I shot the interviews on my Sony A7IV in 4k at 30 fps. The second angles were recorded with my FX 30. For the first interview (inside Luke’s studio) we turned his lights down. I added one small portable light I brought to bounce of the wall and his control room window had a lot of light coming in, and a window outside with no curtains or shades. I brought some material to filter light but he had a session, so time was limited and I couldn’t install it. My A7IV did great with the natural light in the main shot but my FX 30 in the wide shot still was a bit over exposed on the window light side with a good f 2.8 lens. Luckily the older 90s video vibe worked with the over exposed section, and the texture effects I added enhanced it more. Luke is more of a dark vibe with some of his music (he does some industrial, metal etc.), so it worked for what I wanted.
For his MPC demo, I didn’t bring a mic that can take heavy drum hits (like my Sure SM 57), so I just recorded that part with a second lav resting on on the back couch of the studio (again in 32 bit float) and it turned out really well. I had to fiddle with it in post a bit, but for drums coming through a lav, it worked great. I was using the first gen of the Rode Wireless Pro lav system.
This was a fully mobile set up with one backpack.
For the second interview with Milky Wayne, I filmed on a patio at a cafe in our neighborhood. Great location–and normally quiet–but that day there was a big soccer match on, so the crowd was loud. I used a lav and two cameras, on two tripods, and carried all the gear in with my backpack (no parking near the cafe). I switched the angles from left to right, to do something different (and because of space issues), and the colors and natural sunlight were perfect to contrast Luke’s dark studio look. There was also a crow that decided to perch above us on a wire that kept making noise; you can see Wayne laughing a couple times because of that. Eventually the crow went away and we were able to finish.
I had to do a lot of post production on the audio but I recorded in 32 bit float so I had plenty of dynamic range to use some ai tools and plugins to filter out all the noise. I think it turned out great. You can barely tell there was any noise at all.