Directing the Documentary by Rabiger, Michael -- Read -- Imperial Library of Trantor

Index

Cover Half Title Title Page Copyright Page Dedication Table of Contents Preface to the Sixth Edition Contents of Companion Website Book I: Observing

Part 1: You and Your Ideas

1 You and Film Authorship

The Director’s Temperament Unfinished Business: How Your Life Has Usefully Marked You

Project 1-1: The Self-Inventory (Marks and Themes) Project 1-2: What Is the Family Drama?

The Work of the Director

Witnessing with the Future Box Ethnography Working for Social Change A Rewarding Way of Life Learning from What you Shoot Filmmaking Democratized The Ordinary Can be Extraordinary Documentaries that Cross Boundaries and Buck Trends Importance of Creativity

Documentary as a Prelude to Directing Fiction Getting an Education

Film School Teaching Yourself Planning Your Future Journals Internships as a Student

Hands-On Learning

2 The Nature of Documentary

Beginnings

Grierson’s Definition Documentary as Art An Oral Tale with a Purpose Art Finds Order Characters with Goals

Philosophies of Approach

Observational Mode Participatory Mode Making Incursions Giving, Not Just Taking A Workhorse Genre

Testing for Documentary Values Learning From Your Work

The Artistic Process When You Lose Your Way Privacy and Competition Issues Hostile Environments

Hands-On Learning

Part 2: Documentaries and Film Language

3 Documentary History

Technology and Screen Language Birth of the Cinema The Documentary Arrives on the Scene Documentary Paradoxes The Cinematic Eye Sound

Travelogue Essay Films

Shooting Goes Mobile Direct Cinema and Cinéma Vérité

Observational Documentary Participatory Documentary Waiting for Privileged Moments

Objectivity and Subjectivity Which Approach is Best? The Ascendency of Editing

The Three-Act Structure in Documentary

Video and Digital Technology Eclectic Filmmaking

Longitudinal Study Brechtian Protest Documentary Noir Diary Ambush and Advocacy Archive-Based Filmmaking 3D Documentaries The Interactive Documentary

Hands-On Learning

4 Constructing Reality

The “Contract” and Exposition Actuality and Evidence

Types of Actuality Objectivity, Balanced Reporting, and Propaganda Fairness Evidence Then and Now Documentary is Not Reality, But a Construct

Drama

Authored Constructs Conflict Character-Driven or Plot-Driven Stories Dramatic Tension Development

Film Language Form and Style Hands-On Learning

5 Story Elements and Film Grammar

Perception and Making Stories How Screen Language Mimics Consciousness Documentary Ingredients and Human Consciousness

Elements A Guiding Theory Shots are Like the Human Gaze Cuts Camera Movement Motivated Camera Movements and Cuts Denotation and Connotation

The Camera in Relation to Action

Preparing to Shoot with Feeling The Actor and the Acted-Upon Observing a Conversation Hunting Subtexts Hidden Agendas and Subtexts Attention and Focus Eye Contact and Eyelines Looking At, and Looking Through

Scene Geography and Axes

Scene Axis Camera Axis Panning and Cutting Screen Direction Changing Screen Direction

Shot Duration, Rhythm, and Demand on the Audience

Generating Options Shot Duration Visual Rhythm Rhythms Help Us Concentrate Speech Rhythms

Sequences as Building Blocks

Elision

Transitions and Transitional Devices

Picture Transitions Sound Transitions Overlap Cuts

Your Dual Roles: Observer and Storyteller

Conflicts Between the Two Resolving Tensions

Hands-On Learning

Part 3: Preproduction

6 Developing Story Ideas

Ideation

Beginning the Writing Process

Story Sources

Making an Idea Database Keeping a Journal Newspapers and Magazines Online History Legends Myths Family Stories Childhood Stories Social Science and Social History Fiction

Selecting a Subject Testing a Subject

Don’t Bite Off More Than You Can Chew Narrow the Frame

Choosing a Central Character

Character is Destiny

Locating and Raising the Stakes

Manipulation Dangers

Using the Medium to Stir Feelings

Shock Value Primary Evidence Testing for Cinematic Qualities Mood Matters Local Can be Large

Subject-Driven, Character-Driven, and Plot-Driven Films

Subject-Driven Films What to Avoid Displace and Transform

Hands-On Learning

7 Research

Developing a Proposal

A Note on Film Writing Research Overview

Make a Working Hypothesis Project 7-1: Developing a Brief Working Hypothesis Field Research

Narrowing the Frame Taking Notes Research Methods are Subject-Driven Finding the Paradigm Shootable Evidence Making an Inventory

Project 7-2: Dramatic Content Worksheet How to Film It: Style and Content Hands-On Learning

8 Developing and Pitching a Short Documentary

Turning Dramatic Content into an Outline Pitching

Who/What/When/Where/Why A Typical Pitch Critiquing a Pitch

Expanding the Pitch to a Proposal Scheduling Signed Agreements

Location Agreement Personal Release

Budget Project 8-1: A Short Observational Documentary

Some Short Film Proposals and Their Films

Hands-On Learning

9 The Crew

Developing Your Own Crew

Why Crewmembers’ Temperaments Matter

Small Crew Roles and Responsibilities

Director Director of Photography (DP), and/or Camera Operator Sound Recordist Put Commitments in Writing

Part 4: Production

10 Capturing Sound

Headphones to Monitor Your Work Sound Design and Soundscapes Sound Terms

Acoustics and the Hand-Clap Test Signal, Noise, and Signal-to-Noise Ratio Ambience Resonance and Echo Presence

Microphones

Transduction Microphone Axis and Directionality Sound Perspective

How Sound Behaves

Signal Decay over Distance Defensive Measures

Sound Environments and Signal-to-Noise Ratio

Why Sound Consistency is So Important

Sound and the Camcorder

Balanced and Unbalanced Inputs Strain Relief Automatic Sound Level Manual Sound Level Volume Unit (VU) Meters Averaging and Peaking The Microphone Input Box Making Use of Stereo Inputs

Microphone Types and Pickup Patterns

Power Supplies Pickup Patterns Body Mike Precautions Roll-Off Wireless Mikes Wired Mikes Spares and Accessories

Microphone Handling

Handling the Fishpole Windscreens and Shock Mounts When Sound and Picture Subjects Diverge The Recordist and the Camera Safety Cover Virtuoso Performances

Shooting

Location Spotting and Ambient Noise Interiors Sounds on the Set Presence Track Recording

Sound with Editing in Mind

How the Editor Uses Presence Tracks Ambience Inconsistencies Wild Tracks Sound Effects Soundscape Construction

Hands-On Learning

11 Lighting

Light Quality

Soft Light

Lighting Instruments

Light Quality and Lighting Instruments Light Emitting Diodes (LEDs) HMI Lamps Fluorescents Color Temperature Safety

Power Supplies

Power Requirements Vary by Instrument Calculating Consumption Scouting Locations

Lighting

Defining Shadows (Hard and Soft Light) Why you May Need Lighting Curing Contrast Problems Avoiding the Overbright Background

Lighting Methodology

Key Light Direction Practical Cheating

Two Basic Lighting Methods

Adding to a Base and Using a Key Three-Point Lighting

Lighting Tests and Rehearsals

Backgrounds

Hands-On Learning

12 Camera

Codecs and Workflow Equipment Checkout Golden Rule #1, Test It First Golden Rule #2, Prepare for the Worst Camera

Caveat Concerning DSLR Cameras and Timecode Body Design Viewfinder Camera Controls Professional Options

Color Balancing the Camera

White Balance Options Shooting under Mixed Color Temperatures

Exposure

Automatic Exposure Manual Exposure Backlight Control Picture Gain

Filtering

Neutral Density Other Filters

Lenses

Interchangeable Lenses Lenses and Perspective Lens Protection

Aspect Ratio Focus and Depth of Field

Practicalities of Focus and Depth of Field

Power Supplies Camera Support Systems

Tripod and Accessories Pan/Tilt Head Setup Quick-Release Plate Mobile Support Systems

Monitors and Viewfinders Composing the Shot

Rule of Thirds Matching Shots Lead Space Handheld Composing Covering Two People Standing in Conversation

Camera Operating

Check and Recheck Composition Camera Operator’s Interior Monologue Operator’s Body Mechanics Refocusing During a Shot Handheld Shots Walking a Handheld Camera Checking your Handheld Tracking Skills Tripod Preparation Error Recovery Operating with Editing in Mind Inserts and Cutaways

Camera Operator’s Checklist Hands-On Learning

13 Directing

Directing Participants

Creating Trust A Documentary is a Record of Relationships In Search of Naturalness Giving Participants Work Interviewing in Brief Avoiding Voice Overlaps Silence is Golden Winding Up Gracefully

Filming in Institutions or Organizations Directing the Crew

Communication Who is Responsible for What Working Atmosphere Crew Unity Check the Shot Run-Up Positioning Yourself Crew Etiquette Communicating with the Camera Operator Communicating with the Sound Recordist Sensory Overload Breaks Who Else can Call “Cut!” Sound Presence Securing the Personal Release “It’s a Wrap”

Assuring Quality

Feedback Reinforcing the Purpose of the Shoot

Hands-On Learning

Part 5: Postproduction

14 Creating the First Assembly

Editing Personnel, Process, and Procedures

Director-Editors Equipment

Using Transcripts

Making Them A Workaround Solution to Transcribing Transcripts Can be Misleading

Postproduction Overview

Forestalling Workflow Problems Low Resolution Editing Digitizing Synchronizing Sound Logging and Categorizing the Material

Viewings Before You Begin the Assemby

Crew Dailies-Viewing Session Crew Reactions Editor and Director’s Viewing Session Taking Notes Gut Feelings Matter

Beginning the Assembly

Seeking a Visually Driven Film The Only Film is in the Dailies Rendering

Finding a Structure

Why Structure Matters Time and Structural Alternatives Finding an Action-Determined Structure Using a Speech-Based Narrative Structure The Contract Stories Need Dramatic Tension Stories Need Development Microcosm and Macrocosm Assembling

Facing the First Assembly

Return to Innocence Recognizing your Film’s Ideal Length

Diagnostic Questioning

What Works and What Doesn’t

The Documentarian as Dramatist

Pleasing Your Audience What Next, When the Dust Settles?

Hands-On Learning

15 Editing for Refinement

Compressing and Juxtaposing

Elision Cutting Between Sequences Cutting Within a Sequence Action-Match Cutting Jump Cutting Using Fast or Slow Motion Parallel Cutting Cutting to a Rhythm

Unifying Material into a Flow

The Audience as Active Participants

The Overlap Cut

Mono- and Bi-directional Attention Dialogue Sequences Overlap Cut Theory Subtexts Transitions Between Sequences Anticipatory and Holdover Sound

Editing Pitfalls Regaining Some Distance

Make a Diagnostic Flow Chart A Trial Showing Sound Check Surviving Your Critics and Using What They Say

Participant Viewings

The Uses of Procrastination Try, Try Again

Hands-On Learning

16 Editing From Fine Cut to Festival

Aiming for a Fine Cut

Check All Source Material Looking Ahead to the Sound Mix

Sound Design

The Sound Design Discussion Sound Clichés Recreating Sound Effects (SFX) Sound Libraries Equalization (EQ) and What the Sound Mix Can Do Sound Mix Preparation Narration or Voice-Over Dialogue Tracks and Problems of Inconsistency Laying Music Tracks Spot Sound Effects Using Atmospheres

Sound Mix Strategy

Premixing Tailoring Be Cautious with Comparative Levels Rehearse, Then Record Safety Copies Music and Effects (M & E) Tracks

Titles

Style Titling Font, Layout, and Size Overladen Titles Spelling Title Durations Copyright Mark Transcript and Subtitling

Acknowledgments Legal Omissions Website and Press Kit Festivals

Book II: Storytelling

Part 6: Documentary Aesthetics

Enter the Storyteller

Give Yourself a Storytelling Role to Play

17 Point of View and Storytelling

Monological Versus Dialogical Films Point of View

Film, Literature, and Graphic Art Will and Empathy Using your Emotional Self POV in Screen Drama Observational or Participatory Approach Overview of Generating POVs

Range of POV on the Screen

Single POV (Character in the Film) Multiple Characters’ POVs Within the Film Omniscient POV Personal POV Reflexivity and Representation Self-Reflexivity

Film Language and the Authorial Voice

Finding Fresh Language Storyteller and POV Question Checklist

Hands-On Learning

18 Dramatic Development, Time, and Story Structure

Plots and their Central Characters

Plot and the Rules of the Universe Active and Passive Heroes and Heroines “Character is Fate” Whether the Hero Develops The Antihero

Drama and the Three-Act Structure

The Dramatic Arc Defining the Crisis

Scenes are Dramas in Microcosm

The Director Intercedes Beats and Dramatic Units Misidentifying Conflicts A Scene May Have One Dramatic Unit or Several Inhalation and Exhalation

The Director as Dramatist Time and Structure

Preparing for the Predictable Stories Need Development

Chronological Time

The Event-Centered Film The Process Film The Journey Film The Historical Film The Biographical Film

Non-Chronological Time

Time Reordered Poetic Time The Journey of Inquiry The Walled-City Film The Thesis Film

Time as Non-Relevant

The Catalogue Film When No Time Structure Predominates

Structure Questionnaire Hands-On Learning

19 Form, Control, and Style

Form

Setting Limits Content Influences Form

Style

Style You Can’t Choose Style You Can Choose

Hands-On Learning

20 Re-Enactment, Reconstruction, and Docudrama

Re-enactments

Truthful Labeling Using Actors Wholesale Reconstruction

The Docudrama

Subjective Reconstruction

Fake Documentaries or Mockumentaries Hands-On Learning

21 Values, Ethics, and Choices

Art and Temperament Form Follows Function

Moral Responsibilities Evidence and Ethics Behalfers: Speaking for Others

Embedded Values Ethical Conflicts in the Field

Film is Collaborative, So is Responsibility Art as Displaced Autobiography Giving, Not Just Taking

Hands-On Learning

Part 7: Advanced Production Issues

Part 7A: Advanced Preproduction

22 Advanced Research

Researching for Information

Archival Material Fair Use and Best Practices

In Relation to Participants

Observation and Access Keeping Notes Observing Character Open Questions and Leading Questions Trust The Case for Subterfuge Compromising Yourself

Hands-On Learning

23 Advanced Story Development And Proposal

Using the Working Hypothesis to the Full Evidence, Exposition, and Dramatic Tension

Exposition The Problem and Dramatic Conflict Volition Challenging the Audience to Make Judgments Credibility of Evidence, Witnesses, and Testimony Credibility of Documentary Sources Making a Database and Marshaling Evidence

Deciding Central Characters

Defer Choosing Participants When in Doubt, Make a Recording

Story Development

List Your Action Material Develop Each Scene’s Dramatic Content Alternative Structures from a Card Game Try Your Materials Against the Dramatic Curve

Developing a Proposal

The Demo Reel Be Specific to the Fund Writing Quality Categorized Information Treatment Model Application

Hands-On Learning

24 Advanced Technology And Budgeting

Workflow and Equipment

Choosing Film or Digital Acquisition

Broadcast HD, Formats, and Scanning

Frame Rates and Scanning Picture and Audio Compression Sensor Size High-End Digital Shooting—Uncompressed and RAW Consumer Cameras Digital Sound Double System Sync Postproduction

Budgeting

Above and Below the Line Insurances Budgeting and Scheduling Software

Drawing Up an Equipment List

Keep it Simple Over-Elaborate Equipment

Scheduling the Shoot

Locations and Shooting Order Shooting in Chronological Order Scheduling for Key Scenes Emotional Demand Order Weather and Other Contingency Coverage Allocation of Shooting Time Per Scene Under- or Over-Scheduling The Call Sheet

Hands-On Learning

25 Preparations before Directing

The Directing Plan

Casting Reminders for Each Sequence

Test Your Assumptions Obtaining Permissions Trial Shooting Scouting Locations Logistics and Scheduling Longitudinal Development Location Permits

Permission Tripod or Other Camera Support Systems Guerillas in the Mist

The Personal Release Form Crowd Scene Releases Legal Issues Paying Participants

Celebrities Public Servants People in Dire Need

Hands-On Learning

Part 7B: Advanced Production

26 Optics

Space and Perception

Camera Eye and Human Eye Cheating Space

Lens Characteristics

How We Use Perspective Varying Apparent Separation Manipulating Perspective Focal Length Perspective Changes When Camera-to-Subject Distance Changes Lenses and Image Texture Lens Speed

Depth

Zooming Versus Dollying Getting a Film Look Depth of Field

Composition

Static Composition Aspects of Visual Design Visual Rhythm and Images in Succession Dynamic Composition Internal and External Composition

27 Advanced Cameras and Equipment

Archiving Issues Compatibility Hiring Equipment Shooting Abroad Workflow Camera Support

Tripod and Pan/Tilt Head Shoulder Rigs Stabilizers Dollies

Settings and Options

Aspect Ratio Timecode (TC)

High-End Cameras Compared Camera Accessories

Matte Box and Filters Lens Hood

Camera Aesthetics

Camera Height Adapting to Location Exigencies Backgrounds Revealing Subtexts Compromises for the Camera Strobing

Care of People and Equipment

Travel in Wild or Hazardous Areas Emergencies

28 Advanced Location Sound

Shooting Single or Double System

Creeping Sync Using the Camera to Record Sound

Sound Recorders

Location Recorders Sound Codecs

Sound Mixers

EQ and Roll-Off Volume Unit (VU) Meters When the Mixer Feeds into the Camera Peak Tests Multiple Mike Inputs Phasing Recording Stereo Phantom Power

Smart Slates Sound Monitoring Microphone Types

Cardioid Shotgun Lavalier Wireless Mikes

Microphone Placement

Lavalier Using the Fishpole

What to Rent and What to Own

29 Organization, Crew, and Procedures for the Larger Production

Outreach Production Department

Producer Unit Production Manager (UPM)

Sound and Camera Assistance

Sound Assistants Camera Assistant Grip Gaffer Interns

Procedures

Sync Using a Clapperboard Shot Identification Alternative Numbering Systems Syncing Up Dailies Shooting Logs The Countdown to Shooting Starting Without a Clapper

Hands-On Learning

30 Advanced Directing

What Makes Us Feel Normal

The Mind–Body Connection Doing What Comes Naturally Self-Image and Self-Consciousness Habits of Being

Keys to Directing People Social and Formal Issues

Advantages of the Small Crew Having or Losing Authority Using Social Times and Breaks Sharing in All Things

Camera Issues and Point of View

Compromises for the Camera Camera as Passport

Point of View and Motivating the Camera’s Movements

Explaining Multiple Angles on the Same Action Abstraction and Symbolism Serendipity Subjectivity Versus Objectivity Special Meaning Through Framing Using Context

Coverage

Scene Breakdown and Crib Notes Eyeline Shifts Motivate Cuts Reaction Shots and Eyeline Changes Cover Alternative Versions of Important Issues

Production Stills

31 Conducting and Shooting Interviews

First Contact

Initial Research Deciding About Location Who Interviews One Camera or More? When Others are Present Interviewing Groups Vox Pops (vox populi, Latin for “voice of the people”)

Preparation and Basic Skills

Politely Setting Limits Metaphoric Thinking Human Constants

Just Before the Interview

Rehearse Alone Free Yourself to Listen Prepare the Camera Operator for Touch-Directions When Two Matching Shots Must Cut Together Agree on Image Size-Changes Vary Zoom Speeds

Preparing the Interviewee

Say What You Need Establish Your Right to Interrupt

Camera and Editing Considerations

Interviewer and Camera Placement When the Interviewer Should be On-Camera

Preparing to Edit Out the Interviewer

Including the Question in the Answer Voice Overlaps

Vox Populi Interviews Solving the Need for Ellipsis

Jump Cuts Cutaways Parallel Storytelling Varying Shot Sizes

The Interview Begins

Interviewing and Directing Lead by Example Leading Questions and Open Questions Focusing Questions The Right Order for Your Questions Maintain Eye Contact and Give Behavioral Feedback Aim to Elicit Feelings Going Where Angels Fear to Tread Temptations When Interviewing Having Power Witnessing The Interviewer’s Nightmare Dummy Run

Interviewing in Depth

Crossing Thresholds Silence is Your Most Powerful Instrument Don’t Catch Them When They Fall Privileged Moments and Beats

Being Adversarial Without Giving Offense

The Devil’s Advocate Approach Starting from Generalized Comment

Seeking Briefer Versions Triggering Unfinished Business Concluding the Interview

Invitation to Add Anything Not Covered The Release

Interviewing Self-Assessment Going Further: “Inward Journey” Monologues Hands-On Learning

Part 7C: Advanced Postproduction

32 From Transcript to Assembly

What You Need for Transcripts

Accurate Transcriptions Timecode (TC) Line Numbering Using a Database

Selecting and Assembling Transcript Materials From Paper Edit to First Assembly

Literal and Non-Literal Comments Treating Your Audience as Equals Give Action Preference over Words

33 Creating Narration

Narration Pros and Cons

Voice Drawbacks Problems Narration Can Solve

Comparing Ways to Create Narration

Method A—Reading from a Script Method B—Improvisation

Method A: Creating the Scripted Narration

Writing Timing and Syntax Accommodating Sound Features Complement, Don’t Duplicate

Trying it Out: The Scratch Recording Narration: Auditioning and Recording

A Script for the Narrator Conversing and Reading Aloud are Different Voice Auditions Recording and Directing the Narrator Acoustic Setting Reading

Method B: Creating the Improvised Narration

Simple Interview Improvising from a Rough Script Improvising from an Assumed Identity Recording Presence Track

Secrets of Fitting Narration

Using the First Word’s Power on a New Image Operative Words

34 Using Music and Working with a Composer

Where to Use Music

Using Music to Reveal Hidden Dimensions Music Misused Helping to Indicate Narrative Structure Helping to Indicate Emotional Depths Music as Storyteller Voice

Starting and Stopping Music

Stock Music

Spotting Session Libraries and Copyright Working with a Composer

Choosing a Composer When the Composer Comes on Board When there is a Temp Track Discussing a Music Cue List Compiling Music Cues Unifying Through Time Keys in Diegetic and Non-Diegetic Music Conflicts and Composing to Sync Points Conductor Needs Live Music Session

Music in Postproduction

Fitting Music The Sound Mix

35 Editing Refinements and Structural Solutions

Editing Rhythms: An Analogy in Music

Harmony Counterpoint Dissonance

Using your Instincts While Editing Using Trial Audiences

Subtexts and Making the Visible Significant When Instincts Aren’t Enough

Using the Diagnostics Again

Diagnostic Log Turning your Film into Playing Cards Dealing with Multiple Endings More Trial Audiences Length

Fear of Failure

Part 8: Work

36 Developing a Career

Will I Find Work to Pay My Bills?

On Graduating Networking Craftsperson Your Demo Reel for Getting Work Uploading You, on the Web Making a Job for Yourself

The Search for Subjects

Study the Competition Practice your Pitch The Demo Reel for a Particular Proposal Documentary Proposals Using Festivals The Importance of Short Films

Seeking Job Information

Informational Interviews On Getting a Work Interview

37 Starting up on Your own

Starting a Business

Incorporating For-Profit or Nonprofit? Fiscal Sponsorship

Seeking Funds

Current Information Kickstarter Caveats Funds and Foundations Survey Organizations

Tod Lending on Proposals Funding Organizations

Broadcast Organizations Government Agencies

Marketing and Distribution A Personal Message

Index

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