What It’s Really Like Filming Remote Interviews for International Documentaries

Nick Gladwin and I are based in London but we recently shot a remote interview as part of a documentary for a Canadian production. It’s something we’ve now done a handful of times, and it’s always a bit more challenging than your average interview setup.

Here are a few things we’ve learned along the way:

Keep the crew lean

Budgets are often stretched with travel and exchange rates, so it’s usually just the two of us (camera + sound). An assistant helps if you can swing it, but it’s definitely doable as a pair.

Allow more time than usual

Everything moves a bit slower when the director or producer isn’t in the room. You’ll likely be sending frame grabs, jumping on a call when you arrive, and making adjustments remotely before rolling. Even something like getting the eyeline right becomes trickier when the subject is looking at a laptop instead of a person.

Be ready to take on a client-facing role

With no producer physically present, you’re balancing setup with making the contributor feel comfortable which is not always easy when you’re walking in with cases and lights. Giving yourself time for that makes a big difference.

Prep matters more than ever

Ask for photos of the location in advance: access, parking, lifts, door sizes, and where you can safely store kit. These details save time and reduce stress on the day, especially as everything tends to take a bit longer.

Factor in time zones and changing light

Working across the US or Canada often means longer days, and subjects can be low energy depending on when you’re rolling. Build in time to ease into things. If you’re not in a studio, remember daylight will likely change so blacking out windows and controlling your environment helps maintain consistency.

Connectivity can make or break itTest the interviewee’s WiFi beforehand if possible. A shaky connection can derail an otherwise solid interview.

Keep the setup efficient

You’re adding a laptop or iPad into an already tight space, so lightweight stands and a small footprint are key. There are plenty of good options out there, just make sure whatever you use is height adjustable and easy to position.

Give the client a clear view

We’ve found it really helpful to send a clean camera and audio feed directly into the call, so the client sees and hears exactly what’s being captured. It keeps the process collaborative and builds confidence, even from another country.

Think about the subject’s experience

Clear audio and good screen visibility go a long way. We often use a Bluetooth speaker so the interviewer’s voice fills the room more naturally, especially useful when working with contributors who may be hard of hearing. Screen placement matters too, and we’ve found using an iPad can help bring the interviewer closer to the eyeline.

Build in redundancy where you can

It’s worth asking the interviewer to record their own audio as well. Even if it’s not intended for the final cut, it can be incredibly useful in the edit. If possible, having them record the call on their end adds another layer of backup.

Plan file delivery in advance

Some productions will send links for transfer platforms, but these rely on strong internet and can take time depending on the volume of footage. Shipping a drive to a data transfer company can sometimes be the better option. Either way, align with production early because they’ll want that footage ASAP!

At the end of the day, it’s still the same goal: create a comfortable environment and capture a great conversation. The remote element just adds another fun layer to manage.