A module-by-module guide to the course, followed by what to prepare and the questions learners ask most often.
Module guide
The five modules follow the order of a real production. Each one ends with an assignment that an instructor reads and answers in writing, and each assignment feeds the next, so by the end you hold a complete set of working materials of your own.
You learn how to write a guest brief that says who the audience is, what the session covers and what will happen on the day. You then agree topics with your guest before any recording begins. The assignment is a written brief for a demonstration guest, reviewed for clarity and tone.
You draft open questions that invite explanation rather than a yes or no, then arrange them into a sensible arc from easy opening to deeper material. For subject specialists, you also prepare follow-ups that probe detail without interrupting. The assignment is a full question sheet with notes on order.
You plan the opening, the main thread and the close of a session so the conversation stays focused and the guest knows where it is heading. You decide where to pause, where to return to a point and how to end cleanly. The assignment is a session outline with timings in your own words.
You set up two cameras, sound and lighting for a calm sit-down interview, then direct the guest while recording without breaking the mood. Attention goes to framing, clean audio and small cues that settle a nervous speaker. The assignment is a recorded practice session you review with notes.
You cut a full recording, choose short excerpts that stand alone and prepare files for delivery to the guest or event organiser. You work on pacing, removal of false starts and sensible naming of files. The assignment is an edit of your own session, returned with written comments.
We think good interviews are decided before the camera is switched on, through preparation, clear expectations and honest respect for the person across the table.
There are no entry tests and no required qualifications. You do need a guest or a subject in mind, a camera or phone that records video, a way to record clear sound and an editing program you can use. A few hours a week of steady study is a realistic pace for most learners.
Learners often arrive with the same few doubts about time, equipment and outcomes. These notes answer them plainly so you can decide how to plan your weeks and what to expect from the assignments.
Plan on a few hours each week, though the exact amount depends on how much you already know. Reading and drafting take less time than filming and editing, so expect the later modules to ask more of you. You set your own schedule, and you can take longer on a module if the written feedback suggests a revision. Steady practice matters more than speed, and most learners find that short regular sessions work better than a single long weekend of work.
A phone or camera that records video is enough to begin, and Module 4 explains how to use two cameras when you are ready. Any quiet room will do for practice, ideally with soft light from a window and little background noise. Sound is worth extra attention, because viewers forgive average pictures far sooner than muffled speech. You do not need to buy anything new before starting, and the module notes suggest small changes you can make with what you already own.
By the end you will have a guest brief, a question sheet, a session outline, a filmed recording and an edit, each reviewed in writing by an instructor. These are your own working materials and a record of how your skills developed. The course does not offer a certificate, and it makes no promise about income or work. What it gives you is practice, honest comments and a method you can repeat on every interview you run.
