Part 4
Production
Shooting Under Mixed Color Temperatures
Can’t I Fix It in Postproduction?
Neutral Density (ND) and Other Filters
Focus and Depth of Field (DOF)
Golden Rule #1: Be Prepared for the Worst
Avoiding the Overbright Background
Light Quality and Lighting Instruments
Defining Shadows: Hard and Soft Light
Adding to a Base and Using a Key Light
Key Light Direction and Backlighting
Dialogue Components and How Sound Behaves
Sound Environments and Signal-to-Noise (S:N) Ratio
Balanced and Unbalanced Inputs
Choosing Manual or Automatic Sound Level
Microphone Handling Techniques
Relationship of Recordist to Camera
When Sound and Picture Subjects Diverge
Sound Design and Shooting Atmospheres
How the Editor Will Use Presence Tracks
Aesthetics, Sound Design, and Soundscapes
Getting the Personal Release Form Signed
This part concerns the documentarian’s acquisition tools—the camera and sound recording equipment that commit scenes to a memory medium. At one time this was film or tape—increasingly, it is solid-state memory or hard drives, for few working parts and an easy interface with the computer that will handle the editing during postproduction.
Photography involves using lenses and lights, while sound involves the astute use of microphones. The techniques for using the eyes and ears of the documentary aims to bring the chosen subject up close—and make it visible and audible in its true nature. For the problems that intervene there is a range of solutions, and this is what makes documentary filming such an interesting challenge.
Finally, this part prepares you for your first experiences at directing a crew and at relating to your subjects. Participants will be self-conscious and self-doubting without some work on your part to involve and relax them in what they do.