Modes Of Documentary
POETIC DOCUMENTARIES:
Poetic documentaries aim to provoke a certain feeling or emotion in an audience. This is done by subverting linear narratives and taking a more rhythmic approach.
This form of documentary provides a subjective view of reality or of a situation, valuing rhythm and visual impact over linear narrative. This is a more artful approach than other documentary forms which began in the 1920s as a push against the predominant fiction film genre at the time.
Examples of poetic documentary include Rain (1929), Man of Aran (1934) and Koyaanisqatsi (1982).
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EXPOSITORY DOCUMENTARIES:
Expository documentaries are largely educational, and aim to inform or persuade. This is done by usual visual imagery and a 'voice of God' narration to back up and support the claims being made. This mode of documentary will often include archival footage, b-roll or reenactments to reinforce the information being given to the audience through captions or narration.
They will also not leave much room for interpretation, giving the audience a 'right' answer and attempting to persuade them to believe the same.
Examples of Expository Documentaries include The Dust Bowl (2012), the Blue Planet (2001) and Nanook of The North (1922).
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OBSERVATIONAL DOCUMENTARIES:
Observational documentaries. also known as fly-on-the-wall filmmaking, aims to capture reality without constructing scenes. These include long, unedited shots, hand held cameras and little to no narration. They also avoid re-enactments completely to avoid 'shattering' reality. Observational documentaries follow events in real time, often capturing daily life, and sits on a spectrum between poetic documentary and expository documentary.
Examples of observational documentaries include High School (1968), Salesmen (1969) and Don't Look Back (1967).
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PARTICIPATORY DOCUMENTARIES:
Participatory documentaries stand in contrast to observational documentaries, as the filmmaker is included directly as a character. Whether their interview questions are heard in the edit, or they appear in frame with or without other subjects, the filmmaker interacts directly with the subjects of the documentary and can be a major or a minor influence on the narrative. the viewer in these documentaries are aligned with the filmmaker as we experience the film through their point of view, seeing how they felt or reacted in the moment.
Examples of Participatory documentaries include Chronicle of a Summer (1961), Sherman's March (1986) and Roger & Me (1989).
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REFLEXIVE DOCUMENTARIES:
Reflexive documentaries encourage viewers to challenge their own ideas of truth and reflect of their own perceptions. they focus on the relationship between the filmmaker an the audience. This type of documentary exposes the filmmaking process rather than looking at an outside subject matter.
These are similar to participatory documentaries in that the filmmaker is directly involved.
Examples of reflexive documentaries include Man With A movie Camera (1929) and Chronicle of a Summer (1961).
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PERFORMATIVE DOCUMENTARIES:
Performative documentaries rely on a subjective lens and focus on the relationship between the filmmaker and the subjects. In this style, truth is presented as relative and the documentary is more personal, giving more insight into the thoughts, feelings and experiences of the filmmaker. This can also be used as a springboard to more general points about history, politics and groups of people.
Examples of performative documentaries include Tongues Untied (1989), Supersize Me (2004), and Fahrenheit 9/11 (2004).
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REFERENCES:
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https://www.masterclass.com/articles/guide-to-poetic-documentaries
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https://www.masterclass.com/articles/understanding-expository-documentary-mode
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https://www.masterclass.com/articles/guide-to-observational-mode
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https://www.masterclass.com/articles/guide-to-participatory-documentaries
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https://www.masterclass.com/articles/understanding-reflexive-documentary-mode
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https://www.masterclass.com/articles/understanding-performative-documentary-mode
Joris Ivan's Rain uses disjointed jots to create a sense of what it is like to experience a rain storm in Amsterdam, and has no linear narrative
Robert Flaherty's Man of Aran does not constrain to the conventions of non-fiction at the time, using fabricated scenes to romanticize life on the Aran Islands.
Godfrey Reggio's Koyaanisqatsi has no words and uses sequences of dream-like shots of nature and cities to show the affect of technology on life.
Ken Burns' The Dust Bowl uses archival footage and witness accounts in conjunction to inform an audience about the event.
David Attenborough's The Blue Planet uses primary evidence and footage of sea life and nature to accompany the narration and its information.
Robert Flaherty's silent documentary Nanook of the North uses title cards as the narration, accompanied by footage to support the information.
All three of these documentaries use real time, hand held and unedited shots to detail the daily life of the events in the film in the most realistic way possible. In Fredrick Wisemans High School, we follow a group of students and see the power dynamics between administrators and students. In The Maysles' Salesmen, we follow four door-to-door salesmen selling bibles and witness their struggles. In D.A Pennebaker's Don't look Back, we follow Bob Dylan's 1965 tour of London. All of these non-fiction films use the conventions of observational documentary to document daily life and give the audience a realistic perspective into the lives of the subjects.
Jean Rouch and Edgar Morin's Chronicle of a Summer opens with a debate between the two directors. It then shows the two interviewing people on camera about happiness. The filmmakers interact directly with the subjects and influence the narrative.
Ross McElwee's Sherman's March sets out as a documentary about the Civil War but it sidetracked by the director's own love life. McElwee's own dialogue and narration are in the edit as well as his interactions with the other subjects.
Michael Moore's Roger & Me details an economic impact to his own home town. It includes his own attempts to get an interview with the CEO of General Motors.
Jean Rouch and Edgar Morin's Chronicle of a Summer opens with a debate between the two directors. It shows the two setting up scenes, making the audience question how much of the documentary is actually real.
Dziga Vertov's Man With A Movie Camera is a reflection on Soviet life calls attention to cuts and editing so much so that they become part of the narrative. This makes the audience question how the filmmaking process influences their views and opinions.
Marlon Rigg's Tongues Untied uses footage from the filmmakers own life to reflect of class, politics and religion and tell his own story and experiences.
Morgan Spurlock's Supersize Me details his experiences eating only McDonald's food for 30 days and the health problems he experienced because of it.
In Michael Moore's Fahrenheit 9/11, he creates a narrative that elicits a strong emotional reaction from the audience regarding the war in Iraq.
Elements of Documentary
PIECE TO CAMERA:
A piece to camera is when a presenter speaks directly to the audience, often looking directly down the lens of the camera. This is used in documentary to provide or explain information to the audience.
INTERVIEWS:
In an interview, the filmmaker asks the subject a series of questions to draw out information that supports the documentary. These can be formal or informal, and are often planned meticulously to get the best possible answers. These provide a sense of authenticity to a documentary by providing expert insight or personal testimony.
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ACTUALITY FOOTAGE:
Actuality footage describes footage of real events, people and places, rather than re-enactments. This can be filmed specifically for the documentary, or found in the form of archival footage. This provides a sense of authenticity and is used as evidence to back up claims made in the documentary, or to support the narration.
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FLY ON THE WALL:
This is a style of filming in documentary that presents events candidly, without disruption or interference from the filmmakers. This is used frequently in observational documentaries by documenting normal, daily life.
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B REEL:
B reel is footage that is intercut with the main shot. It is supplemental to the main subject and does not depict the main narrative or subject of the documentary. It can be used to create tone or atmosphere or provide context or support narration.
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STUDIO SETUPS:
Studio set ups describe how the camera crew is arranged to film a documentary and the size of the crew. Often, in studios crews are larger and can include more complex equipment such as dollys or lighting set ups. this is useful for more formal, sit-down interviews, or for filming re-enactments. On location, crews may be significantly smaller for easy transport and mobility.
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PRODUCT SHOTS:
Product shots are usually straight on, and clear shots of a subject. These can be used in documentaries to provide clear shots of subjects and portray information simply and clearly.
GRAPHICS AND ANIMATIONS:
Graphics and animations can be used to portray information or back up narration in an easy visual. For example, moving graphs to show its progress can be an interesting way to present numbers to an audience.
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Documentary Examples
From this documentary I have learned more about how hand held footage can make a subject or a character feel more personal, especially in conjunction with close up shots and narration from the interviews. I've also learned more about how colour can affect the tone of a documentary.
From this documentary I have learned how more controlled and steady camera work can create a different tone altogether within the documentary, whilst keeping with similar themes. Additionally, I have learned how uninterrupted atmospheric sound can make the audience feel more included in the documentary and make it more personal or evoke more of an emotional response.
From this documentary, I have learned how visuals and colour can change the mood of a scene or documentary. For example, the colours in the b roll in this film are quite warm and calm. This reflects on the tone and makes the documentary inspirational where it could have been sad. This combined with the connotations of light make it uplifting and motivational.
From this documentary, I have learned how actuality footage is used to document daily life, and capture the surroundings of subject in a way that the audience feels like part of the scene, and can relate more easily to the characters or the situation. I have also learned how music can contrast slightly with the footage, which could reflect the character or subject's own ambitions and feelings rather than the situation they are in, making an audience feel more connected to them.
From this documentary, I have learned how a participatory role from the filmmaker can make the audience feel more included in the film. the interviews feel more natural and the audience can connect more with the subjects. I think that I have also learned more about handheld footage and how it can be used to show and create movement that places the audience within the scene.
From this documentary, I have learned how B roll footage and interviews can make the message of a documentary clear. By keeping a strong theme in the music, B roll and narration, the aim of the film is obvious, and I have learned more about how films can persuade an audience to a particular viewpoint or opinion. This can be done through facts and figures as well as emotional responses.
This opening shot makes the theme of the documentary clear, while maintaining a sense of mystery and intriguing a viewer. The graphic of the title is clear and simple, and the warm tone of the text could reflect the sense of hope against the dark blue of the water.
The lack of diegetic sound here is also intriguing and could have been used for dramatic effect in the narrative of the film.
This close shot shows how water is intrinsic to our environment and survival, and how we take it for granted. This shot also helps to personify the subjects and make them more human and likeable to the audience.
Again, there is no diegetic sound, allowing the music and interview narration to take over the soundscape. This allows the audience to focus on the information in the interview rather than be distracted. I think that I could use this in my own work by using J and L cuts between clips.
This shot shows how there is joy in water and how it is so intrinsic to our daily life and enjoyment as well as survival. The overall colour pallet of the documentary is very blue, contrasting the joy in this shot. This could foreshadow the later turn in the narrative surrounding climate change.
I think that i could use similar editing techniques in colour grading to produce a similar emotional and tonal effect.
The use of a silent piece to camera here becomes quite accusatory in this context. The simulation of eye contact feels like the characters are looking to the viewer to do their part. This supports the overall message of the film, that people should do their part to help stop climate change and plastic pollution in the oceans.
This shot helps make the characters more familiar to the audience making them more likeable and the message more persuasive. Additionally, the wide shot includes the large amount of rubbish that they collected, further driving their point home. Once again, the blue tones in this documentary serve to create an emotional or depressing tone, making the situation seem dire.
Longer Documentary Example - Louis Theroux Specials
What techniques have been used in the documentary? Explain why
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- B roll of animals and people to back up points
- music to hook in a viewer
- narration to provide information
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Which of Bill Nichols 6 modes of documentary did this documentary most align with and why?
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Participatory - shows the filmmaker's (Theroux) direct involvement with the subjects. Shows his narration and questions to the characters and could call into question the filmmakers influence on the events in the documentary.
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What techniques did they use to evoke emotion?
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- music used to reflect the tone and create tension
- lighting can help to create tension or support the tone
- contrast of music and silence to make the emotional moments more impactful
- having recurring characters to build personality - Joe Exotic
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What techniques did they use to tell a story?
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- sound is used to create atmosphere
- music helps to transition between scenes
- interviews help give different opinions of the characters
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What techniques or style could you use for your own documentary?
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- using music and sound to create atmosphere
- walk and talking interviews
- b roll to support narration and interviews
Interview Styles
https://www.youtube.com/watch?v=4E5DkR87SwI
STANDARD:
- Subject is sat, looking just to the side of the camera
- Both eyes visible to help connection with the subject
- Have subject looking towards the light (looking to the side that the key light is on)
- Have a 'floating camera' to capture the side or hands of the subject
- safe and easy, less creative
- can feel a bit distant
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INTERROTRON:
- looking directly down the barrel of the camera
- uses a mirror system to communicate with the interviewer while looking directly down the lens
- more intimate
- feels more like a conversation
- easier to create a connection
- requires special technology
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CONVERSATIONAL:
- two people discussing a topic
- more natural and creative
- subject can be prompted but ultimately its more personal and real
- may need two cameras to cross shoot both subjects, or go back to capture the listening footage
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HOST + STANDARD:
- standard interview
- we get a reverse shot of the interview
- common in journalist or news pieces
- also works in films where the filmmaker is within the movie
HOST + CONVERSATIONAL:
- conversational but the host is conducting the interview
- host is visible and we see them asking questions and prompting the subject
- can do it wherever
- keeps it natural
- can get awkward if questions aren't working
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IN THE MOMENT:
- similar to host + standard, but something is happening
- subjects are doing a task while talking
- feels more authentic
- feels more like an organic conversation rather than an interview
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VOICE OVER:
- narration over b roll that embodies what the subject is saying rather than just watching the interview
- more engaging
- good to record interview to cut back to just in case
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- shot of a garage door opening to reveal multiple cars - this immediately tells the viewer what the film is about and relates to the topic of the interview
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- shots of a car and movement along a road - still relates to the topic, but makes it clear that the film is about classic cars
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- shot of the road relates directly to the interview when he says "you could feel the road"
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- shot of person driving the car from the inside - introduces the audience to the subject and immediately gives us an idea of what they're like and what they're talking about
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- shot of the subject in the mirror of the car, focused on his eyes - helping create a connection to the subject and personifying him to the viewer
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- shots of the controls in the car - relates directly to the interview as he says - "15, 20 buttons for the radio..."
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- multiple shots at the same time of different angles inside the car, each on the subject - relates to the interview when it says "I don't live in the past...but once in a while I like to visit" - makes it clear that the subject is passionate about classic cars
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- close up shots of different cars, showcasing their design and smaller features of the car - relates closely to the interview as he is talking about how long was spent on the design of the car
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- shots of the subject sitting in the car, smoking - not closely ties with the interview, but continues to showcase the general topic of the documentary
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- shot of the subject cleaning car parts - shows his dedication and relates to the interview and the overall subject
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- shot of the car doors being opened - relates directly to the interview as he says "the way they open"
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- shots of driving - showcases the car that's being talked about in the interview
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- shots of administrative aspects to the cars - shows how they take upkeep, especially because he has so many
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- shots of car related memorabilia - relates the the interview as he talks about his passion for cars, as well as the general topic of the film. This also helps the audience connect with the subject
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- shot of the subjects wife - directly related to the interview as he discusses how his collection has impacted their relationship
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- shot of him looking at more cars - relates directly to the car he's talking about in the interview and further emphasises his passion for classic cars
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- shots of him in and driving the truck - comedic effect as we know he's bought another car despite the difficulties thirteen cars will face - also relates directly with the interview as he had deliberated buying the truck
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BOOKLIGHT:
This type of lighting combines bounce and diffusion. Light is reflected off of bounce material, then diffused through fabric. This creates a soft effect and reduces harsh shadows on the subject. This could be useful in standard, sit-down interviews in a more formal setting.
FILL:
This technique is good for moodier subjects and helps reflect the tone of the interview. This can be done by moving the key light further to one side of the subject, and controlling it using flags. Lowering a fill light and making the key light at least 2x brighter makes a more dramatic, moody effect.
This could be useful for heavier topics and in a formal, sit-down interview. This creates a harsher effect with more shadows, so likely needs to be done inside to be effective.
REMBRANDT LIGHTING:
Characterised by a small triangle of light under the eye of an otherwise shadowed face. The light is placed 60 degrees from the subject and angled down. This achieves a more cinematic effect that could create tension or reflect drama. This was first popularized by paintings and photography, so it is eye-catching and visually interesting. This could be useful for tenser moments in an interview or in the narrative of the documentary. Additionally, using a bounce card can fill in shadows and make it less harsh for a softer feel to the lighting
TOP LIGHTING:
This creates a powerful effect on a subject. This could be used to indicate the principal character in a documentary, or to give a sense of a power dynamic between characters. This is done by placing the light above the subject and angling it down. This creates a mysterious tone and gives the subject's face a lot of shadows, especially around the eyes. I thin that this could be useful when crafting the narrative of a documentary and would be effective in creating tone.
SILHOUETTE LIGHTING:
Creates a strong sense of mystery or anonymity by lighting the subject purely from behind. This creates a dark silhouette against and bright background and obscures the face. Using a fill light in front of the subject can bring back their facial features, but they remain in mostly darkness. This could be used when a subject wants to stay anonymous or to create a strong sense of mystery within the documentary.
Individual Interview Plan
THEME OR TOPIC:
Life during Covid/lockdown - mental health
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INTERVIEW QUESTIONS AND WHY:
- How did you feel when the lockdown first started?
- What was it like initially?
- How long did you expect it to last?
- How did your feelings change over the course of the lockdown?
- what did you do during lockdown?
- How did the lockdown impact you or your family?
- How did it feel to be out of lockdown?
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Open questions that don't have yes or no answers. means the subject will talk more and give more information. Additionally, they are broad questions, so the subject feels like they can say what they want and share their experience fully.
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ACTION SHOT EXAMPLES:
- subject behind window
- walking alone - cold, grey?
- close up on feet when walking
- empty rooms/outside spaces with only the subject
- close up shots on eyes or hands
- putting on face mask
Interview Planning
THEME/TOPIC:
Impact of COVID-19 on mental health
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INTERVIEW STYLE:
Standard + Narration
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B ROLL SHOT LIST:
- walking + closeup of walking
- eyes
- putting on a face mask
- trees + light
- character behind a window
- if possible, a time-lapse of a crowded area
- floating camera during interview to get other cut away options. e.g. hand movements
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QUESTIONS/PROMPTS:
- Where were you when you found out that lockdown had started?
- What was it like initially?
- How long did you expect it to last?
- How did your feelings change over the course of lockdown?
- What did you do during lockdown to keep yourself busy?
- How did the lockdown impact your family?
- Did you do online school and if so how did you find it ?
- How did it feel to be out of lockdown and back to relative normality?
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No yes/no answers, allows the subject to talk freely and share their experience, as well as provide further information.
STORYBOARD:
LOCATION RECCE:
Editing Voices
https://www.youtube.com/watch?v=F5DJP4WKtzM
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PARAMETRIC EQUALIZER:
- used to make the voice more cinematic but cutting out or boosting different frequencies in the audio. By adjusting subtle differences that interfere with audio quality, voice overs and narration become crisper and more cinematic
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SINGLE BAND COMPRESSOR:
- makes louder sounds a little quieter and quiet sounds a little louder - compressing it so it evens out
- makes audio smoother and easier to listen to
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DENOISE:
- reduces white noise or buzzing in the background of audio
- makes it crisper and nicer to listen to - sounds more professional
Editing
I used the Parametric Equalizer to cut out some of the lower frequencies that interfered with the audio, then boosted some of the higher frequencies to make the voice pop out. This was successful as it made the voice clear and crisp and improved the quality of our interview audio.
I used the Single Band Compressor with the Voice Thickener preset. This compressed the audio so it was even and clear. I increased the output gain somewhat so the narration was the volume i needed. I think that this was effective, as it made the audio crisp and professional.
I used another Parametric Equalizer to boost some of the higher frequencies after the Compressor. this helped the voice pop out again after compressing it. this was successful as the effect was subtle, but improved the quality of the audio.
I used a minimal amount of DeNoise to reduce any background sound as much as possible without losing the quality of the audio. I think that this went well, as there is very little humming or buzzing in the audio, and the narration is still crisp and clear
I used two video channels in my timeline so that I could cut B roll over the interview footage without having to cut out each section of the interview independently. this saved me time in the edit and made it easier to adjust the B roll in relation to the interview.
When we first started editing, we found that the lighting had been darker than we thought. We had to go back out and reshoot our interview footage with brighter lighting to use in the final edit. This was successful, because our lighting was much stronger and suited the interview more. Additionally, this has taught me to always check lighting, and how the camera screen displays things differently when filming.
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We also found it a little difficult to sync the audio, because we didn't do a clap or anything to sync our audio when we filmed. This meant that it was difficult to match up the beginning of the audio to the video. I have learnt from this and now understand the importance of syncing audio as soon as the camera and mic are rolling.​
REFLECTION
What impact has your research into documentaries had on this task (interview styles/ techniques, lighting, B-Roll).​
Researching interview styles definitely helped with this task as I had a clear understanding of what we needed to achieve and how to do it. Additionally, researching lighting techniques helped us set up our interview, as we knew how to light the subject and which direction to have them facing to achieve a professional effect. This improved our work and made shooting and editing our interview much easier.
Having this prior knowledge made us me more confident in my work and how to emulate the documentary style in this project.
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We used the correct composition in the frame and had the subject facing the key light, making the interview look more professional and visually pleasing to watch.
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How have you improved your skills from the last task you completed (Heist/ Crime/ Action/ Horror task - pre-production planning, use of equipment, production skills like camerawork, use of sound equipment, editing).
This task as well as the research leading up to it had helped me learn to consider lighting and framing in more detail. I am learning more about how to frame a subject effectively, whether it is for visual purposes or to imply meaning. I also know more about lighting a subject in a professional way and the effects this has on the personification of a subject and their alignment with the audience.
Additionally, I have improved in audio recording as in my last project, I didn't prioritise it as much as I should have. This resulted in audio that was difficult to work with and didn't sound as crisp as it could have if I had spent more time on it. In this project, the audio is much better and I spent more time thinking about how to record it effectively and not just edit it later.
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Old Project Current Project
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What have you learnt about editing voice? How did you apply this new knowledge? Evaluate the usefulness of what you learnt.
I have learnt how to make voice overs and narration sound more 'cinematic' and professional by using effects in premier pro. I used this on our interview to make it sound as professional as possible so as not to distract from the actual message. I think that this was very useful, because I can use this knowledge in future projects and adapt it to my needs. Additionally, it improved the audio subtly but effectively in this project, making it sound crisper and higher quality.
e.g., https://drive.google.com/file/d/1B9pplHo3WpvAVScsnk6f4sb0fWncIsRQ/view?usp=sharing
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What problems did you encounter and what solutions did you come up with to solve them or what will you do next time to solve the problem if it happens again or what will you do to stop this problem from occurring again?
We didn't sync our audio during production, which made syncing it in the edit that much more difficult. Additionally, we initially had our lighting much too dark, so we had to go back out and reshoot our interview entirely. In future, I would like to go on location before we actually shoot to test out lighting and find out how it needs to be set up before hand. This would save us time on the shoot day and ensure that our lighting is high quality from the beginning. I would also like to use a clap or a clapperboard to sync up audio and video in the future to save time when editing.
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Summarise overall what you have learnt through doing this task and how will it impact what you do in future tasks (positives and negatives)
Through this task, I have learned about recording high quality audio, as well as capturing footage to lay over a narration. I think that we could have shot more B roll to cover more of the interview, as well as come up with more specific shots to cover specific parts of the narration. I have also learned more about lighting and how to use it effectively and with purpose. I think that our lighting was improved on the day, but that we could have used cooler toned lighting, or more dramatic shadows to have a moody effect on the tone of our interview.
This is will help me in future projects, as I can used my knowledge of editing and lighting to improve the quality of future work. Additionally, I will carry this experience forward in terms of preproduction and organisation to prevent major reshoots from having to happen again.
Finally, I have learned how to conduct an interview as well as set it up. This knowledge will help me in future projects as i will be more experienced in writing appropriate questions and setting up the subject in frame and with lighting effectively to set the right tone for the interview. I have also learned some techniques to employ when interviewing a subject, such as waiting at least 5 seconds after they have finished talking to get more information out of them. This makes for an easier interview and a more honest or personal response to questions, and I can use this knowledge in the future to conduct interviews effectively.
Mini Documentaries
DOCUMENTARY: Freak Monster Felter - https://youtube.com/watch?v=RydnWM192HY
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TECHNIQUES:
- Standard interview - cut back from B roll to the artist to personify her in a very short amount of time and to make it clear that she draws inspiration from herself and her own struggles
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- voice over - narration over B roll makes the footage more interesting as well as explaining what the audience is seeing
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- actuality footage - we get to see the creative process, almost like a fly on the wall as we understand in more detail how the art comes to be
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- archival footage - footage from social media or photos of the art itself - gives us a clearer idea of what the art is trying to achieve and the message it is sending - could also help promote the artist's social media pages
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TARGET AUDIENCE:
Could be aimed at potential customers or people who want to buy the art. Could also be for people who enjoy the process of art being made and watching artists' social media pages. The documentary helps promote the artist and their medium to a wider audience.
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PRODUCTION CONSIDERATION:
- need high quality camera for shooting close ups and actuality footage and B roll.
- set up camera on a tripod for the majority of the shots - quite close to subject to shoot the process of the felting
- roughly 13 different shots in total
- microphone for recording the interview
- lighting for interview and maybe some of the b roll
- can take some of the footage from social media
- only one location, not many permissions needed
DOCUMENTARY: Voice of Transportation - https://www.youtube.com/watch?v=JPv1R1YJMQQ
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TECHNIQUES:
- actuality footage - majority of the B roll is actuality footage, fly on the wall style of shooting. The camera follows the subject through their daily journey using public transportation - this personifies them and shows how they live on a day-to-day basis
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- voice over narration - sometimes links directly to the B roll, but mainly provides additional information about their work as a voice on the subway
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- archival footage (photos) - some photos used from their work in the past, links directly to the narration and how they've changed over time
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- standard interview - shows them in their natural environment ( at home) and personifies them. very few cut backs to the interview, could relate to how they work as a voice doing announcements for public transport - helps the audience connect to the voice that they know while also introducing them to the actual person
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TARGET AUDIENCE:
Most likely aimed at people who use the subway system or public transportation - encourages people to think about the voices that they hear every day and the people behind them.
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PRODUCTION CONSIDERATIONS:
- cameras for B roll and interview - need to be able to transport them on public transport for the B roll
- roughly 15 different shots
- microphone for interview
- smaller/moveable mic for B roll
- lighting for the interview
- multiple locations, may need permission to film in public spaces
- most shots will be moving, so no tripod - maybe a shoulder mount to reduce shaking
DOCUMENTARY: Eyeshadow Artist - https://www.youtube.com/watch?v=rsNTeglkdPQ
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TECHNIQUES:
- actuality footage - audience sees the process of creating the art through makeup, as well as some of the artist's daily life. This humanises the subject as well as allowing the audience to appreciate the complex nature of the art
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- narration - we are given more information about the art, and are given an insight into the inspiration behind it
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- archival footage - social media photos and posts - high quality images of the art so they can be fully appreciated
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- piece to camera - brief cut back to the artist talking , feels more personal, like a direct message
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TARGET AUDIENCE:
Could be aimed at people who enjoy the art making process or want to try similar things to serve as inspiration. It could also be targeted towards people from similar backgrounds or situations, showing how they can find motivation and purpose through hobbies or art.
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PRODUCTION CONSIDERATIONS:
- camera and tripod for piece to camera and actuality footage
- need to move with equipment for some of the b roll
- mic for interview/narration
- only a few different locations, so very few permissions required, but some travel to be considered
- roughly 12 different shots
Mini Doc Pre-Production
I have decided to make my mini doc on 'Making The Perfect Toast'. I chose toast because it is simple and relatively plain. This not only gives me more of a blank canvas to work with, but creates more of a challenge for me to be creative with my shots and presentation. I would like to use lighting to help with this as well as nonconventional angles.
Shooting Day 1
On the first day of shooting, I filmed some of the shorter individual shots, and one of the dolly shots. i did this during daylight so that I didn't have to fabricate my lighting too much, and only used it to even out the shadows.
I also built a wall of toast for the other dolly shot. This took some experimenting as it was difficult to get it up onto the wall, but I reinforced it with card and leaned it against the wall instead of sticking it. I did find that the dolly shot was difficult, so I ended up using my phone for this shot rather than the camera on the dolly.
I used the darkness for the opposite effect. I wanted dramatic shadows for the montage at the beginning of the mini doc, so I used bright lighting in unconventional ways top contrast with surrounding shadows and put a spotlight on the bread or toaster. Initially I struggled with the lighting as I wasn't sure how to make the shadows dramatic rather than having lots of midtones. However, i managed to find placements for the lighting from underneath the subject where possible to avoid the light bouncing off of the walls, and making it much higher contrast.
I filmed for twelve hours on the first day.
Shooting Day 2
For the second day, I had less to shoot, but I got the rest of the shorter, individual shots, and filmed the second, snappier montage for the step by step. I managed to hide the plus and extension cord behind the toaster, as the perspective made sure it wasn't seen in frame.
I also filmed by outro and recorded my monologue for the narration. I struggled with sound as the boom mic wasn't working, but I worked around it by using the Tascam directly as a mic. I also used this to record sound effects on the second day.
On this day, I filmed for four hours.
Editing
FINAL CUT:
For these shots, I reduced the speed of the clips to around 30%. This made the shot more dramatic, adding to the theatrical feel of the beginning of the sequence.
Initially, I tried to use different recordings of the monologue, but I found that the quality and volume of different clips varied a lot and it was difficult to balance them out. I ended up using one recording as it was easier to apply effects and line it up with the video.
I used the volume to fade music and sound effects in and out for effect. I also experimented with the volume of the background music but decided to keep it quite quiet so as not to distract from the actual monologue.
I recorded sound effects for the toaster and bread using the Tascam. I would've preferred to use a directional mic, but due to technical issues this wasn't possible. Fortunately the recordings were clear from background noise and were high quality.
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For the dolly shot inwards, I used an adjustment layer to increase the saturation and brightness in the beginning of the clip, while still allowing the desaturation by the end of the clip. This was effective as it increased the contrast between full colour and no colour effectively and smoothly
The parametric equalizer was useful because it made the monologue sound crisper and cleaner, and made it nicer to listen to.
Using the compressor pre-sets was helpful because it made the audio sound tighter and closer. This made the quality higher, but did add some noise into the background
The denoise tool reduced the static that was increased by other audio effects, This made the monologue clear and crisp, and made the quality higher. I used a low amount so that none of the actual vocals would be lost.
Final Product
Evaluation
For this task, the brief was to make a short (1-2 minute) documentary on 'How the make the perfect...'. I chose to make my documentary on toast because the simplicity of the food item challenged me to be more creative with how I shot and narrated it. To prepare for making my short doc, I made a storyboard to solidify my ideas and have a clearer idea of the visuals I wanted to use. I also wrote notes about what sounds I wanted to record and what tone I wanted my short doc to have.
This was really helpful because it gave me a great starting point for when I started filming so I knew what I needed to shoot and how I wanted it to look.
During this task, I knew I needed to be creative with how I shot my product and how I edited it all together to create a visually interesting doc with such a simple food item. I also needed to be competent with the equipment and how to use it, and especially how different styles of lighting and cinematography can be used for effect.
One difficulty I faced was set design. I built a small toast wall consisting of 25 slices of toast, mounted to an A1 board. However, I struggled to support the wall at first as I didn't go into it with much of a plan. In future, when tackling larger designs and tasks like this, I would like to come up with a clearer plan and technique so that I don't go into it blindly.
Another problem I faced was lighting when shooting the initial, dramatic sequence. At first I wanted the light to be a spotlight, but I had no wings on the lights so it was difficult to get that contrast between light and dark. However, through trial and error, I found ways to have a dark background while still illuminating the main focus of the frame. I think that I did this effectively and that the end result reflects the different ideas that went into each shot.
I think that the biggest challenge in this project was the sound equipment. I had planned to use a boom mic and a sound kit to record the monologue and the sound effects but, due to technical difficulties, this wasn't possible. Luckily the Tascam still worked and I reworked some of the shots to use that instead. Because the Tascam isn't directional, I struggled initially with background noise, but once I found a quieter space to record my sound effects and monologue, things went smoothly.
During this task, I consistently learned new ways to shoot something using non-conventional angles or lighting to make it look unique. Most of this was done through trial and error and using what I had at my disposal while shooting at home, however I also got to apply my knowledge from previous research in my work. For example, when researching and practicing interview technique, I learned that while a lot of the time, the interview or monologue may not be visible, it may be valuable to record it anyway, which was reflected in my final piece, as I did cut back to the monologue.
During editing, I used previous research into editing voices to use sound effects efficiently. This helped by saving me time and making sure I knew what I was doing when making the monologue sound more cinematic. This also helped with some of the sound effects and knowing when and how I needed to edit them.
If I could change one thing about how I worked, it would be setting out a clearer plan from the beginning. While I did solidify my ideas on paper and make a rough storyboard, I think that having a clearer idea of the narrative from an earlier point would have made shooting more efficient and would have taken less trial and error to get the right shots. Additionally, it could've given me more time to research new techniques to carry forward into my work to develop my skills further.
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I think that i successfully fulfilled the brief and that my mini doc is creative and visually interesting. In this way it catches a viewers attention and keeps it for the rest of the doc. The way i shot the documentary and created a shprt, simple narrative was effective and interesting to watch. I also kept to the short doc format as it was not longer than two minutes, so i successfully packed all the information I wanted to into a short amount of time.
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The part of this task that I enjoyed the least was writing and recording the monologue. I found this awkward and a little difficult to achieve, but once I had a solid script written, being on camera was brief and manageable.
However, the part of this task that I found most enjoyable was editing all my footage and sound together, as I got to see all the work that I had put into it come together and start looking more structured. I found that editing and adding small, final touches really made the piece, and made all of the previous work more than worth it as I am very proud of the mini doc that I have created.