book

Directing the Documentary, 6th Edition

by Michael Rabiger

September 2014

Beginner

536 pages

16h 56m

English

Routledge

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Part 1: You and Your Ideas1 You and Film AuthorshipThe Director’s TemperamentUnfinished Business: How Your Life Has Usefully Marked YouProject 1-1: The Self-Inventory (Marks and Themes)Project 1-2: What Is the Family Drama?The Work of the DirectorWitnessing with the Future BoxEthnographyWorking for Social ChangeA Rewarding Way of LifeLearning from What you ShootFilmmaking DemocratizedThe Ordinary Can be ExtraordinaryDocumentaries that Cross Boundaries and Buck TrendsImportance of CreativityDocumentary as a Prelude to Directing FictionGetting an EducationFilm SchoolTeaching YourselfPlanning Your FutureJournalsInternships as a StudentHands-On Learning
BeginningsGrierson’s DefinitionDocumentary as ArtAn Oral Tale with a PurposeArt Finds OrderCharacters with GoalsPhilosophies of ApproachObservational ModeParticipatory ModeMaking IncursionsGiving, Not Just TakingA Workhorse GenreTesting for Documentary ValuesLearning From Your WorkThe Artistic ProcessWhen You Lose Your WayPrivacy and Competition IssuesHostile EnvironmentsHands-On Learning

3 Documentary HistoryTechnology and Screen LanguageBirth of the CinemaThe Documentary Arrives on the SceneDocumentary ParadoxesThe Cinematic EyeSoundTravelogueEssay FilmsShooting Goes MobileDirect Cinema and Cinéma VéritéObservational DocumentaryParticipatory DocumentaryWaiting for Privileged MomentsObjectivity and SubjectivityWhich Approach is Best?The Ascendency of EditingThe Three-Act Structure in DocumentaryVideo and Digital TechnologyEclectic FilmmakingLongitudinal StudyBrechtian ProtestDocumentary NoirDiaryAmbush and AdvocacyArchive-Based Filmmaking3D DocumentariesThe Interactive DocumentaryHands-On Learning
The “Contract” and ExpositionActuality and EvidenceTypes of ActualityObjectivity, Balanced Reporting, and PropagandaFairnessEvidence Then and NowDocumentary is Not Reality, But a ConstructDramaAuthored ConstructsConflictCharacter-Driven or Plot-Driven StoriesDramatic TensionDevelopmentFilm LanguageForm and StyleHands-On Learning
Perception and Making StoriesHow Screen Language Mimics ConsciousnessDocumentary Ingredients and Human ConsciousnessElementsA Guiding TheoryShots are Like the Human GazeCutsCamera MovementMotivated Camera Movements and CutsDenotation and ConnotationThe Camera in Relation to ActionPreparing to Shoot with FeelingThe Actor and the Acted-UponObserving a ConversationHunting SubtextsHidden Agendas and SubtextsAttention and FocusEye Contact and EyelinesLooking At, and Looking ThroughScene Geography and AxesScene AxisCamera AxisPanning and CuttingScreen DirectionChanging Screen DirectionShot Duration, Rhythm, and Demand on the AudienceGenerating OptionsShot DurationVisual RhythmRhythms Help Us ConcentrateSpeech RhythmsSequences as Building BlocksElisionTransitions and Transitional DevicesPicture TransitionsSound TransitionsOverlap CutsYour Dual Roles: Observer and StorytellerConflicts Between the TwoResolving TensionsHands-On Learning
6 Developing Story IdeasIdeationBeginning the Writing ProcessStory SourcesMaking an Idea DatabaseKeeping a JournalNewspapers and MagazinesOnlineHistoryLegendsMythsFamily StoriesChildhood StoriesSocial Science and Social HistoryFictionSelecting a SubjectTesting a SubjectDon’t Bite Off More Than You Can ChewNarrow the FrameChoosing a Central CharacterCharacter is DestinyLocating and Raising the StakesManipulation DangersUsing the Medium to Stir FeelingsShock ValuePrimary EvidenceTesting for Cinematic QualitiesMood Matters Local Can be LargeSubject-Driven, Character-Driven, and Plot-Driven FilmsSubject-Driven FilmsWhat to AvoidDisplace and TransformHands-On Learning
Developing a ProposalA Note on Film WritingResearch OverviewMake a Working HypothesisProject 7-1: Developing a Brief Working HypothesisField ResearchNarrowing the FrameTaking NotesResearch Methods are Subject-DrivenFinding the ParadigmShootable EvidenceMaking an InventoryProject 7-2: Dramatic Content WorksheetHow to Film It: Style and ContentHands-On Learning
Turning Dramatic Content into an OutlinePitchingWho/What/When/Where/WhyA Typical PitchCritiquing a PitchExpanding the Pitch to a ProposalSchedulingSigned AgreementsLocation AgreementPersonal ReleaseBudgetProject 8-1: A Short Observational DocumentarySome Short Film Proposals and Their FilmsHands-On Learning
Developing Your Own CrewWhy Crewmembers’ Temperaments MatterSmall Crew Roles and ResponsibilitiesDirector Director of Photography (DP), and/or Camera OperatorSound RecordistPut Commitments in Writing
10 Capturing SoundHeadphones to Monitor Your WorkSound Design and SoundscapesSound TermsAcoustics and the Hand-Clap TestSignal, Noise, and Signal-to-Noise RatioAmbienceResonance and EchoPresenceMicrophonesTransductionMicrophone Axis and DirectionalitySound PerspectiveHow Sound BehavesSignal Decay over DistanceDefensive MeasuresSound Environments and Signal-to-Noise RatioWhy Sound Consistency is So ImportantSound and the CamcorderBalanced and Unbalanced InputsStrain ReliefAutomatic Sound LevelManual Sound LevelVolume Unit (VU) MetersAveraging and PeakingThe Microphone Input BoxMaking Use of Stereo InputsMicrophone Types and Pickup PatternsPower SuppliesPickup PatternsBody Mike PrecautionsRoll-OffWireless MikesWired MikesSpares and AccessoriesMicrophone HandlingHandling the FishpoleWindscreens and Shock MountsWhen Sound and Picture Subjects DivergeThe Recordist and the CameraSafety CoverVirtuoso PerformancesShootingLocation Spotting and Ambient NoiseInteriorsSounds on the SetPresence Track RecordingSound with Editing in MindHow the Editor Uses Presence TracksAmbience InconsistenciesWild TracksSound EffectsSoundscape ConstructionHands-On Learning
Light QualitySoft LightLighting InstrumentsLight Quality and Lighting InstrumentsLight Emitting Diodes (LEDs)HMI LampsFluorescentsColor TemperatureSafetyPower SuppliesPower Requirements Vary by InstrumentCalculating ConsumptionScouting LocationsLightingDefining Shadows (Hard and Soft Light)Why you May Need LightingCuring Contrast ProblemsAvoiding the Overbright BackgroundLighting MethodologyKey Light DirectionPracticalCheatingTwo Basic Lighting MethodsAdding to a Base and Using a KeyThree-Point LightingLighting Tests and RehearsalsBackgroundsHands-On Learning
Codecs and WorkflowEquipment CheckoutGolden Rule #1, Test It FirstGolden Rule #2, Prepare for the WorstCameraCaveat Concerning DSLR Cameras and TimecodeBody DesignViewfinderCamera ControlsProfessional OptionsColor Balancing the CameraWhite Balance OptionsShooting under Mixed Color TemperaturesExposureAutomatic ExposureManual ExposureBacklight ControlPicture GainFilteringNeutral DensityOther FiltersLensesInterchangeable LensesLenses and PerspectiveLens ProtectionAspect RatioFocus and Depth of FieldPracticalities of Focus and Depth of FieldPower SuppliesCamera Support SystemsTripod and AccessoriesPan/Tilt Head SetupQuick-Release PlateMobile Support SystemsMonitors and ViewfindersComposing the ShotRule of ThirdsMatching ShotsLead SpaceHandheld ComposingCovering Two People Standing in ConversationCamera OperatingCheck and Recheck CompositionCamera Operator’s Interior MonologueOperator’s Body MechanicsRefocusing During a ShotHandheld ShotsWalking a Handheld CameraChecking your Handheld Tracking SkillsTripod PreparationError RecoveryOperating with Editing in MindInserts and CutawaysCamera Operator’s ChecklistHands-On Learning
Directing ParticipantsCreating TrustA Documentary is a Record of RelationshipsIn Search of NaturalnessGiving Participants WorkInterviewing in BriefAvoiding Voice OverlapsSilence is GoldenWinding Up GracefullyFilming in Institutions or OrganizationsDirecting the CrewCommunicationWho is Responsible for WhatWorking AtmosphereCrew UnityCheck the ShotRun-UpPositioning YourselfCrew EtiquetteCommunicating with the Camera OperatorCommunicating with the Sound RecordistSensory OverloadBreaksWho Else can Call “Cut!”Sound PresenceSecuring the Personal Release“It’s a Wrap”Assuring QualityFeedbackReinforcing the Purpose of the ShootHands-On Learning
14 Creating the First AssemblyEditing Personnel, Process, and ProceduresDirector-EditorsEquipmentUsing TranscriptsMaking ThemA Workaround Solution to TranscribingTranscripts Can be MisleadingPostproduction OverviewForestalling Workflow ProblemsLow Resolution EditingDigitizingSynchronizing Sound Logging and Categorizing the MaterialViewings Before You Begin the AssembyCrew Dailies-Viewing SessionCrew ReactionsEditor and Director’s Viewing SessionTaking NotesGut Feelings MatterBeginning the AssemblySeeking a Visually Driven FilmThe Only Film is in the DailiesRenderingFinding a StructureWhy Structure MattersTime and Structural AlternativesFinding an Action-Determined StructureUsing a Speech-Based Narrative StructureThe ContractStories Need Dramatic TensionStories Need DevelopmentMicrocosm and MacrocosmAssemblingFacing the First AssemblyReturn to InnocenceRecognizing your Film’s Ideal LengthDiagnostic QuestioningWhat Works and What Doesn’tThe Documentarian as DramatistPleasing Your AudienceWhat Next, When the Dust Settles?Hands-On Learning
Compressing and JuxtaposingElisionCutting Between SequencesCutting Within a SequenceAction-Match CuttingJump CuttingUsing Fast or Slow MotionParallel CuttingCutting to a RhythmUnifying Material into a FlowThe Audience as Active ParticipantsThe Overlap CutMono- and Bi-directional AttentionDialogue SequencesOverlap Cut TheorySubtextsTransitions Between SequencesAnticipatory and Holdover SoundEditing PitfallsRegaining Some DistanceMake a Diagnostic Flow ChartA Trial ShowingSound CheckSurviving Your Critics and Using What They SayParticipant ViewingsThe Uses of ProcrastinationTry, Try AgainHands-On Learning
Aiming for a Fine CutCheck All Source MaterialLooking Ahead to the Sound MixSound DesignThe Sound Design DiscussionSound ClichésRecreating Sound Effects (SFX)Sound LibrariesEqualization (EQ) and What the Sound Mix Can DoSound Mix PreparationNarration or Voice-OverDialogue Tracks and Problems of InconsistencyLaying Music TracksSpot Sound EffectsUsing AtmospheresSound Mix StrategyPremixingTailoringBe Cautious with Comparative LevelsRehearse, Then RecordSafety CopiesMusic and Effects (M & E) TracksTitlesStyleTitlingFont, Layout, and SizeOverladen TitlesSpellingTitle DurationsCopyright MarkTranscript and SubtitlingAcknowledgmentsLegal OmissionsWebsite and Press KitFestivals
Part 6: Documentary AestheticsEnter the StorytellerGive Yourself a Storytelling Role to Play17 Point of View and StorytellingMonological Versus Dialogical FilmsPoint of ViewFilm, Literature, and Graphic ArtWill and EmpathyUsing your Emotional SelfPOV in Screen DramaObservational or Participatory ApproachOverview of Generating POVsRange of POV on the ScreenSingle POV (Character in the Film)Multiple Characters’ POVs Within the FilmOmniscient POVPersonal POVReflexivity and RepresentationSelf-ReflexivityFilm Language and the Authorial VoiceFinding Fresh LanguageStoryteller and POV Question ChecklistHands-On Learning
Plots and their Central CharactersPlot and the Rules of the UniverseActive and PassiveHeroes and Heroines“Character is Fate”Whether the Hero DevelopsThe AntiheroDrama and the Three-Act StructureThe Dramatic ArcDefining the CrisisScenes are Dramas in MicrocosmThe Director IntercedesBeats and Dramatic UnitsMisidentifying ConflictsA Scene May Have One Dramatic Unit or SeveralInhalation and ExhalationThe Director as DramatistTime and StructurePreparing for the PredictableStories Need DevelopmentChronological TimeThe Event-Centered FilmThe Process FilmThe Journey FilmThe Historical FilmThe Biographical FilmNon-Chronological TimeTime ReorderedPoetic TimeThe Journey of InquiryThe Walled-City FilmThe Thesis FilmTime as Non-RelevantThe Catalogue FilmWhen No Time Structure PredominatesStructure QuestionnaireHands-On Learning
FormSetting LimitsContent Influences FormStyleStyle You Can’t ChooseStyle You Can ChooseHands-On Learning
Re-enactmentsTruthful LabelingUsing ActorsWholesale ReconstructionThe DocudramaSubjective ReconstructionFake Documentaries or MockumentariesHands-On Learning
Art and TemperamentForm Follows FunctionMoral ResponsibilitiesEvidence and EthicsBehalfers: Speaking for OthersEmbedded ValuesEthical Conflicts in the FieldFilm is Collaborative, So is ResponsibilityArt as Displaced AutobiographyGiving, Not Just TakingHands-On Learning
Part 7A: Advanced Preproduction22 Advanced ResearchResearching for InformationArchival MaterialFair Use and Best PracticesIn Relation to ParticipantsObservation and AccessKeeping NotesObserving CharacterOpen Questions and Leading QuestionsTrustThe Case for SubterfugeCompromising YourselfHands-On Learning
Using the Working Hypothesis to the FullEvidence, Exposition, and Dramatic TensionExpositionThe Problem and Dramatic ConflictVolitionChallenging the Audience to Make JudgmentsCredibility of Evidence, Witnesses, and TestimonyCredibility of Documentary SourcesMaking a Database and Marshaling EvidenceDeciding Central CharactersDefer Choosing ParticipantsWhen in Doubt, Make a RecordingStory DevelopmentList Your Action MaterialDevelop Each Scene’s Dramatic ContentAlternative Structures from a Card GameTry Your Materials Against the Dramatic CurveDeveloping a ProposalThe Demo ReelBe Specific to the FundWriting QualityCategorized InformationTreatmentModel ApplicationHands-On Learning
Workflow and EquipmentChoosing Film or Digital AcquisitionBroadcast HD, Formats, and ScanningFrame Rates and ScanningPicture and Audio CompressionSensor SizeHigh-End Digital Shooting—Uncompressed and RAWConsumer CamerasDigital SoundDouble System SyncPostproductionBudgetingAbove and Below the LineInsurancesBudgeting and Scheduling SoftwareDrawing Up an Equipment ListKeep it SimpleOver-Elaborate EquipmentScheduling the ShootLocations and Shooting OrderShooting in Chronological OrderScheduling for Key ScenesEmotional Demand OrderWeather and Other Contingency CoverageAllocation of Shooting Time Per SceneUnder- or Over-SchedulingThe Call SheetHands-On Learning
The Directing PlanCastingReminders for Each SequenceTest Your AssumptionsObtaining PermissionsTrial ShootingScouting LocationsLogistics and SchedulingLongitudinal DevelopmentLocation PermitsPermissionTripod or Other Camera Support SystemsGuerillas in the MistThe Personal Release FormCrowd Scene ReleasesLegal IssuesPaying ParticipantsCelebritiesPublic ServantsPeople in Dire NeedHands-On Learning
26 OpticsSpace and PerceptionCamera Eye and Human EyeCheating SpaceLens CharacteristicsHow We Use PerspectiveVarying Apparent SeparationManipulating PerspectiveFocal LengthPerspective Changes When Camera-to-Subject Distance ChangesLenses and Image TextureLens SpeedDepthZooming Versus DollyingGetting a Film LookDepth of FieldCompositionStatic CompositionAspects of Visual DesignVisual Rhythm and Images in SuccessionDynamic CompositionInternal and External Composition
Archiving IssuesCompatibilityHiring EquipmentShooting AbroadWorkflowCamera SupportTripod and Pan/Tilt HeadShoulder RigsStabilizersDolliesSettings and OptionsAspect RatioTimecode (TC)High-End Cameras ComparedCamera AccessoriesMatte Box and FiltersLens HoodCamera AestheticsCamera HeightAdapting to Location ExigenciesBackgroundsRevealing SubtextsCompromises for the CameraStrobingCare of People and EquipmentTravel in Wild or Hazardous AreasEmergencies
Shooting Single or Double SystemCreeping SyncUsing the Camera to Record SoundSound RecordersLocation RecordersSound CodecsSound MixersEQ and Roll-OffVolume Unit (VU) MetersWhen the Mixer Feeds into the CameraPeak TestsMultiple Mike InputsPhasingRecording StereoPhantom PowerSmart SlatesSound MonitoringMicrophone TypesCardioidShotgunLavalierWireless MikesMicrophone PlacementLavalierUsing the FishpoleWhat to Rent and What to Own
OutreachProduction DepartmentProducerUnit Production Manager (UPM)Sound and Camera AssistanceSound AssistantsCamera AssistantGripGafferInternsProceduresSync Using a ClapperboardShot IdentificationAlternative Numbering SystemsSyncing Up DailiesShooting LogsThe Countdown to ShootingStarting Without a ClapperHands-On Learning
What Makes Us Feel NormalThe Mind–Body ConnectionDoing What Comes NaturallySelf-Image and Self-ConsciousnessHabits of BeingKeys to Directing PeopleSocial and Formal IssuesAdvantages of the Small CrewHaving or Losing AuthorityUsing Social Times and BreaksSharing in All ThingsCamera Issues and Point of ViewCompromises for the CameraCamera as PassportPoint of View and Motivating the Camera’s MovementsExplaining Multiple Angles on the Same ActionAbstraction and SymbolismSerendipitySubjectivity Versus ObjectivitySpecial Meaning Through FramingUsing ContextCoverageScene Breakdown and Crib NotesEyeline Shifts Motivate CutsReaction Shots and Eyeline ChangesCover Alternative Versions of Important IssuesProduction Stills
First ContactInitial ResearchDeciding About LocationWho InterviewsOne Camera or More?When Others are PresentInterviewing GroupsVox Pops (vox populi, Latin for “voice of the people”)Preparation and Basic SkillsPolitely Setting LimitsMetaphoric ThinkingHuman ConstantsJust Before the InterviewRehearse AloneFree Yourself to ListenPrepare the Camera Operator for Touch-DirectionsWhen Two Matching Shots Must Cut TogetherAgree on Image Size-ChangesVary Zoom SpeedsPreparing the IntervieweeSay What You NeedEstablish Your Right to InterruptCamera and Editing ConsiderationsInterviewer and Camera PlacementWhen the Interviewer Should be On-CameraPreparing to Edit Out the InterviewerIncluding the Question in the AnswerVoice OverlapsVox Populi InterviewsSolving the Need for EllipsisJump CutsCutawaysParallel StorytellingVarying Shot SizesThe Interview BeginsInterviewing and DirectingLead by ExampleLeading Questions and Open QuestionsFocusing QuestionsThe Right Order for Your QuestionsMaintain Eye Contact and Give Behavioral FeedbackAim to Elicit FeelingsGoing Where Angels Fear to TreadTemptations When InterviewingHaving PowerWitnessingThe Interviewer’s NightmareDummy RunInterviewing in DepthCrossing ThresholdsSilence is Your Most Powerful InstrumentDon’t Catch Them When They FallPrivileged Moments and BeatsBeing Adversarial Without Giving OffenseThe Devil’s Advocate ApproachStarting from Generalized CommentSeeking Briefer VersionsTriggering Unfinished BusinessConcluding the InterviewInvitation to Add Anything Not CoveredThe ReleaseInterviewing Self-AssessmentGoing Further: “Inward Journey” MonologuesHands-On Learning
32 From Transcript to AssemblyWhat You Need for TranscriptsAccurate TranscriptionsTimecode (TC)Line NumberingUsing a DatabaseSelecting and Assembling Transcript MaterialsFrom Paper Edit to First AssemblyLiteral and Non-Literal CommentsTreating Your Audience as EqualsGive Action Preference over Words
Narration Pros and ConsVoiceDrawbacksProblems Narration Can SolveComparing Ways to Create NarrationMethod A—Reading from a ScriptMethod B—ImprovisationMethod A: Creating the Scripted NarrationWritingTiming and SyntaxAccommodating Sound FeaturesComplement, Don’t DuplicateTrying it Out: The Scratch RecordingNarration: Auditioning and RecordingA Script for the NarratorConversing and Reading Aloud are DifferentVoice AuditionsRecording and Directing the NarratorAcoustic SettingReadingMethod B: Creating the Improvised NarrationSimple InterviewImprovising from a Rough ScriptImprovising from an Assumed IdentityRecording Presence TrackSecrets of Fitting NarrationUsing the First Word’s Power on a New ImageOperative Words
Where to Use MusicUsing Music to Reveal Hidden DimensionsMusic MisusedHelping to Indicate Narrative StructureHelping to Indicate Emotional DepthsMusic as Storyteller VoiceStarting and Stopping MusicStock MusicSpotting SessionLibraries and CopyrightWorking with a ComposerChoosing a ComposerWhen the Composer Comes on BoardWhen there is a Temp TrackDiscussing a Music Cue ListCompiling Music CuesUnifying Through TimeKeys in Diegetic and Non-Diegetic MusicConflicts and Composing to Sync PointsConductor NeedsLive Music SessionMusic in PostproductionFitting MusicThe Sound Mix
Editing Rhythms: An Analogy in MusicHarmonyCounterpointDissonanceUsing your Instincts While EditingUsing Trial AudiencesSubtexts and Making the Visible SignificantWhen Instincts Aren’t EnoughUsing the Diagnostics AgainDiagnostic LogTurning your Film into Playing CardsDealing with Multiple EndingsMore Trial AudiencesLengthFear of Failure
36 Developing a CareerWill I Find Work to Pay My Bills?On GraduatingNetworkingCraftspersonYour Demo Reel for Getting WorkUploadingYou, on the WebMaking a Job for YourselfThe Search for SubjectsStudy the CompetitionPractice your PitchThe Demo Reel for a Particular ProposalDocumentary ProposalsUsing FestivalsThe Importance of Short FilmsSeeking Job InformationInformational InterviewsOn Getting a Work Interview
Starting a BusinessIncorporatingFor-Profit or Nonprofit?Fiscal SponsorshipSeeking FundsCurrent InformationKickstarterCaveatsFunds and FoundationsSurvey OrganizationsTod Lending on ProposalsFunding OrganizationsBroadcast OrganizationsGovernment AgenciesMarketing and DistributionA Personal Message

Content preview from Directing the Documentary, 6th Edition

EDITING FROM FINE CUT TO FESTIVAL

Cautious filmmakers do not call the last editing stage “the final cut,” but the fine cut since it usually still needs minor changes and accommodations. Most of these arise from laying music, after which comes picture lock, when the film is deemed ready for tracklaying in preparation for the sound mix. If you are commissioning original music, the picture lock stage is when you should work with your composer (see the description of that process in Chapter 34: Using Music and Working with a Composer).

CHECK ALL SOURCE MATERIAL

As you near fine cut, review all your dailies to make sure you’ve overlooked nothing useful. Time consuming though this is, you will surely have one ...