b-roll not captured on shoot day is a constraint the editor has to work around for the entire post-production.”
Interview video shot list template
- Interview WS — subject established in environment
- Interview MS — primary angle (main coverage size)
- Interview CU — close-up for key statement emphasis
- OTS interview angles if on-camera interviewer present
- Interviewer reaction shots (listening)
- Location WS, MS, detail shots (10–15+)
- Subject activity b-roll (5–10 shots)
- Insert / detail shots (5–10 shots)
- Logo or signage shots if required
Frequently asked questions
How long does it take to capture a complete interview shot list?
For a single-subject interview with a professional crew, allow 30–45 minutes for the interview itself, 30 minutes for b-roll and inserts, and 15 minutes for setup and breakdown. A half-day shoot typically produces enough coverage for a two-to-four minute finished video.
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