Part 7B
Advanced Production

CHAPTER 25 OPTICS

Space and Perception

Camera Eye and Human Eye

Choosing Lenses

Perspective

Perspective and Normalcy

Perspective Changes When Camera-to-Subject Distance Changes

Lenses and Image Texture

Lens Speed

Controlling the Look

Manipulating Perspective

Zooming Versus Dollying

Getting a Film Look

Composition Study

Going Further

CHAPTER 26 ADVANCED CAMERAS AND CAMERA EQUIPMENT

Archiving Issues

Equipment Cautions

Getting Overly Elaborate

Incompatibility

Digital Acquisition

Camera Support

Tripod and Pan/Tilt Head

Camera Body

Imager

Lens Mount

Imager Sampling

Digital Sampling on Recording Media

Base ASA

Dynamic Range (Latitude)

Frame Rates

Recording Format and Load Time

Bit Depth Recorded

Weight

Power Draw

Viewfinder (VF)

Highlighted Positives

Average National Rental

Settings and Options

Aspect Ratio

Frame Rates

Pixels

Codecs for Picture Compression

Shutter Speed

Timecode

Matte Box, Filters, Lens Hood

Camera Aesthetics

Camera Height

Adapting to Location Exigencies

Backgrounds

Camera as Instrument of Revelation

Compromises for the Camera

Production Stills

People and Equipment Maintenance

Travel in Dangerous Areas

Hiring Equipment

Going Further

CHAPTER 27 ADVANCED LOCATION SOUND

Shooting Single or Double System

Using the Camcorder to Record Sound

Sound Codecs

Location Recorders and Mixers

Recorders

Mixers

EQ and Rolloff

Smart Slate

Sound Monitoring

Microphone Placement

Microphone Types

Shotgun

Cardioid

Lavalier

Wireless Microphones

What to Rent and What to Own

Going Further

CHAPTER 28 ORGANIZATION, CREW, AND PROCEDURES

Interns

Production Department

Producer

Unit Production Manager (UPM)

Crew

Sound

Gaffer

Grip

Procedures

Shot Identification

Setup and Take Numbers

Shooting Logs

Double System

Single System

Logs in Action

The Countdown to Shooting

Starting Without a Clapper

Social and Formal Issues

Having or Losing Authority

Using Social Times and Breaks

Going Further

CHAPTER 29 ADVANCED DIRECTING

Directing Participants

The Mind – Body Connection

Doing What Comes Naturally

Self-Image and Self-Consciousness

“Doesn’t the Camera Change People?”

Obstacles: Habits of Being

Keys to Directing People

Reflexivity

Camera Issues and Point of View

Compromises for the Camera

Camera as Passport

Motivation for Camera Positioning and Camera Movement

Serendipity

Multiple Angles on the Same Action

Abstraction

Subjectivity Versus Objectivity

Framing Implications

Using Context

Handheld or Tripod-Mounted Camera?

Coverage

Scene Breakdown and Crib Notes

Inserts and Cutaways

Eyeline Shifts and Motivating Cutaways

Shoot Reaction Shots

Cover Alternative Versions of Issues

Special Photography

CHAPTER 30 CONDUCTING AND SHOOTING INTERVIEWS

Preliminaries

Initial Interviewing During Research

Who Interviews

Types of Situations

Preparation and Basic Skills

Metaphorical Thinking

Before the Interview

Rehearsing

Freeing Yourself to Listen

Briefing the Camera Operator

Preparing the Interviewee

Say What You Want

Establish Your Right to Interrupt

Relaxing Interviewees

Camera and Editing Considerations

Interviewer and Camera Placement

Preparing to Edit Out the Interviewer

Voice Overlaps

Vox Populi Interviews

Shooting for Ellipsis

Varying Shot Sizes

The Interview Begins

Interviewing and Directing

Lead By Example

Framing Questions

Focusing Questions

The Right Order for 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

Your Most Powerful Tool

Don’t Catch Them When They Fall

Privileged Moments

Being Adversarial Without Being Offensive

Getting Briefer Versions

Believing In Your Authority

Give and Take

Concluding the Interview

The Release

Interviewing Assessment

Going Further: Inward Journey Monologues

This part looks into the uses of lenses in relation to the perception of space and perspective, which along with image texture has much to do with the look and impact of photography. There is more of the information a director must know on advanced cameras and sound gear, although more elaborate equipment often means that you direct specialists using it, rather than shooting yourself. There is information on the extra personnel in a larger unit and tips on leadership. Because a director must know how to provide the support and challenges and catalyze telling scenes for the screen, there is a comparison between the psychology of acting and that of being a documentary participant. There is information on coverage and shooting with editing in mind. Most importantly, there is a long chapter on interviewing, such an important part of opening people’s stories to the audience.

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