| Preface to the seventh edition |
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xxxiii | |
| Contents of companion website |
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xxxvii | |
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PART 1 YOU AND YOUR IDEAS |
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1 YOU AND FILM AUTHORSHIP |
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5 | (14) |
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5 | (1) |
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5 | (1) |
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Unfinished business: how we are marked by life |
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6 | (2) |
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6 | (1) |
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AP-1 Self-inventory (marks and themes) |
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7 | (1) |
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7 | (1) |
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8 | (1) |
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AP-3 What is the family drama? |
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8 | (1) |
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8 | (7) |
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Witnessing with the future box |
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9 | (1) |
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10 | (1) |
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Working for social change |
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11 | (1) |
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11 | (1) |
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Learning from what you shoot |
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12 | (1) |
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12 | (2) |
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Universal versus parochial |
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14 | (1) |
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14 | (1) |
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A prelude to directing fiction |
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15 | (1) |
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15 | (3) |
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15 | (1) |
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16 | (1) |
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16 | (1) |
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17 | (1) |
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17 | (1) |
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18 | (1) |
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2 The Nature of Documentary |
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19 | (12) |
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19 | (3) |
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20 | (1) |
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20 | (1) |
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An oral tale with a purpose |
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21 | (1) |
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21 | (1) |
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22 | (1) |
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22 | (3) |
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23 | (1) |
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23 | (1) |
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24 | (1) |
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24 | (1) |
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25 | (1) |
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Testing for documentary values |
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25 | (2) |
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27 | (1) |
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The artistic process and your individual voice |
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27 | (1) |
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27 | (1) |
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Privacy and competition issues |
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28 | (1) |
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28 | (1) |
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28 | (3) |
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PART 2 DOCUMENTARIES AND FILM LANGUAGE |
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3 How the Documentary Developed |
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31 | (32) |
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Technology and screen language |
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31 | (1) |
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31 | (7) |
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How documentary emerged from nonfiction cinema |
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38 | (1) |
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39 | (1) |
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40 | (2) |
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Sound comes to the documentary |
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42 | (3) |
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Essay films and travelogues |
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42 | (3) |
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45 | (4) |
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Direct cinema (observational documentary) |
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45 | (2) |
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Participatory documentary |
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47 | (1) |
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Patience and privileged moments |
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47 | (1) |
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48 | (1) |
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The ascendency of editing |
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49 | (1) |
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Objectivity or subjectivity? |
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49 | (1) |
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49 | (1) |
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Video and digital technology |
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49 | (1) |
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50 | (10) |
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50 | (1) |
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50 | (2) |
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52 | (1) |
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53 | (2) |
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55 | (1) |
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56 | (3) |
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59 | (1) |
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60 | (2) |
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60 | (1) |
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61 | (1) |
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61 | (1) |
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62 | (1) |
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63 | (10) |
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The "contract" and exposition |
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63 | (1) |
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64 | (3) |
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Documentary is not reality, but a construct |
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64 | (1) |
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64 | (1) |
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Objectivity, balanced reporting, and propaganda |
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65 | (1) |
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66 | (1) |
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67 | (1) |
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Dramatic terms and principles |
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67 | (3) |
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Active characters in conflict |
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67 | (1) |
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68 | (1) |
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68 | (1) |
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Convictions and a working hypothesis |
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68 | (1) |
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Finding conflict in real life |
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68 | (1) |
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AP-16 Conflict and sub-conflict |
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68 | (1) |
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Character-driven and plot-driven stories |
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69 | (1) |
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69 | (1) |
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70 | (1) |
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70 | (1) |
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70 | (1) |
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The three-act story structure |
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71 | (1) |
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72 | (1) |
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5 Story Elements and Film Grammar |
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73 | (22) |
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Perception and making stories |
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73 | (1) |
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AP-15 Profiling a location |
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73 | (1) |
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Screen language mimics consciousness |
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74 | (1) |
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Documentary ingredients and human awareness |
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75 | (4) |
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Shots are like the human gaze |
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76 | (1) |
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77 | (1) |
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78 | (1) |
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79 | (1) |
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Motivated camera movements and cuts |
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79 | (1) |
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Denotation and connotation |
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79 | (1) |
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The camera in relation to action |
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79 | (4) |
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The actor and the acted-upon |
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79 | (1) |
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80 | (1) |
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80 | (1) |
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SP-19 Covering a discussion |
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80 | (1) |
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Hidden agendas and subtexts |
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81 | (1) |
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81 | (1) |
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82 | (1) |
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Looking at and looking through |
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82 | (1) |
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83 | (4) |
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Subject-to-subject or scene axis |
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83 | (1) |
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Camera-to-subject or camera axis |
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84 | (1) |
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84 | (1) |
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85 | (1) |
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Changing screen direction |
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86 | (1) |
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Shot duration, rhythm, and demand on the audience |
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87 | (1) |
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87 | (1) |
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87 | (1) |
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87 | (1) |
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Rhythms help us concentrate |
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87 | (1) |
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87 | (1) |
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Sequences as building blocks |
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88 | (1) |
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88 | (1) |
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Transitions and transitional devices |
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89 | (1) |
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89 | (1) |
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89 | (1) |
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89 | (1) |
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Dual roles: observer and storyteller |
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90 | (1) |
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90 | (1) |
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90 | (1) |
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Conflicts between the two |
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91 | (1) |
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91 | (4) |
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95 | (18) |
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95 | (1) |
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Beginning the writing process |
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95 | (1) |
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96 | (5) |
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96 | (1) |
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96 | (1) |
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97 | (1) |
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98 | (1) |
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98 | (1) |
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99 | (1) |
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99 | (1) |
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100 | (1) |
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101 | (1) |
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Social science and social history |
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101 | (1) |
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101 | (1) |
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101 | (1) |
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102 | (1) |
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Don't bite off more than you can chew |
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102 | (1) |
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103 | (1) |
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Choosing a central character |
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103 | (1) |
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104 | (1) |
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Locating and raising the stakes |
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104 | (2) |
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105 | (1) |
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Using the medium to stir feelings |
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106 | (2) |
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106 | (1) |
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107 | (1) |
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Testing for cinematic qualities |
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107 | (1) |
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107 | (1) |
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108 | (1) |
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108 | (3) |
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108 | (1) |
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109 | (1) |
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110 | (1) |
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111 | (1) |
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111 | (1) |
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111 | (2) |
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7 Hypothesis, Research and Plan |
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113 | (18) |
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113 | (1) |
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113 | (1) |
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Don't commit without planning |
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113 | (1) |
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113 | (1) |
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114 | (1) |
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Outlining a working hypothesis |
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114 | (2) |
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Project DP-12 developing a short working hypothesis (Book I) |
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116 | (2) |
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118 | (5) |
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Decide research methods according to subject |
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118 | (1) |
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119 | (1) |
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119 | (1) |
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120 | (1) |
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Open and leading questions |
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120 | (1) |
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When research is mission impossible |
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120 | (1) |
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120 | (1) |
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121 | (1) |
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Filming organizations or institutions |
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121 | (1) |
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Documentaries evolve from relationships |
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121 | (1) |
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122 | (1) |
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123 | (1) |
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123 | (1) |
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123 | (1) |
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124 | (1) |
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Fair use and best practices |
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124 | (1) |
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Choosing important characters |
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124 | (2) |
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125 | (1) |
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125 | (1) |
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Consolidating research into a plan |
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126 | (1) |
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127 | (1) |
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Making a content inventory |
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127 | (1) |
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Accentuating style and content |
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127 | (1) |
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Project DP-1: dramatic content helper |
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128 | (1) |
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128 | (3) |
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8 Developing Ideas for a Short Documentary |
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131 | (6) |
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131 | (3) |
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131 | (1) |
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132 | (1) |
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133 | (1) |
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134 | (1) |
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134 | (1) |
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134 | (1) |
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The Smallest in the Litter |
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134 | (1) |
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134 | (1) |
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135 | (1) |
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135 | (1) |
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135 | (1) |
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135 | (1) |
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136 | (1) |
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136 | (1) |
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137 | (6) |
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Documentary roles and responsibilities |
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137 | (3) |
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137 | (1) |
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Director of photography (DP), and/or camera operator |
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138 | (1) |
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139 | (1) |
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140 | (3) |
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141 | (1) |
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Put commitments in writing |
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141 | (2) |
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PART 4 PRODUCTION WORKFLOW |
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143 | (72) |
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145 | (20) |
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Sound design and soundscapes |
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145 | (3) |
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Sound terms and procedures |
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148 | (1) |
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Acoustics and the hand-clap test |
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148 | (1) |
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Headphones to monitor your work |
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148 | (1) |
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Signal, noise and signal-to-noise ratio |
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148 | (1) |
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149 | (1) |
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149 | (1) |
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Signal decay over distance |
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150 | (1) |
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150 | (1) |
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150 | (2) |
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150 | (1) |
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Microphone axis and directionality |
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151 | (1) |
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151 | (1) |
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151 | (1) |
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Sound environments and signal-to-noise ratio |
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152 | (1) |
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Why sound consistency matters |
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152 | (1) |
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153 | (2) |
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153 | (1) |
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Balanced and unbalanced inputs |
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153 | (1) |
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154 | (1) |
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154 | (1) |
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154 | (1) |
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Setting sound levels manually |
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155 | (1) |
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155 | (1) |
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Microphone types and pickup patterns |
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155 | (3) |
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156 | (1) |
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156 | (1) |
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156 | (1) |
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156 | (1) |
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156 | (1) |
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Lavalier, lapel, or body mics |
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157 | (1) |
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157 | (1) |
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157 | (1) |
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157 | (1) |
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158 | (1) |
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Spares, accessories and first aid |
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158 | (1) |
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158 | (3) |
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158 | (1) |
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Windscreens and shock mounts |
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158 | (2) |
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When sound and picture subjects diverge |
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160 | (1) |
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The recordist in contact with camera operator |
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160 | (1) |
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161 | (1) |
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161 | (1) |
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161 | (1) |
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Location spotting and ambient noise |
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161 | (1) |
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162 | (1) |
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162 | (1) |
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162 | (1) |
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162 | (1) |
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162 | (2) |
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How the editor uses presence tracks |
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162 | (1) |
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163 | (1) |
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163 | (1) |
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163 | (1) |
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164 | (1) |
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164 | (1) |
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165 | (12) |
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165 | (1) |
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165 | (1) |
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165 | (1) |
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166 | (4) |
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Light quality and lighting instruments |
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166 | (2) |
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168 | (1) |
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169 | (1) |
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Light emitting diodes (LEDs) |
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169 | (1) |
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169 | (1) |
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170 | (1) |
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Power requirements vary by instrument |
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170 | (1) |
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170 | (1) |
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170 | (1) |
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Why you may need lighting |
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170 | (1) |
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171 | (1) |
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Exposure and depth of field |
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171 | (1) |
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Avoiding the over-bright background |
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171 | (1) |
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171 | (3) |
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171 | (1) |
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172 | (1) |
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173 | (1) |
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173 | (1) |
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173 | (1) |
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174 | (1) |
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Two basic lighting methods |
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174 | (2) |
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174 | (1) |
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174 | (1) |
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175 | (1) |
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175 | (1) |
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176 | (1) |
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177 | (24) |
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177 | (3) |
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DSLR cameras and timecode |
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177 | (1) |
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178 | (1) |
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178 | (1) |
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179 | (1) |
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180 | (1) |
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180 | (1) |
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Golden rule #1, test it first |
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180 | (1) |
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Golden rule #2, prepare for the worst |
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180 | (1) |
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Color balancing the camera |
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180 | (2) |
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180 | (1) |
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181 | (1) |
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181 | (1) |
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181 | (1) |
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Manually set or customized |
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181 | (1) |
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181 | (1) |
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Shooting under mixed color temperatures |
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181 | (1) |
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Can't I fix color in postproduction? |
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182 | (1) |
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182 | (2) |
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182 | (1) |
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182 | (1) |
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182 | (1) |
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183 | (1) |
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184 | (1) |
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184 | (1) |
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184 | (1) |
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184 | (1) |
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184 | (1) |
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184 | (2) |
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185 | (1) |
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185 | (1) |
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185 | (1) |
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185 | (1) |
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185 | (1) |
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185 | (1) |
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185 | (1) |
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186 | (1) |
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Focus and depth of field (DOF) |
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187 | (2) |
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187 | (1) |
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188 | (1) |
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188 | (1) |
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188 | (1) |
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Focus and depth of field (DOF) |
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188 | (1) |
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189 | (1) |
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189 | (4) |
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189 | (1) |
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190 | (1) |
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191 | (1) |
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191 | (2) |
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193 | (1) |
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Coverage and composing the shot |
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193 | (2) |
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193 | (1) |
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193 | (1) |
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194 | (1) |
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194 | (1) |
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Covering two people standing in conversation |
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194 | (1) |
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Shooting with safety coverage in mind |
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195 | (1) |
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196 | (4) |
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196 | (1) |
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Check and recheck composition |
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197 | (1) |
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Camera operator's interior monologue |
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197 | (1) |
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Camera Operator's body mechanics |
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197 | (1) |
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198 | (1) |
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198 | (1) |
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Walking a handheld camera |
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198 | (1) |
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Test your handheld tracking skills |
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198 | (1) |
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199 | (1) |
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Operating with editing in mind |
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199 | (1) |
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199 | (1) |
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200 | (1) |
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Camera operator's checklist |
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200 | (1) |
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200 | (1) |
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13 Directing and Interviewing |
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201 | (14) |
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201 | (2) |
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201 | (1) |
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202 | (1) |
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202 | (1) |
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202 | (1) |
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203 | (5) |
|
|
|
203 | (1) |
|
Who is responsible for what |
|
|
203 | (1) |
|
|
|
203 | (1) |
|
|
|
203 | (1) |
|
|
|
203 | (1) |
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|
204 | (1) |
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|
|
204 | (1) |
|
|
|
204 | (1) |
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|
|
204 | (1) |
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|
|
204 | (1) |
|
Communicating with the Crew |
|
|
204 | (1) |
|
|
|
204 | (1) |
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205 | (1) |
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|
|
205 | (1) |
|
|
|
205 | (1) |
|
|
|
205 | (1) |
|
|
|
205 | (1) |
|
Securing the personal release |
|
|
206 | (1) |
|
|
|
206 | (2) |
|
|
|
208 | (1) |
|
Sound and camera for interviewing |
|
|
209 | (2) |
|
|
|
209 | (1) |
|
|
|
209 | (2) |
|
|
|
211 | (1) |
|
|
|
211 | (1) |
|
|
|
211 | (1) |
|
|
|
211 | (1) |
|
|
|
211 | (1) |
|
Valid and invalid questioning |
|
|
211 | (1) |
|
Press for detail, pursue leads |
|
|
211 | (1) |
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|
|
212 | (1) |
|
|
|
212 | (1) |
|
|
|
212 | (3) |
|
|
|
|
14 Creating the First Assembly |
|
|
215 | (18) |
|
|
|
215 | (3) |
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|
|
215 | (1) |
|
|
|
215 | (1) |
|
|
|
216 | (1) |
|
Forestalling workflow problems |
|
|
216 | (1) |
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216 | (2) |
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218 | (1) |
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|
|
218 | (1) |
|
|
|
218 | (1) |
|
|
|
218 | (1) |
|
|
|
219 | (1) |
|
|
|
219 | (1) |
|
Workaround solutions to transcribing |
|
|
219 | (1) |
|
Transcripts can be misleading |
|
|
219 | (1) |
|
|
|
219 | (1) |
|
Beginning the editing process |
|
|
220 | (2) |
|
|
|
220 | (1) |
|
Organizing source material |
|
|
220 | (1) |
|
Double-system synchronizing |
|
|
221 | (1) |
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221 | (1) |
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|
222 | (1) |
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|
222 | (1) |
|
Editor and director's viewing session |
|
|
222 | (1) |
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|
|
222 | (1) |
|
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|
222 | (1) |
|
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|
222 | (5) |
|
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|
222 | (1) |
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|
223 | (1) |
|
Time and structural alternatives |
|
|
223 | (1) |
|
Stories need dramatic tension |
|
|
224 | (1) |
|
Finding an action-determined structure |
|
|
224 | (1) |
|
Perils of speech-based narrative structures |
|
|
225 | (1) |
|
|
|
225 | (1) |
|
Make use of classical tales |
|
|
226 | (1) |
|
|
|
226 | (1) |
|
|
|
227 | (2) |
|
The only film is in the dailies |
|
|
227 | (1) |
|
|
|
227 | (1) |
|
Seeking a visually driven film |
|
|
227 | (1) |
|
|
|
227 | (1) |
|
|
|
228 | (1) |
|
|
|
228 | (1) |
|
|
|
229 | (1) |
|
|
|
229 | (1) |
|
Facing the first assembly |
|
|
229 | (1) |
|
|
|
229 | (1) |
|
Recognizing your film's ideal length |
|
|
229 | (1) |
|
|
|
230 | (1) |
|
What works and what doesn't |
|
|
231 | (1) |
|
The documentarian as dramatist |
|
|
231 | (1) |
|
|
|
231 | (1) |
|
What next, when the dust settles? |
|
|
231 | (1) |
|
|
|
232 | (1) |
|
|
|
233 | (14) |
|
Compressing and juxtaposing |
|
|
233 | (3) |
|
Elision and visual rhythm |
|
|
233 | (1) |
|
Cutting between sequences |
|
|
233 | (1) |
|
Cutting within a sequence |
|
|
234 | (1) |
|
|
|
234 | (1) |
|
|
|
235 | (1) |
|
|
|
235 | (1) |
|
Using fast or slow motion |
|
|
235 | (1) |
|
|
|
235 | (1) |
|
|
|
236 | (1) |
|
Unifying material into a flow |
|
|
236 | (1) |
|
The audience as active participants |
|
|
236 | (1) |
|
|
|
236 | (4) |
|
Mono- and bi-directional attention |
|
|
237 | (1) |
|
|
|
237 | (1) |
|
|
|
238 | (1) |
|
|
|
238 | (1) |
|
Transitions between sequences |
|
|
239 | (1) |
|
Anticipatory or holdover sound |
|
|
239 | (1) |
|
|
|
240 | (1) |
|
|
|
241 | (3) |
|
Making a diagnostic flow chart |
|
|
241 | (2) |
|
|
|
243 | (1) |
|
Surviving your critics and using what they say |
|
|
243 | (1) |
|
|
|
244 | (1) |
|
Caveats before participant viewings |
|
|
244 | (1) |
|
The uses of procrastination |
|
|
245 | (1) |
|
|
|
245 | (1) |
|
|
|
245 | (2) |
|
16 Fine Cut, Music, Audio and Color Correction |
|
|
247 | (17) |
|
|
|
247 | (1) |
|
|
|
247 | (1) |
|
Looking ahead to the sound mix |
|
|
247 | (1) |
|
|
|
247 | (3) |
|
|
|
248 | (1) |
|
Psychoacoustics and functions of sound |
|
|
248 | (1) |
|
|
|
249 | (1) |
|
Post-synchronizing dialogue (aka "automatic dialogue replacement" or ADR) |
|
|
249 | (1) |
|
Recreating sound effects (SFX) |
|
|
249 | (1) |
|
|
|
250 | (1) |
|
|
|
250 | (2) |
|
Revealing hidden dimensions |
|
|
250 | (1) |
|
Helping narrative structure |
|
|
251 | (1) |
|
Indicating emotional depths |
|
|
251 | (1) |
|
|
|
252 | (1) |
|
Finding ready-recorded music |
|
|
252 | (1) |
|
|
|
252 | (1) |
|
|
|
253 | (1) |
|
|
|
253 | (1) |
|
Starting and stopping music sections |
|
|
253 | (1) |
|
|
|
253 | (1) |
|
|
|
253 | (1) |
|
|
|
253 | (1) |
|
Attack-sustain-decay cutting |
|
|
253 | (1) |
|
|
|
254 | (1) |
|
|
|
254 | (1) |
|
|
|
254 | (1) |
|
|
|
254 | (1) |
|
|
|
254 | (2) |
|
|
|
255 | (1) |
|
|
|
255 | (1) |
|
|
|
255 | (1) |
|
|
|
255 | (1) |
|
|
|
255 | (1) |
|
|
|
255 | (1) |
|
|
|
256 | (1) |
|
|
|
256 | (1) |
|
|
|
256 | (1) |
|
Color correction and grading |
|
|
256 | (2) |
|
|
|
256 | (1) |
|
|
|
257 | (1) |
|
|
|
257 | (1) |
|
|
|
258 | (1) |
|
|
|
258 | (1) |
|
|
|
258 | (1) |
|
|
|
258 | (1) |
|
|
|
258 | (1) |
|
|
|
258 | (1) |
|
|
|
258 | (1) |
|
|
|
259 | (1) |
|
|
|
259 | (1) |
|
Transcript and subtitling |
|
|
259 | (1) |
|
Closed captions and audio descriptions |
|
|
259 | (1) |
|
|
|
260 | (1) |
|
|
|
260 | (1) |
|
|
|
260 | (1) |
|
Competitions and festivals |
|
|
260 | (4) |
|
BOOK II ADVANCED CONCEPTS |
|
|
|
PART 6 Documentary Aesthetics |
|
|
|
|
|
264 | (3) |
|
|
|
264 | (1) |
|
Give yourself a storytelling role to play |
|
|
264 | (3) |
|
17 Point of View and Storytelling |
|
|
267 | (18) |
|
Monological versus dialogical films |
|
|
267 | (1) |
|
|
|
267 | (4) |
|
Film, literature, and graphic art |
|
|
267 | (1) |
|
|
|
268 | (1) |
|
Using your emotional self |
|
|
268 | (1) |
|
|
|
269 | (1) |
|
Observational or participatory approach |
|
|
269 | (1) |
|
Overview of generating POVs |
|
|
270 | (1) |
|
Range of POV on the screen |
|
|
271 | (11) |
|
Single POV (character in the film) |
|
|
271 | (2) |
|
Multiple characters' POVs within the film |
|
|
273 | (1) |
|
|
|
274 | (1) |
|
|
|
275 | (3) |
|
Reflexivity and representation |
|
|
278 | (3) |
|
|
|
281 | (1) |
|
Film language and the authorial voice |
|
|
282 | (1) |
|
|
|
282 | (1) |
|
Storyteller and POV question checklist |
|
|
282 | (1) |
|
|
|
283 | (2) |
|
18 Dramatic Development, Time and Story Structure |
|
|
285 | (30) |
|
Plots and their central characters |
|
|
285 | (4) |
|
Plot and the rules of the universe |
|
|
285 | (1) |
|
|
|
286 | (1) |
|
|
|
286 | (1) |
|
|
|
286 | (1) |
|
|
|
287 | (1) |
|
|
|
287 | (2) |
|
|
|
289 | (3) |
|
|
|
289 | (1) |
|
Four- and five-act structures |
|
|
290 | (1) |
|
|
|
290 | (1) |
|
Begin any analysis by pinpointing the crisis |
|
|
291 | (1) |
|
Applying dramatic analysis to directing documentary |
|
|
291 | (1) |
|
Scenes are dramas in microcosm |
|
|
292 | (2) |
|
|
|
292 | (1) |
|
|
|
292 | (1) |
|
|
|
293 | (1) |
|
A scene may contain one dramatic unit or several |
|
|
294 | (1) |
|
Inhalation and exhalation |
|
|
294 | (1) |
|
The director as dramatist |
|
|
294 | (1) |
|
|
|
295 | (2) |
|
Preparing for the predictable |
|
|
296 | (1) |
|
|
|
297 | (1) |
|
Drama, chronology and the documentary |
|
|
297 | (8) |
|
|
|
297 | (1) |
|
|
|
298 | (1) |
|
|
|
299 | (1) |
|
|
|
300 | (1) |
|
|
|
301 | (3) |
|
|
|
304 | (1) |
|
|
|
305 | (7) |
|
|
|
305 | (1) |
|
|
|
305 | (2) |
|
|
|
307 | (2) |
|
|
|
309 | (2) |
|
|
|
311 | (1) |
|
|
|
312 | (1) |
|
|
|
312 | (1) |
|
When no time-structure predominates |
|
|
312 | (1) |
|
|
|
312 | (2) |
|
|
|
314 | (1) |
|
19 Form, Style and Creativity |
|
|
315 | (10) |
|
|
|
315 | (4) |
|
Form and style in documentary |
|
|
315 | (1) |
|
|
|
316 | (1) |
|
|
|
317 | (1) |
|
Stylizing actuality and stylized actuality |
|
|
317 | (1) |
|
|
|
318 | (1) |
|
|
|
319 | (4) |
|
|
|
319 | (3) |
|
Project DP-14 form and style worksheet |
|
|
322 | (1) |
|
|
|
323 | (2) |
|
20 Reconstruction, Re-Enactment and Docudrama |
|
|
325 | (10) |
|
Documentary reconstruction |
|
|
325 | (2) |
|
Subjective reconstruction |
|
|
325 | (1) |
|
Historical reconstruction |
|
|
326 | (1) |
|
|
|
327 | (2) |
|
|
|
328 | (1) |
|
|
|
328 | (1) |
|
|
|
329 | (1) |
|
|
|
329 | (1) |
|
|
|
329 | (1) |
|
Fake documentaries and mockumentaries |
|
|
330 | (2) |
|
Documentary and its fiction counterparts |
|
|
332 | (1) |
|
|
|
332 | (3) |
|
|
|
335 | (12) |
|
|
|
335 | (1) |
|
|
|
336 | (1) |
|
|
|
336 | (2) |
|
|
|
336 | (1) |
|
|
|
336 | (1) |
|
Behalfers speaking for others |
|
|
337 | (1) |
|
|
|
338 | (2) |
|
|
|
339 | (1) |
|
|
|
339 | (1) |
|
|
|
339 | (1) |
|
|
|
340 | (1) |
|
|
|
340 | (1) |
|
Ethical conflicts in the field |
|
|
340 | (2) |
|
Film is collaborative, so is responsibility |
|
|
341 | (1) |
|
Art as displaced autobiography |
|
|
341 | (1) |
|
|
|
342 | (1) |
|
|
|
342 | (5) |
|
PART 7 ADVANCED PRODUCTION ISSUES |
|
|
|
PART 7A ADVANCED PREPRODUCTION |
|
|
|
22 Handling Larger Projects |
|
|
347 | (8) |
|
|
|
347 | (1) |
|
|
|
347 | (1) |
|
Unit production manager (UPM) |
|
|
348 | (1) |
|
Sound and camera assistants |
|
|
348 | (1) |
|
|
|
348 | (1) |
|
|
|
348 | (1) |
|
|
|
348 | (1) |
|
|
|
348 | (1) |
|
|
|
349 | (1) |
|
|
|
349 | (1) |
|
|
|
349 | (1) |
|
Who is responsible for what |
|
|
349 | (1) |
|
|
|
349 | (1) |
|
|
|
350 | (1) |
|
Procedures for larger units |
|
|
350 | (3) |
|
Sync using a clapperboard |
|
|
350 | (1) |
|
|
|
350 | (1) |
|
|
|
350 | (1) |
|
|
|
351 | (1) |
|
Alternative numbering systems |
|
|
351 | (1) |
|
|
|
351 | (1) |
|
Cumulative setup/Take system |
|
|
351 | (1) |
|
|
|
351 | (1) |
|
|
|
351 | (1) |
|
|
|
351 | (1) |
|
File naming and metadata editing |
|
|
351 | (1) |
|
|
|
352 | (1) |
|
|
|
352 | (1) |
|
The countdown to shooting |
|
|
352 | (1) |
|
Starting without a clapper |
|
|
352 | (1) |
|
|
|
352 | (1) |
|
|
|
352 | (1) |
|
|
|
353 | (1) |
|
|
|
353 | (2) |
|
23 Relations With Participants, Story Development and Funding Proposals |
|
|
355 | (16) |
|
Relations with participants |
|
|
355 | (1) |
|
|
|
355 | (2) |
|
|
|
355 | (1) |
|
|
|
356 | (1) |
|
|
|
356 | (1) |
|
Accuracy and verification |
|
|
356 | (1) |
|
|
|
356 | (1) |
|
|
|
357 | (1) |
|
|
|
357 | (3) |
|
|
|
357 | (1) |
|
When deception is justified |
|
|
357 | (1) |
|
|
|
358 | (1) |
|
Project DP-13 Using the full working hypothesis (Book II) |
|
|
358 | (2) |
|
Exposition, evidence, and dramatic tension |
|
|
360 | (3) |
|
|
|
360 | (1) |
|
|
|
360 | (1) |
|
|
|
360 | (1) |
|
Challenging the audience to make judgments |
|
|
361 | (1) |
|
Credibility of witnesses and testimony |
|
|
361 | (1) |
|
|
|
362 | (1) |
|
Making a database and marshaling evidence |
|
|
363 | (1) |
|
Deciding central characters |
|
|
363 | (1) |
|
Defer choosing participants |
|
|
363 | (1) |
|
When in doubt, decide from a recording |
|
|
364 | (1) |
|
|
|
364 | (1) |
|
List your action material |
|
|
364 | (1) |
|
Develop each scene's dramatic content |
|
|
364 | (1) |
|
Alternative structures from a card game |
|
|
364 | (1) |
|
Try your materials against the dramatic curve |
|
|
365 | (1) |
|
|
|
365 | (5) |
|
|
|
367 | (1) |
|
|
|
367 | (1) |
|
|
|
367 | (1) |
|
|
|
368 | (1) |
|
|
|
369 | (1) |
|
|
|
369 | (1) |
|
|
|
370 | (1) |
|
|
|
370 | (1) |
|
24 Advanced Technology, Budgeting, Scheduling |
|
|
371 | (14) |
|
|
|
371 | (1) |
|
|
|
372 | (1) |
|
Resolutions, frame rates and formats |
|
|
372 | (5) |
|
|
|
373 | (1) |
|
|
|
373 | (1) |
|
|
|
373 | (1) |
|
|
|
374 | (1) |
|
|
|
374 | (1) |
|
|
|
375 | (1) |
|
|
|
375 | (1) |
|
|
|
376 | (1) |
|
|
|
376 | (1) |
|
|
|
377 | (1) |
|
|
|
378 | (2) |
|
|
|
379 | (1) |
|
|
|
379 | (1) |
|
Budgeting and scheduling software |
|
|
380 | (1) |
|
Drawing up an equipment list |
|
|
380 | (1) |
|
|
|
380 | (1) |
|
|
|
381 | (1) |
|
|
|
381 | (2) |
|
Locations and shooting order |
|
|
382 | (1) |
|
Shooting in chronological order |
|
|
382 | (1) |
|
Scheduling for key scenes |
|
|
382 | (1) |
|
|
|
382 | (1) |
|
Weather and other contingency coverage |
|
|
382 | (1) |
|
Allocation of shooting time per scene |
|
|
383 | (1) |
|
Under- or over-scheduling |
|
|
383 | (1) |
|
|
|
383 | (1) |
|
|
|
383 | (2) |
|
25 Preparations Before Directing |
|
|
385 | (12) |
|
|
|
385 | (2) |
|
|
|
385 | (1) |
|
Reminders for each sequence |
|
|
385 | (1) |
|
|
|
385 | (1) |
|
|
|
386 | (1) |
|
|
|
386 | (1) |
|
|
|
386 | (1) |
|
|
|
386 | (1) |
|
|
|
386 | (1) |
|
|
|
387 | (1) |
|
|
|
387 | (1) |
|
|
|
387 | (1) |
|
|
|
387 | (1) |
|
|
|
387 | (1) |
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387 | (1) |
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387 | (1) |
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388 | (1) |
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388 | (1) |
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388 | (1) |
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388 | (1) |
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388 | (1) |
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388 | (1) |
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389 | (1) |
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390 | (1) |
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390 | (1) |
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390 | (1) |
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390 | (1) |
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390 | (1) |
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Tripod or other camera support systems |
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390 | (1) |
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390 | (1) |
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The personal release form |
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391 | (1) |
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391 | (1) |
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391 | (1) |
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392 | (1) |
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392 | (1) |
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393 | (1) |
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393 | (4) |
|
PART 7B ADVANCED PRODUCTION |
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397 | (14) |
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397 | (1) |
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397 | (1) |
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397 | (1) |
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398 | (4) |
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398 | (1) |
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Varying apparent separation |
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399 | (1) |
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399 | (1) |
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399 | (1) |
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Perspective changes when camera-to-subject distance changes |
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399 | (2) |
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401 | (1) |
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401 | (1) |
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402 | (2) |
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402 | (1) |
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402 | (1) |
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403 | (1) |
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403 | (1) |
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Split-field diopters and tilt-shift lenses |
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404 | (1) |
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404 | (6) |
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405 | (1) |
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406 | (1) |
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Images in succession and visual rhythm |
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406 | (1) |
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406 | (4) |
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Internal and external composition |
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410 | (1) |
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410 | (1) |
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27 Advanced Cameras and Support Equipment |
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411 | (20) |
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411 | (1) |
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411 | (1) |
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411 | (1) |
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412 | (1) |
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412 | (1) |
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412 | (3) |
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413 | (1) |
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413 | (1) |
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Choosing a camera and comparing criteria |
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414 | (1) |
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415 | (5) |
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415 | (1) |
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416 | (2) |
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418 | (1) |
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418 | (1) |
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418 | (2) |
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420 | (1) |
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420 | (1) |
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420 | (1) |
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420 | (2) |
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421 | (1) |
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421 | (1) |
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422 | (1) |
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Shooting formats and "the look" |
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422 | (4) |
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The final "look" starts in preproduction |
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422 | (1) |
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Shooting format and visual flexibility |
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422 | (1) |
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Standard HD and Cine Gamma |
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423 | (1) |
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424 | (1) |
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424 | (1) |
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424 | (1) |
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425 | (1) |
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426 | (1) |
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426 | (1) |
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427 | (1) |
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427 | (2) |
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427 | (1) |
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Adapting to location exigencies |
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427 | (1) |
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427 | (1) |
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427 | (1) |
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Compromises for the camera |
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428 | (1) |
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429 | (1) |
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Care of people and equipment |
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429 | (2) |
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Travel in wild or hazardous areas |
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429 | (1) |
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429 | (2) |
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28 Advanced Location Sound |
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431 | (10) |
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431 | (1) |
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Single- or double-system recording |
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432 | (2) |
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432 | (2) |
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434 | (1) |
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Using the camera to record sound |
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434 | (1) |
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434 | (3) |
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434 | (1) |
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435 | (1) |
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436 | (1) |
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436 | (1) |
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436 | (1) |
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436 | (1) |
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436 | (1) |
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436 | (1) |
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437 | (1) |
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437 | (1) |
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437 | (1) |
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437 | (1) |
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Microphone types and placement tips |
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437 | (3) |
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437 | (1) |
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Hyper-cardioid or shotgun |
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437 | (1) |
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438 | (1) |
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439 | (1) |
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439 | (1) |
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What to rent and what to own |
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440 | (1) |
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29 Advanced Directing: Participants |
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441 | (8) |
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What makes us feel normal |
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441 | (3) |
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441 | (1) |
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Doing what comes naturally |
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442 | (1) |
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Self-image and self-consciousness |
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442 | (1) |
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"Doesn't the camera change people?" |
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443 | (1) |
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443 | (1) |
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444 | (3) |
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When making an observational film |
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|
445 | (1) |
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When making a "transparent" film |
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|
445 | (1) |
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When making a reflexive film |
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|
445 | (2) |
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|
447 | (1) |
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Advantages of the small crew |
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|
447 | (1) |
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Having or losing authority |
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|
447 | (1) |
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Using social times and breaks |
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447 | (1) |
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448 | (1) |
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|
448 | (1) |
|
30 Advanced Directing: Camera |
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|
449 | (10) |
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Camera issues and point of view |
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449 | (1) |
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449 | (1) |
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Compromises for the camera |
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450 | (1) |
|
Point of view and motivating the camera's movements |
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|
450 | (5) |
|
Handheld or tripod-mounted camera? |
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|
451 | (1) |
|
Why you shoot multiple angles on the same action |
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|
452 | (1) |
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Abstraction and symbolism |
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|
452 | (1) |
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|
452 | (1) |
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Subjectivity versus objectivity |
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|
453 | (2) |
|
Special meaning through framing |
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|
455 | (1) |
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|
455 | (1) |
|
Preparing sensitive coverage |
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|
455 | (2) |
|
Scene breakdown and crib notes |
|
|
455 | (1) |
|
Eyeline shifts, motivation, inserts, and cutaways |
|
|
456 | (1) |
|
Reaction shots and eyeline changes |
|
|
457 | (1) |
|
Cover alternative versions of important issues |
|
|
457 | (1) |
|
Production stills and behind the scenes photos |
|
|
457 | (1) |
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|
457 | (2) |
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|
459 | (20) |
|
Preparing the camera operator |
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|
459 | (2) |
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|
459 | (1) |
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|
460 | (1) |
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460 | (1) |
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|
461 | (1) |
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|
461 | (1) |
|
Lighting on the upstage side |
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|
461 | (1) |
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461 | (1) |
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|
462 | (1) |
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462 | (1) |
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|
462 | (1) |
|
Preparing the interviewee |
|
|
462 | (1) |
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|
462 | (1) |
|
Establish that you may interrupt |
|
|
463 | (1) |
|
Put the interviewee at ease |
|
|
463 | (1) |
|
Camera and editing considerations |
|
|
463 | (1) |
|
Interviewer and camera placement |
|
|
463 | (1) |
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|
463 | (1) |
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|
464 | (1) |
|
When the interviewer should be on-camera |
|
|
464 | (1) |
|
Preparations so you can edit out the interviewer |
|
|
464 | (1) |
|
"Please incorporate the question in the answer" |
|
|
464 | (1) |
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|
465 | (1) |
|
Vox populi street interviews |
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|
465 | (1) |
|
Solving the need for ellipsis |
|
|
465 | (1) |
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|
465 | (1) |
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|
466 | (1) |
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|
466 | (1) |
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|
466 | (1) |
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|
466 | (5) |
|
Interviewing and directing |
|
|
466 | (1) |
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|
466 | (1) |
|
Open questions and leading questions |
|
|
467 | (1) |
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|
467 | (1) |
|
The right order for your questions |
|
|
467 | (1) |
|
Eye contact and behavioral feedback |
|
|
468 | (1) |
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|
468 | (1) |
|
Going where angels fear to tread |
|
|
468 | (1) |
|
Temptations when interviewing |
|
|
468 | (1) |
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|
469 | (1) |
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|
469 | (1) |
|
The interviewer's nightmare |
|
|
470 | (1) |
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|
470 | (1) |
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|
471 | (1) |
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|
471 | (1) |
|
Silence is your most persuasive instrument |
|
|
471 | (1) |
|
Don't catch them when they fall |
|
|
471 | (1) |
|
Privileged moments and beats |
|
|
471 | (1) |
|
Being adversarial without giving offense |
|
|
471 | (1) |
|
The devil's advocate approach |
|
|
472 | (1) |
|
Starting from a generalized comment |
|
|
472 | (1) |
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|
472 | (1) |
|
Triggering unfinished business |
|
|
472 | (1) |
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|
473 | (1) |
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|
473 | (1) |
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|
473 | (1) |
|
Going further: `inward journey' monologues |
|
|
473 | (3) |
|
|
|
476 | (3) |
|
PART 7C ADVANCED POSTPRODUCTION |
|
|
|
32 From Transcript to Assembly |
|
|
479 | (6) |
|
What you need for transcripts |
|
|
479 | (3) |
|
|
|
479 | (2) |
|
|
|
481 | (1) |
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|
|
481 | (1) |
|
Transcription software and hardware |
|
|
481 | (1) |
|
Transcription services for hire |
|
|
481 | (1) |
|
|
|
481 | (1) |
|
Selecting and assembling transcript materials |
|
|
482 | (1) |
|
Stage 1 Make an action assembly |
|
|
482 | (1) |
|
Stage 2 Mark up the interview transcripts |
|
|
482 | (1) |
|
From paper edit to first assembly |
|
|
483 | (1) |
|
Literal and non-literal comments |
|
|
483 | (1) |
|
Treating your audience as equals |
|
|
484 | (1) |
|
Give action preference over words |
|
|
484 | (1) |
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|
484 | (1) |
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|
|
485 | (10) |
|
Pros and cons of narration |
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|
485 | (3) |
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|
486 | (1) |
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|
487 | (1) |
|
Problems narration can solve |
|
|
488 | (1) |
|
Conversing and reading aloud are different |
|
|
488 | (1) |
|
Method A Creating the scripted narration |
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|
488 | (3) |
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|
488 | (1) |
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|
489 | (1) |
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|
489 | (1) |
|
Accommodating sound features |
|
|
489 | (1) |
|
Complement, don't duplicate |
|
|
489 | (1) |
|
Trying it out with a scratch recording |
|
|
489 | (1) |
|
A script for the narrator |
|
|
490 | (1) |
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|
|
490 | (1) |
|
Recording and directing the narrator |
|
|
490 | (1) |
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|
490 | (1) |
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|
491 | (1) |
|
Method B Creating the improvised narration |
|
|
491 | (1) |
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|
491 | (1) |
|
Improvising from a rough script |
|
|
492 | (1) |
|
Improvising from an assumed identity |
|
|
492 | (1) |
|
Remember to record presence track |
|
|
492 | (1) |
|
Fitting narration to picture |
|
|
492 | (2) |
|
Using the first word's power on a new image |
|
|
492 | (1) |
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|
493 | (1) |
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|
494 | (1) |
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|
494 | (1) |
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|
495 | (6) |
|
Preparing to work with a composer |
|
|
495 | (2) |
|
|
|
495 | (1) |
|
|
|
496 | (1) |
|
Working with the composer |
|
|
497 | (3) |
|
When there is a temp track |
|
|
497 | (1) |
|
Discussing a music cue list |
|
|
497 | (1) |
|
Keys in diegetic and nondiegetic music |
|
|
498 | (1) |
|
|
|
498 | (1) |
|
|
|
499 | (1) |
|
Conflicts and composing to sync points |
|
|
499 | (1) |
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|
499 | (1) |
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|
|
499 | (1) |
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|
|
500 | (1) |
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|
500 | (1) |
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|
500 | (1) |
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|
500 | (1) |
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|
500 | (1) |
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|
|
500 | (1) |
|
35 Editing Refinements and Structural Solutions |
|
|
501 | (8) |
|
Editing rhythms: an analogy in music |
|
|
501 | (1) |
|
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|
501 | (1) |
|
|
|
501 | (1) |
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|
|
502 | (1) |
|
Using your instincts while editing |
|
|
502 | (1) |
|
|
|
502 | (1) |
|
Subtexts and making the visible significant |
|
|
503 | (1) |
|
When instincts aren't sufficient |
|
|
503 | (1) |
|
|
|
503 | (3) |
|
|
|
503 | (2) |
|
Turning your film into playing cards |
|
|
505 | (1) |
|
Dealing with multiple endings |
|
|
506 | (1) |
|
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|
506 | (1) |
|
|
|
506 | (1) |
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|
|
506 | (3) |
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|
|
509 | (8) |
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|
|
509 | (2) |
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|
|
509 | (1) |
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|
|
509 | (1) |
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|
|
510 | (1) |
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|
511 | (1) |
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|
511 | (1) |
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|
511 | (2) |
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|
|
511 | (1) |
|
|
|
511 | (1) |
|
Dialogue tracks and inconsistency problems |
|
|
512 | (1) |
|
Be cautious with comparative levels |
|
|
513 | (1) |
|
|
|
513 | (1) |
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|
|
513 | (1) |
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|
|
513 | (1) |
|
|
|
514 | (1) |
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|
|
514 | (3) |
|
|
|
514 | (1) |
|
Music and effects (M & E) tracks |
|
|
514 | (3) |
|
|
|
|
|
|
517 | (10) |
|
Dirk Matthews on finding work after school |
|
|
517 | (1) |
|
Will I find work to pay my bills? |
|
|
518 | (4) |
|
|
|
518 | (1) |
|
|
|
519 | (1) |
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|
|
519 | (1) |
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|
|
520 | (1) |
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|
|
521 | (1) |
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|
|
521 | (1) |
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|
|
521 | (1) |
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|
|
522 | (2) |
|
|
|
522 | (1) |
|
|
|
523 | (1) |
|
Using narrative in the job search |
|
|
523 | (1) |
|
Making a job for yourself |
|
|
523 | (1) |
|
The importance of short films |
|
|
524 | (1) |
|
|
|
524 | (3) |
|
|
|
525 | (1) |
|
|
|
525 | (1) |
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|
|
525 | (1) |
|
|
|
525 | (1) |
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|
|
526 | (1) |
|
38 Starting Up on Your Own |
|
|
527 | (10) |
|
|
|
527 | (1) |
|
|
|
527 | (1) |
|
|
|
527 | (1) |
|
|
|
528 | (1) |
|
|
|
528 | (3) |
|
|
|
528 | (1) |
|
|
|
528 | (1) |
|
|
|
529 | (1) |
|
|
|
529 | (1) |
|
|
|
529 | (1) |
|
|
|
530 | (1) |
|
|
|
530 | (1) |
|
|
|
530 | (1) |
|
|
|
530 | (1) |
|
|
|
531 | (1) |
|
Marketing and distribution |
|
|
532 | (3) |
|
|
|
532 | (1) |
|
|
|
532 | (1) |
|
|
|
533 | (1) |
|
|
|
533 | (1) |
|
|
|
534 | (1) |
|
|
|
535 | (1) |
|
|
|
535 | (2) |
| Index |
|
537 | |
