Shooting Interview Content Across the Country: A Look at Our Recent Work
The last few weeks have been busy in a way that reminds us why we do this.
Sam and I have been traveling across the country filming interview-driven content, moving from one location to the next and rebuilding the same setup in completely different environments.
So far, we’ve filmed in five different states. What a whirlwind - and we wouldn’t change a thing. We’ve been so lucky to work with so many incredible people along the way!
The goal has stayed the same every time - capture strong, honest interviews in a way that is efficient, repeatable, and consistent across every shoot.
As a Boston video production company, a lot of our work is local. But projects like this are a reminder that the process matters more than the location.
When the system is solid, you can take it anywhere.
A High-Volume Interview Workflow That Actually Works
At a high level, this project has been somewhat simple when it comes to what to do on set.
We’re filming about eight to ten interviews per day, across multiple setups within each location. Most of these are standing interviews, running around 20 minutes each, which allows us to capture a lot of material quickly while still giving people time to settle in and speak naturally.
We’re typically building two interview setups per day - one before lunch and one after. There’s no time to reinvent the setup at each stop. It needs to be consistent, fast to deploy, and reliable in any environment.
That’s been the biggest focus of this entire project. Building a repeatable interview production system that holds up across five states, dozens of interviews, and constantly changing conditions.
Our Camera Setup: Two FX6s and an FX3
For every shoot, we’ve been running a dual Sony FX6 setup. This has become our standard for interview-based video production like this, especially when we’re working at this volume.
Two cameras allow us to preserve natural delivery. We don’t need to interrupt someone when they’re in the middle of a strong answer. We can cut between angles, maintain pacing, and avoid jump cuts in the final edit. To be honest, we’ve been lucky with incredible subjects that are great at interviews.
On top of that, the FX6 is really reliable for this kind of work. Built-in ND, strong dynamic range, great skin tones, and fast adjustments when lighting conditions change or we need to move quickly between setups.
Alongside the FX6s, we’ve been using the Sony FX3 to capture stills throughout the shoot.
Lenses and Look at Bunker Hill Media
We’ve kept our lens setup consistent across every shoot.
On A camera, we’re typically running a 35mm or 50mm depending on the space and how much of the environment we want in frame.
On B camera, we’re using an 85mm for a tighter, more compressed angle.
That combination gives us flexibility in the edit while maintaining a consistent look across every location.
It also helps create depth, even in spaces that aren’t ideal.
When you’re shooting in multiple states, you don’t always get perfect rooms. You have to create consistency through your setup.
Lighting: Keeping It Simple and Controlled
We’ve been using a single key light setup with an Aputure 600.
That’s it.
No overcomplicated lighting builds. No unnecessary gear. Just a strong, controlled key light that we can shape quickly and repeat in any environment.
When you’re filming ten interviews in a day, speed matters.
But consistency matters more.
The goal is to walk into a space, build the light, dial in exposure, and know that it’s going to hold up across every subject we film.
We’re not relying on ambient light. We’re not adjusting constantly. We’re building a controlled setup that works every time.
That’s what allows us to move fast without sacrificing quality.
Audio: Choosing Speed Without Sacrificing Quality
For this project, we made a decision early on to use a shotgun mic instead of lavaliers.
We’ve used both in the past, but at this scale, lavs slowed us down too much.
Clipping microphones, managing cables, adjusting for each subject. It adds time, and when you’re filming at volume, that time compounds quickly.
The shotgun setup keeps things fast and clean. Honestly some of the interviews do have a lot of background noise but we think it adds to the authenticity.
We’re able to move people in and out of interviews quickly, maintain consistency, and still capture strong, usable audio.
Again, everything comes back to building a system that works under pressure.
What We’re Actually Delivering
Across five shoots so far, we’ve captured a significant amount of content.
We’ve created (probably) close to 100 assets from this project alone!
That includes:
15-second cuts
30-second cuts
On the post-production side, we’re handling the initial stringouts and rough cuts.
That allows us to shape the story early, organize the footage, and make sure everything is set up properly before the final stages of editing.
This kind of volume only works if the production is organized from the start.
Back in Boston: Continuing the Momentum
After traveling for these shoots, we’re now back in Boston and jumping straight into another project.
This week, we’re filming a three-day shoot for our recurring client, TalentBurst.
This is a mix of corporate, recruiting, and internal interview content. It’s a different type of project, but the approach is very similar.
Same camera setup. Same lighting philosophy. Same focus on making people feel comfortable and capturing real answers.
That consistency is what allows us to move between projects without missing a step.
Editing for The San Miguel School in Providence
At the same time, we’re in post-production on a project for San Miguel School, our very first client ever! We’ve worked with them for years, so it’s always meaningful to come back and collaborate again!
This current piece is an interview-driven video centered around a teacher who is retiring. It’s being created for a gala, which means it needs to feel personal, emotional, and grounded.
Interview content like this is where everything comes together.
Story. Performance. Editing. Pacing.
It’s very different from high-volume ad content, but the foundation is the same. Strong interviews.
Looking Ahead: RevBio
We’re also preparing for an upcoming shoot with RevBio.
We worked with them back in 2023, and this next project is a great opportunity to build on that relationship and bring a more elevated approach to the production.
This time, we’re focusing on client testimonial-style content.
Over the last few years, we’ve refined how we approach interviews. From lighting to pacing to how we guide conversations on set.
Being able to come back to a client and apply everything we’ve learned is one of the most rewarding parts of this work.
What This All Comes Back To
Filming across five states in a few weeks, capturing dozens of interviews, and producing close to 100 assets is not about moving fast.
It’s about being prepared.
It’s about having a system that works.
Two FX6s. A consistent lens setup. A single key light. Clean audio. A repeatable process.
That’s what allows us to step into any environment and produce content that feels intentional and professional.
Whether we’re filming in Boston or across the country, the goal is always the same.
Create interview-driven content that feels real, looks clean, and holds up wherever it’s used.
