Index
“000 Ambulance”, 482
7 UP, 14 Up…49 Up (7-year series), 90–91, 217, 268
51 Birch Street, 269–270, 307, 526, 544
720p EDV format, 414
1080 24p HD format, 413
1080i HD format, 414
1940s House, The, 285
A
Abbreviated transcripts for subtitles, 252
Acknowledgments and titles, 250–253
setting for narration, 501
Acquisition, digital, 400
Action
as basic film ingredient, 100
establishing point of view, 266
multiple angles on, 455
rising/falling, in drama, 287
structured based on, 219
visually driven films, 216
Action match, 115
Active/passive voice, 52
Actors, 329–330. See also Participants
Ad hoc shooting, 206
Adams, Ansel, 319
Adams, Randall, 93
Adding to base lighting, 169–170
Addressable timecodes, 415
Advise and consent
behalfers and speaking for others, 357–358
documentary as exposure to life, 359–360
giving and taking, 358
mission and identity, 360
Aesthetics. See also Artistic identity
adapting to location exigencies, 417
addressing, in directing plan, 371
background considerations, 417
camera as instrument of revelation, 417–418
compromises for camera, 418–419, 453
film style, 371
African American Lives series, 381
Agenda
of storyteller, 342
AIVF (Association of Independent Video and Filmmakers), 547
Alter egos and artistic identity, 32–33
Alternative, structural, 216
Ambient sound/atmosphere
basics of, 174
in films, 191
shooting presence track, 191, 196
American Cinematographer (journal), 10, 20, 548
American Family, An, 354
Amps, 168
Analysis projects. See Projects
Anthropology on Film, 272
Anticipatory sound, 231
Apple editing systems, 208–209, 211, 244
Apted, Michael, 90, 91, 217, 268, 550
Arc, dramatic. See Dramatic arc/curve
Archive-based filmmaking, 96–98
Archives
as basic film ingredient, 100
fair use and best practices, 343
planning inventory, 125
Ardolino, Emile, 294
Arrival of a Train at La Ciotat, 70
Art & Fear, 28
Art, documentary as, 24–25, 30
Artifacts, 412
Artistic identity, 27–35. See also Aesthetics
active vs. passive approach, 29–31
“character is fate” approach, 29
creativity, 29
defined, 27
dreams/preoccupations project, 32
family drama project, 33
finding/losing, 34
goals summary, 34
hostile environments, 35
marked by personal experiences, 30
privacy and competition issues, 35
progress and artistic process, 34–35
styles you can/can’t choose, 323–325
values quiz, 28
ASA rating, comparing cameras, 406
Aspect ratio
Associations, professional, 547–548
Atmosphere, sound
described, 174
laying atmospheres/background sound, 247
recording atmosphere tracks, 191, 193
Attack-sustain-decay cutting, 246
Attapour, Orod, 304
Attenuation/“roll off”, 242
Auden, W.H., 79
Audience
as active participants, 228
stated in prospectus, 368
Audio. See Camcorder sound; Sound
Audio-Vision: Sound on Screen, 193
Auditions
near shooting, 372
steps toward first draft, 362
Auteur theory of filmmaking, 275
Authorial voice, 281
Authoring, 33
Authority
embedded values related to, 353
voice of, and narration, 493
Automatic camcorder controls
focus, 150
sound levels, 180
white balance, 144
Automatic dialogue replacement (ADR), 239, 240
Averaging/peaking VU meters, 179–180, 429
Avid editing system, 208
Awareness, raising, 13
crossing, 113
B
B.A. (Bachelor of Arts) degree, 531
Babakiueria, 333
Baby legs tripods, 151, 402, 406
Background composition, 417
Background lighting
recommendations for, 172
Background, project, 367
Background research, 340
Background sound. See also Sound editing
basics of, 176
dialogue track problems, 244–245
laying atmospheres and, 247
recording presence tracks, 191–192
Backlight camera control, 147
Balance options, camcorders, 144–145
Balanced reporting/perspective, 18
Balanced/unbalanced sound inputs, 177–178
Balseros, 276
Barefoot Workshops, 59
Barn doors, lighting, 163
Barnouw, Eric, 89
Baron Cohen, Sacha, 333
Bass roll-off, 242
Batteries, rechargeable, 151
Battle of Cable Street, The, 198
BBC job information, 548
Beats and dramatic units, 288–289
Behalfers and speaking for others, 357–358
Behavioral sequences, in proposals, 362, 363
Bergman, Ingmar, 259
Berkeley, Ed, 277n, 298n, 333n
Berliner, Alan, 280
Berlinger, Joe, 306
Best Boy, 21, 22, 65, 88, 89, 544
B.F.A. (Bachelor of Fine Arts) degree, 531
Bidirectional/monodirectional attention, 231–232
Biebel, Martin, 405
Binary communicator, 21
Bird, Granny, 40
Bird, Sidney, 71
Bit depth recorded, 410
Blackwood, Maureen, 550
Blair Witch Project, The, 323
Blank screen, as basic film ingredient, 100
Block, Doug, 4, 269–270, 307, 526, 544
Blohm, Kirsten, 296
Boat Leaving the Harbor, A, 70
Bobcat documentary, pitch/proposal, 53–55, 59
Body language, 213, 220, 449, 515
Body mechanics and camera handling, 159
Body microphones, 190
Bona fide text, 494
Bonnie & Clyde Bullets, 39
Booms, microphone, 175
Boorman, John, 550
Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, 333
Borinage, 313
Bosch, Carlos, 276
Bouncing light, 163
Bowling for Columbine, 95, 355, 373
Boxcar cutting, 227
Brayne, Bill, 309
Breakaway, 291
Breakdown of interviewee, 477
Breeding kennel documentary, pitching/proposal, 53–55, 58–59
Breitrose, Henry, 357
Brettle, Kyla, 482
Bridge, The, 313
Brief History of Time, A, 323, 324
Briggs, Evan, 60
Briski, Dana, 262
Britten, Benjamin, 79
Broad lighting setup, 565
Brockett, Dan, 423
B-roll footage, 47
Broomfield, Nicholas, 15–16, 285, 309–310, 453, 494
Brother’s Keeper, 306
Budget projects
Advanced Budget Worksheet, 366, 592–598
Budgets
in prospectus, 368
research, 130
shooting ratio, 130
Bunyan, John, 218
Burden of Dreams, 294
C
Camcorder sound
balanced/unbalanced inputs, 177–178
microphone input boxes, 180–181
phantom power, 181
recording using camcorder, 423–424
stereo, 181
strain relief for cables, 178–179
Camcorders. See Cameras/camcorders
Camera issues and point of view
camera as passport, 453
compromises for camera, 418–419, 453
framing implications, 456
inhabiting events, 457
motivation for camera positioning/movement, 454
multiple angles on same action, 455
serendipity, 454
subjectivity vs. objectivity, 17–18, 456
Camera operator
briefing, before interviews, 466–467
communicating with, during shoot, 202, 466
on-shoot etiquette, 195
preparing for image size changes, 466–467
role and responsibility of, 134–135
scouting locations, 374
zoom speed, 467
Cameras/camcorders. See also Fletcher Camera comparison chart
backlight control, 147
beginnings and evolution of, 68–71
body specifications, 141–143, 404–412
composition study, 397
controlling film look, 396–397
equipment checkout, 159
finding focus, 157
human eye and camera eye, 387–389
image stabilization, 151
learning your options, 143–144
location considerations, 374
microphones.. See Microphones
monitors, 155
noise, picture, 148
objective position, 17
picture gain control, 148
positioning/moving, 454
power supplies, 151
preset white balance, 145
professional options, 144
relationship of recordist to, 184–186
renting, average national rates, 410–412
run-up time, 201
shots. See Shots/shooting
shutter speed, 414
sound. See Camcorder sound
tripods and accessories, 151–152, 156–157, 402–404
using multiple, 292
crossing, 113
Camera-to-subject axis, 111
Canadian Broadcasting Corporation (CBC), 481
Candid Camera, 333
Capturing the Friedmans, 269, 307
Careers in film industry
creating/distributing demo reels, 541, 546
demo reels, 549
developing track record, 542–543
funds and foundations, 546–547
on graduating, 541
internships as senior, 540
job channels through schools, 542
journals and associations, 547–548
making jobs for yourself, 541–542
networking, 542
preparing for directing fiction, 550
search for subjects/markets, 543–545
using festivals, 545
writing proposals, 545
Carney, Ray, 463
Carrier, 308
Case histories, 42
Cassavetes, John, 463
Casting
basics of, 346
for directing plan, 370
reviewing, 363
Cathy Come Home, 331
Celebration, The, 319
Celebrities, paying, 381
Céline, Louis-Ferdinand, 281
Central intentions, holding onto, 235
Cercel, Elif, 321
Character-driven documentary, 48–49
Characters in documentary
“character is fate”, 29
empathy, 32
heroes and heroines, 284
trying to get/do/accomplish, 12–13
unreliable, 228
Charles, Larry, 333
Charnov, Elaine, 328n
Cheat, lighting, 170
Chermayeff, Maro, 308
Chion, Michel, 193
Chronologically presented stories, 291–303
Churchill, Joan, 15–16, 285, 309
CILECT-affiliated film schools, 537
Cinéma vérité, 84–90, 260, 277
Clapper board
countdown to shooting, 201, 445–446
setup and take numbers on, 442–443
starting without, 446
Clarification vs. simplification, 19
Class size, film school, 530
Classroom film length, 221
Clearance and Copyright: Everything the Independent Filmmaker Needs to Know, 128, 129, 377, 379, 380, 508
Clichés, sound, 240
Close shot (CS)
basics of, 156
signals for, during interviews, 466
Clustering ideas, 31
Cluzaud, Jacques, 13
Codecs
picture compression, 414
postproduction software compatibility, 424
sound, 424
Collaboration, 24
Collecting story ideas, 37–42. See also Story development
fiction, 42
Internet, 38
newspapers/magazines, 38
social science/social history, 42
Collins, Wilkie, 289
Color bars, 442
Color correction, postproduction, 145–146
Committing action, 286
Communications
with camera operator, 202, 466
with crew, 200
with recordist, 202
Communicators, 21
Compact fluorescent lamps (CFLs), 167
Comparing cameras. See Fletcher Camera comparison chart
Competition issues, privacy and, 35
Complaints of a Dutiful Daughter, 315, 544
Complications, in drama, 284, 287
Composers, 508–511. See also Music
composing to sync points, 511
conductor needs, 511
developing music cue list, 509–510
keys and diegetic/nondiegetic music, 510
learning from temporary tracks, 509
live music sessions, 511
overview, 508
startup tasks, 508
time for composing music, 511
unifying music through time, 510
Composition, picture
backgrounds, 417
dynamic, 569
studying, 397
viewfinder and movements, 158
visual rhythm, 568
Compression
digital sampling in recording media, 406
picture codecs, 414
Compression, sound, 212
Conductor needs, 511
Conflicts, described in directing plan, 370, 372
Confrontation, dramatic
drama and three-act structure, 284, 287
Consciousness, editing mimicking, 513–518
Content
Dramatic Content Helper, 125, 339, 371, 449, 576–579
influence on form, 322
Style and Content Questionnaire, 127
views of, 135
Contract with audience, 20–21, 216–217
Contractual obligations for titles, 251
Contradictory evidence, 15, 16
Control of content/form, 322
Conversations
dialogue sequences/transitions, 229. See also Dialogue
Corporation for Public Broadcasting (CPB), 547
Countdown to shooting, 201, 445–446
Counterpoint, 516
Cover letter of prospectus, 367
Coverage
alternative versions of issues, 460
eyeline shifts and motivating cutaways, 460
inserts and cutaways, 459
reaction shots, 460
scene breakdown and crib notes, 458–459
Cramlington Train-Wreckers, The, 454
Crane, 103
Crawl titles, 251
Creative Filmmaking from the Inside Out: Five Keys to the Art of Making Inspired Movies and Television, 352, 354
Creative personnel, résumés of, 365, 368
Creativity, 29
Creeping sync, 423
areas of responsibility of, 133
communication with, 200
contracts, 372
developing, 131
director of photography, 134–135
feedback/activities during breaks, 202–203, 447
gaffer, 440
monitoring/instructing, 201–202
on-shoot etiquette, 195
people/equipment maintenance, 419
quality monitoring by, 202
working atmosphere and professionalism, 201
Crijns, Lodewijk, 328
Crisis, 286
Criticism. See Feedback
Crossing scene axis, 113
Crowd scene releases, 380
Crumb, 314
Culloden, 330
Cumulative/setup/take system, 443
Cunningham, Imogen, 319
Curran, Tim, 548
Curve, dramatic. See Dramatic arc/curve
Cut-ins, 459
attack-sustain-decay sound cutting, 246
boxcar, 227
described, 103
fine cut, 238
jump cut, 471
in and out points for music, 246
staggered cut, 230
D
Dailies
crew viewing sessions, 212
editor/director viewing sessions, 212–213
lab processing of, 23
relevance of, 214
viewing, and birth of documentary, 71–72
Dannenbaum, Jed, 352
Davis, Peter, 299
Day for Night, 351
Dead/live spaces and sound, 176–177
Death of a Princess, 331
Death of a Salesman, 86
Debats, Michel, 13
Deck mikes, 175
Definitions, sources for, 3
“Designing a Movie for Sound”, 239
Destination, implied, 217
Development. See Story development
Development projects. See Projects
Devil’s advocate approach, 478
Diagnostic questioning, 222
Dialogical documentary, 14–15, 315–316, 460
Dialogue
inconsistent backgrounds/voice qualities, 244–245
postsynchronizing, 80, 239, 240
recreating, 193
splitting dialogue tracks, 244
Dick, Kirby, 504n
Dieutre, Vincent, 306
Diffused light, 163
Digidesign sound processing software, 239, 243
Digital Journalist, 221
Digital sampling on recording media, 406
Digital titling, 251
Digital Video (DV) (journal), 10, 548
Diopters, 149
Direct cinema and cinéma vérité, 84–90, 260, 277
Directing
anticipating the shoot, 374–381
camera issues and point of view, 453–458
fiction, preparing for, 550
people, keys to, 452
transparent films, 452
Directing: Film Techniques and Aesthetics, 550
addressing aesthetic concerns, 371
parallel narrative traditions, 371, 374
testing assumptions, 371
Direction, sense of, 217
Directional microphones, 176, 188
Director of Photography (DP), 134–135
Directors
artistic identity. See Artistic identity
communication with crew, 200
creating trust in participants, 197–198, 340, 344
encouraging naturalness, 198–199
giving participants work as distraction, 199
interviewing tips for, 199–200
monitoring/instructing crew, 201–202
on-shoot etiquette, 195
role and responsibility of, 19–20, 133–134
who makes documentary and why, 7–9
Director’s World, 321n
Discovery Channel, 96
Discrepancies, 516
Disney and music, 505
Disneynature, 9
Dissolve, 104
Dissonance, 516
Distance, camera-to-subject, 391–392
Dmytryk, Edward, 416
Docudrama, 331
Documentary
archive-based filmmaking, 96–98
bearing witness, 23–24, 475–476
as conservatory art, 530
crossing boundaries and bucking trends, 543–545
direct cinema and cinéma vérité, 84–90, 260, 277
documentary noir, 93
history. See History of filmmaking
intentions and ingredients, 14–17
objectivity myth and fairness, 17–19
paradoxes of documentary, 74–76
as record of relationships, 198
Russian cinema eye approach, 76–77
technology and screen language, 67
video technology, 90
Documentary Filmmakers’ Group, 538
Documentary noir, 93
Documentary storytelling, 276, 373
DOF (depth or field), 149–150, 394–395
“Doing” words, 14
Dolly
basics of, 103
camera support systems, 154
zooming vs. dollying, 397
Domènech, Josep Maria, 276
Donaldson, Michael C, 128, 129, 377, 379, 380, 508
Donors Forum, 547
Double system, shooting, 422–423, 443
Drama
Dramatic Content Helper, 125, 339, 371, 449, 576–579
family, identifying, 33
three-act structure, 86, 284–285, 286–287
Dramadoc, 331
Dramatic analysis, 223
Dramatic arc/curve
changes in intensity (graph), 285–287
changes in optimism (graph), 63–64
described, 89
Dramatic tension
progression of beats, 289
Dreaming of Blueberries, 60, 62, 63
Dreams/preoccupations and artistic identity, 32
Drew, Robert, 105
Drop frame (DF) recording, 415–416
Dubbing, 240
Dummy run, 476
Dunne, Nell, 331
Durlacher, Chris, 332
DVD players, 2
D-Word (website), 4
Dynamic composition, 569
Dynamic range, 243
E
Edgar, Tom, 532
Edges of composition, 158
Edit decision list (EDL), 212
Editing
assembling visually driven film, 216
for audience as active participants, 228
counterpoint in, 516
creating/developing structure, 216–220
diagnostic questioning in, 222
dialogue sequences/transitions, 229–231
dissonance, 516
documentary maker as dramatist, 223
feedback from trial audiences, 233, 237, 516–517, 520
fine cut, 238
harmony, 515
holding onto central intentions, 235
looking at and looking through, 514–515
mimicking consciousness, 513–518
for monodirectional/bidirectional attention, 231–232
pleasing of audience, 223–224, 234
postproduction process/procedures, 207–212
regaining objectivity after, 232
rise of, 90
sound. See Sound editing
surviving/accepting criticism, 234–235
unifying material into flow, 226–228
uses of procrastination, 237
using instincts while, 516
using presence tracks, 192
Editor, viewing dailies, 212–213
Edmonds, Robert, 272
on the job vs. formal education, 526–527
self-help as realistic alternative, 539
short courses, 538
undergraduate degrees, 531–532
EDV (enhanced-definition video), 413–414
Effects track (FX), 193
Eisenstein, Sergei, 110
Eisenstein’s categories of juxtaposition, 109
Elision judgments, 235
Embedded values, checking, 351–354
Emotions
eliciting, in interviews, 474
evoked by camera technique, 457
shock of recognition, 46
using medium to stir feelings, 46–48
Empathy, 32
Emphatic shifts, 455
Endings, multiple, 520
ENG (electronic newsgathering) camcorders, 141–143, 404
Enron: The Smartest Guys in the Room, 312
Environment, embedded values related to, 353
Equalization (EQ)
Equipment
advice, 194
camera checkout, 159
camera support systems, 151–155, 402–404
getting information via Internet, 3
getting overly elaborate, 399
hiring, 420
maintenance, 419
monitors, 155
power supplies, 151
screen grammar, 102
Error recovery and camera handling, 158
Ethics
compromising yourself, 345–346
temptations when interviewing, 474–475
Etiquette, crew, 195
European Documentary Network, 11, 548
Event-centered films, 63, 291–292
Evidence. See also Research
assembling paper edit, 491
ethical considerations, 355–356
exposition, dramatic tension, and, 346–350
marshaling, 350
primary, 47
unfolding in documentary, 15–16
Ewing, Heidi, 154
“Exposing Yourself: Reflexivity, Anthropology, and Film”, 277
Exposition
in drama, 286
evidence and dramatic tension, 346–348
Expository information in directing plan, 371
Exposure control, camera, 146–148
Exposure to life, documentary as, 359–360
Exterior/interior lighting, 145, 162
Eye contact in interview, 474
Eyeline shifts and motivating cutaways, 460
Eyes on the Prize, 299
F
“Faces of Paris”, 217
Facets Multimedia, 2
Fade in/out, 104
Fair use doctrine, 343
Falling action, 287
Family dynamics, embedded values related to, 353
Family stories
collecting raw materials, 40–41
identifying family drama, 33
Fate and character, 29
Featherstone, Ken, 333
Federal funding, 546
Feedback
in interviews, 474
Feeding the Baby, 70
Feelings, 46–48, 223. See also Emotions
Festivals, 253
Fiction as story resource, 42
Fictional reenactment, 329
Filgate, Terry, 105
Fill light, 163
Film language
camera/scene axes, 110–111, 113
conversation and actor/acted upon, 105–106
denotation/connotation, 95, 108
duration, rhythm, and concentration, 114–115
life processes vs. cinema processes, 102
picture/sound materials, 100–101
rhythm, 103
sequence, 115
shots in juxtaposition, 108–110
transitions/transitional devices, 115–116
Film proposals, 52
Film School Confidential: An Insider’s Guide to Film Schools, 532
Film schools
CILECT-affiliated, 537
class size, 530
costs and visiting schools, 534
documentary as conservatory art, 530
large vs. small, 529
private and open schools, 538
school identity, 528
teachers and workloads, 530–531
town vs. country setting, 529–530
worldwide, 537
Filming. See Shots/shooting
Films, purchasing/renting, 2
Filtering, sound, 212
Filters, camcorder, 147, 149, 150, 416
Final Cut Pro (Apple), 208–209, 211, 244
Final print, 212
Financial statement in prospectus, 368
Fine cut, 238
First assembly
deciding ideal length, 221–222
diagnostic questioning after viewing, 222
editing after, 224
evaluating what works and what doesn’t, 222–223
putting together, 220
First showing, 233
Fishpoles, microphone, 175, 176, 181
Fitzcarraldo, 294
Flaherty, Robert, 48, 71–76, 79, 89, 266, 318, 544
Fletcher Camera comparison chart, 407–408
base ASA, 406
bit depth recorded, 410
digital sampling on recording media, 406
frame rates, 409
highlighted positives, 410
imager sampling, 406
latitude (dynamic range), 406
lens mount, 405
power draw, 410
recording format and load time, 409–410
viewfinder, 410
weight, 410
Flow chart
transcript to assembly script, 486
Flow, unifying material into, 226–228
Fluorescents, 167
Focal length for lenses, 148, 389–390
Focus button, camcorder, 150
Focus, camera/camcorder
depth of field, 149–150, 394–395
finding, 157
Focus, narrowing to deepen film, 363
Focused lamp, 164
Focusing questions in interviews, 474
Fog of War: Eleven Lessons from the Life of Robert S. McNamara, The, 301, 302
Foley, Jack, 240
Foley studio and sound effects, 240–241
Fonts for titles, 250
Footage preparation
making transcript and workarounds, 215–216
Foreign markets, subtitles/transcripts, 251–252
Forms
camera logs, 444
individual release, 379
location agreements, 377
short personal release, 196
sound logs, 445
Forms of documentary
influence of content, 322
setting limits and Dogme group, 319–321
Forster, E.M., 494
Foundation Center, 547
Fowles, John, 15
Frame rates (fps)
basics of, 413
comparing cameras, 409
Framing implications, 456
Framing questions, 473
Free Cinema Movement, 82
Freedom of speech protection, 378
French Lieutenant’s Woman, The, 15
From the Journals of Jean Seberg, 39
Frontal lighting, 565
F-stop (lens aperture), 146, 394–395
Funding organizations, 365–366
Funds and foundations, 546–547
Furtado, Jorge, 296
G
Gaffer, 440
Gap-Toothed Women, 313
Garlic Is as Good as Ten Mothers, 313
Gates, Jr., Henry Louis, 381
George Orwell: A Life in Pictures, 332
Gibney, Alex, 312
Givens, 290
Giving and taking, 358
Glass, Ira, 482
Glass, Philip, 93
Goals, described in directing plan, 371
Goethe, Johann Wolfgang von, 35
Gorilla software, 367
Government of the Tongue, The, 475n
Graduated tonality, 563
Grady, Rachel, 154
Grammar check (Microsoft Word), 52n
Graphic equalizer, 245
Graphics, as basic film ingredient, 100
Graphs
happiness fluctuations, 116
Greenaway, Peter, 550
Gremmelspacher, Martin, 405
Grey Gardens, 264
Grierson, John, 11–12, 24, 74, 79
Griffin, Chandler, 59
Grønkjær, Pernilla Rose, 267–268, 504
Group f/64, 319
Groups, interviewing, 464
Guggenheim, Davis, 274
H
Habits of participants, as obstacles, 451–452
Hair lights, 562
Halation, 151
Hale, Nick, 45
Hand-clap as acoustic test, 374
Handheld cameras
emotional effects evoked by, 457
techniques, 156
walking and tracking shots, 158–159
Hard drives/storage, 210
Hardy, Thomas, 388
Harlan County, USA, 44–45, 268–269
Harmony, 515
Harry Potter books, 521
HD (high-definition) media, 23
HD (high-definition) video, 413–414
He Makes Me Feel Like Dancin’, 294
Headphones, ear-enclosing, 136, 181, 182, 430–432
Hearts and Minds, 299
Height of camera and aesthetics, 416–417
Helpers
Advanced Proposal Helper, 362, 364, 370, 587–589
Advanced Working Hypothesis Helper, 341, 362, 370, 583–584
Basic Proposal Helper, 126, 585–586
Basic Working Hypothesis Helper, 123, 341, 581–582
Dramatic Content Helper, 125, 339, 371, 449, 576–579
Story Structure Helper, 291, 628–629
Working Hypothesis Helper, 52–55
Herzog, Werner, 46, 266, 276, 294, 323, 351, 539
Heston, Charlton, 373
High hat, 151
High-key picture, 562
Hiring equipment
basics of, 420
Historical reality, 14
History
in prospectus, 367
History Detectives, The, 39
History of filmmaking
archive-based filmmaking, 96–98
direct cinema and cinéma vérité, 84–90, 260, 277
documentary noir, 93
rise of editing, 90
Russian cinema eye approach, 76–77
video technology, 90
Hitler, Adolf, 40, 271, 272, 292
Hodge, Carroll, 352
Hoffmann, Deborah, 315
Holdover sound, 231
Hood, Stuart, 330
Hope, 17
Hospital, 218
Hostile environments, 35
House, The, 502
How the Myth Was Made, 75, 266
Hunt, recording level, 180
Hypercardioid mikes, 188
I
I Used to Be a Filmmaker, 96, 278–279
Ideation, 36. See also Artistic identity; Story development
Identification of reenacted footage, 328–329
Identity and mission, 360
Idiots, The, 319
Image stabilization, 151
sampling, 406
Imagery, described in directing plan, 371
Images
changing sizes, 466–467, 471–472
rendering, 211
sizes of, 156
Implied destination, 217
Improvisations
structure, importance of, 216
In Heaven There Is No Beer, 313
Inciting moment, 287
Inconvenient Truth, An, 13, 274
Independent Feature Project (IFP), 439, 545, 546
Independent Television Service (ITVS), 365, 366, 547
Independent, The (journal), 10
Independent Video and Filmmakers, Association of (AIVF), 547
Individual release form, 196–197, 378–379, 480–481
Individuality of documentary, 24–25
Inhabit events, 457
Insert shots, 459
Institutions, filming in, 200
Instructions for crew, 201–202
Insurance, 372
Interaction and actor/acted upon, 105–106
Interchangeable lenses, 149
Interdoc job information, 548
Interior/exterior lighting, 145, 162
International Documentary (journal), 10, 11, 547
International Documentary Association (IDA), 547
International Documentary Film Festival Amsterdam (IDFA), 545
International Film & Video Workshops, 59
International Film Database, 3
Internet. See also Websites
collecting story ideas, 38
as story resource, 38
Internet video, 221
Internships as senior, 540
Interpreting events, 18
Interviews/interviewing
assessment, 481
authority of director, belief in, 479
as basic film ingredient, 100
being adversarial without being offensive, 478
breakdown of interviewee, 477
briefing camera operator, 466–467
camera and editing considerations, 468–470
devil’s advocate approach, 478
dummy run, 476
eliciting feelings, 474
ellipsis, shooting for, 471
expectant silence as tool, 477
eye contact and behavioral feedback, 474
framing questions, 473
getting briefer versions, 478–479
groups, 464
having power, 475
image size changes, 466–467, 471–472
including questions in response, 470
individual release forms, 378–379, 480–481
interruption/redirection, 467–468
interviewer and camera placement, 468
inward journey monologues, 481–482
leading by example, 472
metaphorical thinking, 465
on-camera interviewer, 470
planning inventory for, 125
preliminary, interviewer for, 463
preparation and basic skills, 465
preparing interviewee, 467–468
presence of others, 464
rehearsing, 465
relaxing interviewees, 468
right order for questions, 473–474
setting limits, 467
starting with generalized comments, 478
supporting/directing interviewee, 472
uncommunicative interviewee, 476
voice overlaps, 470
vox populi (vox pops), 464, 470
Introduction, in drama, 286
Isle of Flowers, 296
Isolation headphones, 136, 181, 182, 430–432
Israel Defense Force (IDF), 86–87
“It’s a Wrap!”, 197
Ivens, Joris, 313
J
Jaggies, 412
James, Steve, 300
Jennings, Humphrey, 303, 304, 494
Jesus Camp, 154
Job information, 548–550. See also Careers in film industry
Journal, as story resource, 37–38
Journals, professional, 547–548
Jump cuts, 471
Juxtaposition, shots in, 108–110
K
Kauffman, Ross, 262
Kelly, Karin, 532
Kempas, Ben, 4
Kennedy, John, 105
direction and backlighting, 171
Keys and diegetic/nondiegetic music, 510
Kicker lights, 562
Kimbrell, Marketa, 28
King, Allan, 84
King Lear, 42
Kino Flo lighting, 167
Koyaanisqatsi (Life Out of Balance), 304, 305, 506
K-TEK shock mount, 182
Kuehl, Jerry, 298
L
Land of Silence and Darkness, 266
Land Without Bread, 65, 78, 80, 303, 311, 494
Langham, Chris, 332
Language of film. See Film language
Lanzmann, Claude, 344
Lassally, Walter, 84
Last Year in Marienbad, 332
Laudatory films, 347
Lavalier/lapel mikes, 189–190, 434–435
Layout, title, 250
LCD (liquid crystal display), 141
Leacock, Richard, 105
Leader, His Driver and the Driver’s Wife, The, 453
Leading by example, 472
LEDs (light-emitting diodes), 165–167
Legalities. See also Releases
legal issues, list of, 380
legal omissions, 252
obtaining permissions, 372
permission to film in locations, 376–378
titles and contractual obligations, 251
Legends as story resource, 39–40
Leigh, Mike, 550
Leitmotif, 508
Length, title, 251
Lens mount, comparing cameras, 405
Lenses
aperture, 146
interchangeable, 149
perspective and camera-to-subject distance changes, 391–392
perspective and normalcy, 389–390
technical information, 148–149
types of, 389
zooming vs. dollying, 397
Lessons of Darkness, 306
Level cut, 230
Leveling cameras/camcorders, 152–153, 402–403
Levels, sound. See Sound levels
Libraries
sound effects, 241
Lighting
backgrounds, 172
bouncing light, 163
broad/narrow, 565
fill light, 163
fluorescents, 167
frontal, 565
hard/soft light, 163, 164–165, 169, 561–562, 563–564
interior/exterior problems, 145, 162
light quality and lighting instruments, 163–165, 563–564
overbright backgrounds, 162–163
reasons for supplementing, 162
shadows, 169
shooting under mixed color temperatures, 145
spontaneity in documentary, 161
Limiting, sound, 212
Limits
for interviewee, 467
Line numbering transcripts, 487
Listen to Britain, 303
Listening skills for interviews, 466, 476
Litter of puppies, pitching/proposal for, 53–55, 58–59
Live (reverberant) rooms, 374
Live music sessions, 511
Live/dead spaces and sound, 176–177
Living Desert, The, 505
Location sound
atmosphere, 174
effects track (FX), 193
elements of, 175
isolation headphones, 136, 181, 182, 430–432
location, elements of, 175
microphones. See Microphones
on-mike/off-mike, 175, 177, 183–184
on-set, 192
perspective, 176
planning sound coverage, 421
presence, 174
reflected/reverberant, 174, 177
resonance, 176
RF interference, 192
saturation, 179
scouting locations, 192
shooting presence track, 191, 196
signal, 174
signal-to-noise ratio, 176–177
sound codecs, 424
transient, 179
using camcorder to record sound, 423–424
wild track, 193
Locations
camera as passport, 453
camera considerations, 417
location agreements, 128–129, 372, 376–378
setting for interviews, 463–464
travel in dangerous areas, 420
Locking picture, 238
Logging
purpose of, 444
shooting logs, 443
Long-form structure
length, 520
multiple endings, 520
represent contents using “playing card” method, 519
trial audiences, 520
using Editing Diagnostic Form, 518–519
Looping, postsynchronizing dialogue, 240
Lorentz, Pare, 272, 273, 288, 311
Lossy codec, 414
Lowel DV Creator lighting kit, 164
Luck and preparation, 128
Lumière, Auguste and Louis (brothers), 68–71
Lumière Brothers’ First Films, The, 68
M
M.A. (Master of Arts) degree, 532
MacArthur Foundation, John D. and Catherine T., 547
Macro focusing, 150
Magazine as story resource, 38
Maguire, Sharon, 550
Maine Media Workshops, 538
Maintenance, people and equipment, 419
Malraux, André, 281
Man with the Movie Camera, 65, 76–77, 277
Manipulating perspective, 396
Manual camcorder controls
exposure, 146
focus, 150
white balance, 145
March of the Penguins, 9, 10, 295–296
“Marching ants” in viewfinder, 410
Marked-up transcripts, 488–489
Markets
described in prospectus, 368
Marks left by life experiences, 30, 31
Marshaling evidence, 350
Masters, media, 248
Materials, getting information via Internet, 3
Mature communicator, 21
Mayer, Doe, 352
Maysles, Albert, 105, 378, 540
Maysles brothers, 84, 85, 86, 218, 264, 268, 284, 286
Maysles Institute, 540
McNamara, Robert S, 301
Media
B-roll footage, 47
primary evidence, 47
tapeless workflow, 414
Media Composer (Avid), 208
Media Law for Producers, 508
Media, lifespan of archives, 398–399
Medium long shot (MLS), 456
Medium shot (MS)
basics of, 156
signals for, during interviews, 466
Memory cards for camcorders, 400–401
Memory, white balance, 145
Metaphorical thinking, 465
M.F.A. (Master of Fine Arts) degree, 533
Microphones
body, 190
boom, 175
camcorder input boxes, 180–181
deck mike, 175
hypercardioid, 188
lavalier/lapel, 189–190, 434–435
mixing multiple, 430
omnidirectional, 188
picture/sound subjects, 186, 187
placement, 432
power supplies, 187
quality of, 187
recordist/camera positioning, 157, 184–186
spares/accessories, 190
wired, 190
Microsoft Word
line numbering, 487
spelling/grammar, 52n
MIDI integration, 212, 508, 511, 512
Miller, Arthur, 86
Miller, Phillip, 508
Mind-body connection of participants, 449–450
Minghella, Anthony, 550
Mission and identity, 360
Mixed color temperatures, 145, 162
Mixing music, 512
Mobile cameras/camcorders
shoulder braces, 153
support systems, 153–155, 402–404
Mockumentaries, 328–329, 332–333
Monastery: Mr. Vig and the Nun, The, 267, 504
Monitors, 155
Monodirectional/bidirectional attention, 231–232
Monological documentary, 14, 315–316, 460
Moods, 48
Moore, Michael, 7, 9, 19, 95–96, 235, 275, 311, 323, 355, 373, 494
Morin, Edgar, 88
Morris, Errol, 15, 93, 193, 301, 323, 328, 330, 471, 474, 506
Mosley, Oswald, 198
Moss, Robb, 357
Motivation
for camera positioning and movement, 454
eyeline shifts and cutaways, 460
Movements and screen direction, 112–114
Movie Magic software, 367
Movie Palace, 39
Multichannel sound distribution, 243
Multiple points of view, 268–270
Murch, Walter, 239
Murphy’s Law, 159
Music
as basic film ingredient, 101
fitting, 512
laying music tracks, 246
libraries and copyrights, 507–508
M & E (music and effects) tracks, 248–249
misusing, 505
mixing, 512
in and out points, 246
spotting for, 507
starting/stopping, 507
as storyteller’s voice, 507
suggesting what cannot be seen, 504
sync points, 511
temporary tracks, 509
unifying through time, 510
using with light hand, 505–506
when to use and not use, 504–505
where to use, 506
working with composers, 508–511
Myrick, Daniel, 323
Myths as story resource, 39–40
N
Nanook (character), 266
Nanook of the North, 48, 65, 71, 73, 265
Narration
accommodating sound features, 496–497
altering syntax to match screen logic, 496
alternate versions, 502
as basic film ingredient, 101
complement visuals, don’t duplicate, 499
drawbacks to, 493
fitting, 503
improvisation approach, 495, 501–502
power of first word with new image, 497
problems it can solve, 492–493
reading from script approach, 494–495
recording presence tracks, 503
scratch recording, 499
script for narrator, 499
sound editing, 243
speech-based structure, 220
tryout, 496
wild recordings, 500
Narrow lighting setup, 565
Narrowing focus to deepen film, 474
National Endowment for the Humanities (NEH), 546–547
National film schools, 537–538
National Geographic Society, 296
National Public Radio (NPR), 481–482
Naturalness of participants, 450
Naturalness, search for, 198–199
Neal, Brian, 193
Needy people as participants, 381
Networking, 122
Networking for jobs, 542
Neutral density (ND) filters, 147
New Challenges for Documentary, 277n, 298n, 333n
New York Film Academy, 538
New York Times, The, 328
Newspaper videos, 221
Newspapers, as story resource, 38
Night and Fog, 80–82, 311, 494, 506
Night Mail, 65, 79, 80–81, 303, 494
Nobody’s Business, 280
Noir, documentary, 93
Noise, picture, 148
Noise, sound, 243
Nonchronologically presented stories, 303–313
Nondiegetic sound, 510
Non-drop frame (NDF) recording, 415–416
Nonlinear editing (NLE) system, 210
Nonrelevant time stories, 313–315
Normancy and perspective, 389–390
North American film schools, 534–537
Note taking at viewings, 213
NTSC (National Television System Committee) standard, 210, 400, 413, 415
Nyman, Michael, 77
O
Objectivity
camera position, 17
regaining after editing, 232
Observation of participants, 344–345
Observational cinema, 84–87, 89–90, 260–263
Observer-to-subject axis, 111
Oliver, Jane, 198
Omnidirectional mikes, 188
On Screen Directing, 416
On-axis/off-axis interviews, 468–470
On-axis/off-axis sound, 175, 177
One liner, 367
One Pair of Eyes series, 274, 468n
On-mike/off-mike sound, 175, 177
Open-face quartz lamp, 163
Opinions via Internet, 3
Optics
diopters, 149
finding focus, 157
focal length for lenses, 148, 389–390
halation, 151
interchangeable, 149
space and perception, 387
technical specifications, 148–149
vignetting, 149
wide aperture range, 149
zoom ratio, 148
Organization
authority of director, 446–447
crew. See Crew
directors. See Directors
interns, 438
producer, 439
production department, 438
unit production manager (UPM), 439–440
using social times and breaks, 202–203, 447
Organizations, filming in, 200
Organized story with meaning, 12–13
Orwell, George, 366
Outfront program, 477, 481–482
Outlines, creating, 126
Overbright backgrounds, 162–163
Over-the-shoulder shots (OS), 456, 458
P
PAL (Phase Alternating Line) standard, 210, 400, 413
pan handle, 152
pan/tilt head setup, 152, 402–403
Paradise Lost: The Child Murders at Robin Hood Hills, 306
Parallel narrative traditions, 371, 374
Parallel storytelling, 292
Participants
active, audience as, 228
approaching for preproduction research, 343–344
being natural, 450
camera presence and changes in, 450–451
creating trust in, 197–198, 340, 344
embedded values related to, 352–353
habits of, as obstacles, 451–452
in Nanook of the North, 72
postproduction fears, 236
releases. See Releases
self-image and self-consciousness, 450
symbolic payment ($1), 196, 379, 480
Participatory cinema, 84–87, 88–89, 89–90, 260–263
Passive/active voice, 52
Paying for education, 539
Payments
to celebrities/people in need, 380–381
symbolic ($1), to participants, 196, 379, 480
PBS job information, 548
Peak reading meters, 179–180, 429
Peet, Stephen, 46
Pennebaker, D. A., 105
People in need, paying, 381
Perception, visual
camera eye and human eye, 387–389
frames of new image, 472
of space, 387
Permissions, obtaining, 372. See also Releases
Perrin, Jacques, 13
Personal message from author, 550–551
Personal POV, 274
Personal release form, 196–197, 378–379, 480–481
Personality, 452
Person-in-the-street interviews, 464, 470
Perspective
changes due to camera-to-subject distance changes, 391–392
manipulating, 396
Perspective, visual, and normalcy, 389–390
Phantom power
camcorder sound, 181
Phasing, 430
Ph.D. (Doctor of Philosophy) degree, 533
Pickup patterns, microphone, 187–190, 433
Picture elements, 413
Picture gain, 148
Picture lock, 238
Picture materials for films, 100, 124–125
Pilgrim’s Progress, 218
Pinewood Studios, 77
Pioneer Quest: A Year in the Real West, 285
Pitch (story), defined, 51
Pitch changes/blending, 212
Pitching documentary
described in directing plan, 371
pitches expanded to proposals, 58–59
pitching subject project, 55–56
proposals, 52
Planning. See also Research
equipment compatibility, 399
sound coverage, 421
“Playing card” method, 519
Plow That Broke the Plains, The, 272–273, 303, 311
Point of view (POV). See also Camera issues and point of view
authorial voice, 281
concept of, from film/literature, 259–260
described in directing plan, 371, 373
establishing, 266
expressing in documentary, 263–265
expression of art/identity, 24–25
finding new language, 281
looking at and looking through, 514–515
multiple POVs (characters in film), 268–270
personal, 274
present tense of films, 70, 259
questions to ask yourself regarding, 282
reflexivity and representation, 276–281
role of storyteller, 275–276, 373
single (character in film), 265–268
Polar pattern (microphones), 433
“Politics and the English Language”, 366
Postproduction. See also Editing; Music
equipment compatibility issues, 400
long-form structure problems, 518–520
talking about one’s work, 520–521
titles/acknowledgments, 250–253
workflow, 210
Postsynchronizing dialogue, 80, 239, 240
Potter, Sally, 550
Power supply
for camera, 151
consumption, lighting calculations, 168–169
lighting requirements, 167–168
for microphones, 187
Practicals and lighting, 170, 562
Prelinger, Rick, 343
Premixing, 247
Preproduction research. See Research
Presence track
for narration, 503
Present tense
writing in, 52
Preset white balance, 145
Primary, 105
Primary evidence, 47
Privacy, competition issues and, 35
Private and open schools, 538
Private funding, 546
Privileged moments, 88, 385, 477–478
Pro Tools (Digidesign), 239, 243
Procedures
setup and take numbers, 442–443
shooting logs, 443
single/double systems, 443
Process film, 62
Processes, life vs. cinema, 102
Processing, sound, 243
Producer, 439
Production. See also Shots/shooting
camera handling, 156–159, 457–458
directing participants, 197–200
microphone handling techniques, 181–187
sound design/shooting atmospheres, 191–192
Production department, 438
Production stills, 419
Professionalism of crew, 201
Projects
Advanced Budget Worksheet, 366, 592–598
Advanced Interview: Three Shot Sizes, 90, 156, 199, 468, 617–618
Advanced Proposal Helper, 362, 364, 370, 587–589
Advanced Working Hypothesis Helper, 341, 362, 370, 583–584
Analyze Editing and Content, 7, 20, 44, 108, 226, 260, 417, 498, 518, 572–573
Analyze Lighting, 161, 171, 387, 560–565
Analyze or Plan Using the Split-Page Script Form, 7, 190, 238, 492, 504, 514, 554–557
Analyze Picture Composition, 99, 158, 387, 397, 417, 566–570
Analyze Structure and Style, 7, 226, 289, 322, 574
Analyze Using Split-Page Script, 7
Assess a Director’s Thematic Vision, 260, 281, 575
Assess Your Interviewing, 199, 481, 625–627
Assessing a Director’s Thematic Vision, 260
Basic Interview: Camera on a Tripod, 13, 34, 41, 90, 199, 615–616
Basic Proposal Helper, 126, 585–586
Basic Working Hypothesis Helper, 123, 341, 581–582
Diagnosing a Narrative, 20, 232, 518, 571
Document a Process, 85, 88, 607–608
Document an Event, 71, 609–610
Documenting a Process, 288
Dramatic Content Helper, 125, 339, 371, 449, 576–579
Dramatize a Location, 77, 611–612
Editing Diagnostic Form, 518–519
Flaherty-Style Film, 71, 603–604
Make a Diary Film, 95, 623–624
Make a Floor Plan, 7, 123, 558–559
Make a Participatory Film, 88, 260, 621–622
Make an Essay Film, 78, 95, 613–614
Make an Observational Film, 86, 260, 619–620
Picture Composition, 417
Skills Practice: Handheld Camera Steadiness, 156, 599
Skills Practice: Handheld Tracking Backward with Moving Subject, 156, 601–602
Skills Practice: Handheld Tracking on a Moving Subject, 156, 600
Story Structure Helper, 291, 628–629
Style and Content Questionnaire, 127, 340, 362, 363, 371, 580
Values Quiz, 28
Vertov-Style Montage Film, 77, 605–606
Propagandist, 21
Proposals
Advanced Proposal Helper, 362, 364, 370, 587–589
Basic Proposal Helper, 126, 585–586
listing action/behavioral sequences, 362, 363
one conviction, many films, 55
purpose of, 51–52, 126, 361–362
for starting career in film industry, 545
steps toward first draft, 362–363
Provocative evidence, 16
Provocative narration, 497
Pudovkin, Vsevolod, 108
Pudovkin’s categories of juxtaposition, 109
Puppy documentary, pitching/proposal, 53–55, 58–59
Push-ups, documentarian’s, 122–123
Q
Quantitative research, 341–342
Questions
diagnostic questioning after viewings, 222
framing/focusing, in interviews, 474
Quick-release plates on cameras/camcorders, 152–153, 402–403
R
Rabiger, Paul, 508
Radio documentary, 482
Rain, 313
Raising stakes and stories, 44–46
Rare film copies/information, 3
Raymond, Alan and Susan, 354
Reaction shots, 460
Reading of narration script, 494–495
Real Dirt on Farmer John, The, 301–303
Reality checks, 340
Reassembling edits, 212
Rechargeable batteries, 151
Reconstruction
questions to ask yourself regarding, 334
Recording format and load time for cameras, 409–410
Recordist, sound
communicating with, during shoot, 202
on-shoot etiquette, 195
relationship to camera, 184–186
using ear-enclosing headphones, 136, 181, 182, 430–432
Reenactments
as basic film ingredient, 100
Reflected sound, 174
Reflexivity/reflexive films
Regret to Inform, 274
Rehearsing
interviews, 465
for sound mix, 248
Reisz, Karel, 550
Releases
crowd scenes, 380
individual personal release, 378–379, 480–481
location agreements, 128–129, 372, 376–378
obtaining permissions, 372
signed short personal release, 196–197
Reliability of information, 342
Reminder lists, downloadable, 370
Remnant of a Feudal Society, A, 356
Rendering, 211
Research
archives, fair use, and best practices, 343
background research, 340
budget estimation, 130
casting decisions, 346
collecting raw materials, 37–42
compromising yourself, 345–346
creating outlines, 126
for creating subject restrictions, 121
creating trust in participants, 197–198, 340, 344
evidence, exposition, and dramatic tension, 346–350
getting information via Internet, 3–4
initial interviews for, 462–463
inventory of materials needed, 124–125
keeping notes, 345
location agreements, 128–129, 372, 376–378
location research, 339
luck and preparation, 128
marshaling evidence, 350
networking, 122
observation of participants, 344–345
obtaining films/videos, 2
purpose/methods overview, 124
quantitative research, 341–342
reality checks, 340
scheduling, 128
Style and Content Questionnaire, 127
subject-driven methods, 121–122
testimony and witnesses, 348–350
using Dramatic Content Helper, 125
using Working Hypothesis Helper, 52–55, 123–124
Researcher, 463
Resnais, Alain, 80–81, 311, 332, 494, 506
Resolution, in drama, 284
Resonance, 176
Resource directory, 3
Responsibilities of crew members, 133
Résumés
job seeking, 549
in proposals, 365
in prospectus, 368
Reverberation, sound, 174, 177
Reviews, getting information via Internet, 3
RF (radiofrequency) interference, 192
Rhythm
duration, concentration, and, 114–115
film language, 103
visual, 114
Riedelsheimer, Thomas, 347
Riefenstahl, Leni, 271–272, 292, 333
Rising action, 287
River, The, 272, 288, 303, 311
Rivers and Tides: Andy Goldsworthy Working with Time, 347–348
Roemer, Michael, 283
“Roll camera” command, 201, 446
Rolling titles, 251
Roll-off/attenuation, 242
Rosenblatt, Jay, 96, 97, 278, 279
Rosenthal, Alan, 277n, 298n, 332, 333n
Ross-Pirie, Caroline, 285
Rotten Tomatoes (website), 3
Rouch, Jean, 88, 89, 260, 475, 477
Rubbo, Michael, 280
Ruby, Jay, 277
Run-up time, 201
S
Sacco and Vanzetti trial reenactment, 330
Sad Song of Yellow Skin, 280
Safety
recordist as safety monitor, 186–187
Safety backups, 424
Safety copies
of sound mix, 248
Salesman, 65, 85, 86, 218, 268, 284, 286
Sánchez, Eduardo, 323
Sandford, Jeremy, 331
Saturation, sound, 179
Scenes
breakdown of, and crib notes, 458–459
camera/scene axes, 110–111, 113
film language, 104
Scene/setup/take system, 442–443
Schedules
basics of, 128
daily printed, 376
described in directing plan, 372
logistics considerations, 375–376
in prospectus, 368
Schiesari, Nancy, 157
Scouting locations, 192, 374–375
Scratch recording of narration, 499
Scratch tracks for music, 509
Screen direction
Screen language
role of storyteller, 275–276, 373
technology and, 67
Screening first assembly, 220. See also Viewings
Scripts from transcripts
accurate transcriptions, 485
assembling paper edit, 489–491
database input, 487
line numbering, 487
selecting materials for assembly, 487–489
timecodes, 485
SD (standard-definition) video, 413–414
Sears Home, 39
Secrets of the Dead, 330
Security spyglass, 389
Self-help and education, 539
Self-image and self-consciousness, 450
Sensory overload, 202
Sequences
described, 115
film language, 104
planning inventory, 125
Serendipity, 454
Setting for interviews, 463–464
Setting limits and Dogme group, 319–321
Setup
camcorder sound levels, 179–180, 429
clapper board information, 442–443
Shadows, defining, 169
Shavitt, Orna, 60
Sheriff of Fractured Jaw, The, 240
Shoah, 344
Shock mounts, microphone, 181–183
Shock of recognition, 46
Shooting projects. See Projects
Shooting ratio, 130
Short films, length of, 221
Shotgun mikes, 188–189, 433–434
Shots/shooting. See also Camera issues and point of view Production
atmosphere and sound design, 191–192
body mechanics, 159
camera as instrument of revelation, 417–418
checking shots, 201
compromises for camera, 418–419, 453
crowd scene releases, 380
ensuring change, 376
equipment compatibility issues, 400
error recovery, 158
film language, 103
focusing, 157
image sizes, 156, 466–467, 471–472
interviews. See Interviews/interviewing
legal issues, 380
location agreements, 128–129, 372, 376–378
location considerations, 417
logistics and schedule, 375–376
logs, 443
under mixed color temperatures, 145, 162
paying celebrities/people in need, 380–381
production stills, 419
setup and take numbers, 442–443
single/double systems, 422–423, 443
viewfinder and movements, 158
walking and tracking shots, 158–159
Shoulder braces for cameras/camcorders, 153
Shutter speed, 414
Side coaching, 288
Side-lit subject, 171
Siegel, Taggart, 301
Signal, sound, 174
Signals. See Communications
Signals/voice communications with crew, 202
Signal-to-noise ratio (S:N), 176–177
Signifying situations, 356
Silence
as basic film ingredient, 101
as interviewer’s tool, 477
Silhouette lighting, 565
Simplification vs. clarification, 19
Single system, shooting, 422–423, 443
Sinofsky, Bruce, 306
Site research, 339
Slate, 441
Smiley, Jane, 42
Sobchack, Vivian C., 333n
Social criticism, documentary as, 13–14
Social history, 42
Social science, 42
Social times, 447
Söderqvist, Johan, 504
Soft light, 163, 164–165, 169, 561–562, 564
Software
budgeting, 367
getting information via Internet, 3
for music composers, 508
Soldier Girls, 15–16, 285, 287, 309
Sonneborn, Barbara, 274
Sound
anticipatory, 231
camcorder. See Camcorder sound
diegetic/nondiegetic, 101, 510
editing. See Sound editing
hand-clap acoustic test, 374
holdover, 231
location considerations, 374–375
materials for films, 100, 124–125
microphones. See Microphones
perspective, 243
planning inventory, 125
quality, 136
safety backups, 424
Sound design
aesthetics/soundscapes, 193–194
ambient sounds/atmosphere, 191, 192–193
location ambience problems, 192–193
postproduction discussions, 239–240
psychoacoustics, 239
Sound editing
attenuation/roll-off, 242
clichés, 240
compression, 212
effects track (FX), 193
filling in backgrounds, 242
filtering, 212
fitting music, 512
fitting narration, 503
laying music tracks, 246
limiting, 212
MIDI integration, 212
narration/voice-overs, 243
pitch changes/blending, 212
sound processing, 243
synchronizing sound to picture, 211
voice-overs, 227
Sound effects
as basic film ingredient, 101
library, 241
placement during speech, 496–497
recreating, in Foley studio, 240–241
spot sound effects, 246
Sound levels
for first showing, 233
sound mixing, 243
Sound mix
comparative levels, 247
introduction, 239
music and effects tracks, 248–249
premixing, 247
preparation/procedures, 243
rehearse, then record, 248
safety copies, 248
tailoring, 247
Sound recordist. See Recordist, sound
Source materials
final check of, 238
inventory of materials needed, 100–101
Sources, identifying, 235
Space and visual perception, 387
Spatial errors, 235
Speech-based narrative structure, 220
Spelling check (Microsoft Word), 52n Spelling, checking titles/subtitles, 251
Spider (spreader), 151
Splitting dialogue tracks, 244
Spock, Dr. Benjamin, 468
Spot sound effects, 246
Spreader, 151
Sprinkler Sprinkled, The, 70
Spurlock, Morgan, 494, 526, 527
Staggered cut, 230
Stakes, raising and stories, 44–46
Stange, Eric, 329
Stanislavski, Konstantin, 449
Starting music, 507
State funding, 546
Status quo, 15
Steadicam, 154
Stereo
camcorder sound, 181
recording, 430
Still in Motion, 504n
Stills, production, 419
Stock footage, 130
Stopping music, 507
Storage/hard drives, 210
Storck, Henri, 313
Story
acting on audience, 13
forms of documentary, 17
hope, 17
Story development
artistic identity. See Artistic identity
B-roll footage, 47
collecting raw materials for, 37–42
displace/transform subjects, 49
ideas about life, 105
ideation, 36
Internet resources, 38
locating pressures/raising stakes, 44–46
mood creation, 48
newspapers/magazines for, 38
one conviction, many films, 55
primary evidence, 47
shock of recognition, 46
social science/social history for, 42
subject- vs. character-driven, 48–49
subjects to avoid, 49
testing for cinematic qualities, 48
Story of the Weeping Camel, The, 74, 241
Storyteller, role of, 275–276, 373
Strain relief for cables/cords, 178–179, 189
Straubinger, Fini, 267
Structure
action-determined, 219
change and development in stories, 291
contract with audience, 20–21, 216–217
defined, 91
importance of, 216
questions to ask yourself regarding, 316–317
speech-based narrative, 220
story development, 217
Story Structure Helper, 291, 628–629
Style
of titles, 250
for writing scripts/proposals, 52
Style, film
addressing aesthetic concerns, 371
developing, 127
prompts for making stylistic choices, 325–326
styles you can/can’t choose, 323–325
Stylized actuality, 323
Subject-driven documentary, 48–49
Subjective reconstruction, 331–332
Subjectivity
Subjects
to avoid, 49
crossing boundaries and bucking trends, 543–545
displace/transform, 49
for interviews, 467
picture/sound mike placement, 186, 187
researching restrictions, 121
subject- vs. character-driven films, 48–49
Subtexts
Support system, camera, 151–155, 402–404
Swimming Lesson, The
proposal, 58
Synchronizing sound/music, 211, 511
Synecdoche, 455
T
Tailoring sound mix, 247
Take, defined, 441
“Tale of Two Townsvilles, A”, 482
Talking about one’s work, avoiding, 520–521
“Talking head” film, 48, 121, 227, 502
Taranto, Claudia, 482
Tattooed Under Fire, 157
Technical information via Internet, 4
Technology, screen language and, 67
Telescope, 389
Television films, length of, 221
Tell Them Who You Are, 274–275, 307
Telling Stories: Postmodernism and the Invalidation of Traditional Narrative, 283n
Temperament of crew members, 132–133
Temporal mistakes, 235
Temporary tracks, 509
Tense for scripts/proposal materials, 52
Tension, dramatic, 289, 346–348
Terre’Blanche, Eugène, 453
Testimony and witnesses, 348–350
Testing
for cinematic qualities, 48
Testing camera equipment, 159
Testosterone, 482
Thematic goals, 371
Themes, self-inventory project, 31–32
Therapy, 30
Thin Blue Line, The, 15, 93, 193, 328, 330, 506
This American Life, 482
Thomas, Anthony, 331
Thousand Acres, A, 42
Three-act structure, 86, 284–285, 286–287
Three-point lighting, 171, 564
Through line, 291
Tilting cameras/camcorders, 103, 151–152, 402–403
Time
chronological stories, 291–303
concepts in film, 216–217, 290–291
no time structure predominates, 314
nonchronological stories, 303–313
nonrelevant time stories, 313–315
on-screen, for title, 251
process films, 62
time reordered films, 306
unifying music through, 510
Timecodes for video
addressable, 415
drop frame vs. non-drop frame, 415–416
in transcripts, 485
Titanic, 276
Titicut Follies, 309
Title page of prospectus, 367
Titles and acknowledgements, 250–253
Tolstoy, Alexandra, 473
Topic categories, 215
Tourist, The, 357
Transcripts
limitations of transcribing, 215–216
making, and workarounds, 215–216
topic categories, 215
Transfer of funds, 368
Transient sounds, 179
Transitions/transitional devices, 115–116
Transparency/transparent films described, 86, 358
directing, 452
interviews in, 471
mission and identity, 360
truth claims, 356
Travel
in dangerous areas, 420
logistics and schedule, 375–376
Traveller’s Tale, 332
Treatment, 366
Trial shooting, 372
Tripods and accessories
Truffaut, Fran ç ois, 351
Trust of participants, 197–198, 340, 344
U
UFVA (University Film and Video Association), affiliated film schools, 535–537
Ultraviolet (UV) filter for camcorder, 150
Unbalanced/balanced sound inputs, 177–178
Undergraduate degrees, 531–532
Unit production manager (UPM), 439–440
Universe, rules of, and plots, 283–284
University Film and Video Association (UFVA), 3, 534
Unlock codes for DVD players, 2
Unreliable character, 228
Up series (7 Up, 14 Up … 49 Up), 90–91, 217, 268
U.S. Department of State, 420
V
Values
in documentary, 13
self-quiz, 28
Van Dyke, Willard, 319
Variety (magazine), 11
VariZoom, 154
Vertov, Dziga, 76–77, 88, 260, 277–278
Video technology, evolution of, 90
Videomaker (journal), 548
Vietnam: A Television History, 298
Viewfinder
assessing composition, 158
comparing cameras, 410
Viewfinder and movements, 158
Viewings
dailies, by director/editor, 212–213
feelings/reactions, 213
relevance of dailies, 214
taking notes, 213
Viewpoint. See Point of view (POV)
Vignetting, 149
Visually driven films, 216
Voice. See also Narration Sound
communications with crew, 202
editing out interviewer, 470
inconsistent quality, 245
overlaps, 470
Voice in writing, active/passive, 52
Voice-overs
as basic film ingredient, 101
sound editing, 243
unifying material using, 227
Volts, 168
Von Trier, Lars, 319
“Vow of Chastity” and Dogma group, 320–321
Vox populi (vox pops) interview, 199, 464, 470
VU (volume unit) meters, 179, 180, 429
W
Walking and tracking shots, 158–159
Walsh, Raoul, 240
Watt, Donald, 298
Watts, 168
Websites
downloadable reminder lists, 370
fair use information, 343
focal length for lenses, 390
funds and foundations, 546–547
job information, 548
Weston, Edward, 319
Why Docudrama? Fact-Fiction on Film and TV, 332
Wide aperture range for lenses, 149
Wide shot (WS)
described, 156
signals for, during interviews, 466
Wild, Nettie, 19
Wild sound, as basic film ingredient, 101
Wild tracks, 193
Windscreens, microphone, 181–183
Wired mikes, 190
Wiseman, Fred, 84, 218, 260, 309, 378
Witness bearing, 23–24, 475–476
Witnesses and testimony, 348–350
Words
power of first word on new image, 497
word-driven structure, 220
Work in progress (WIP), 365
Workers Leaving the Factory, 68
Workflow
postproduction, 210
shooting single/double systems, 422–423
Working atmosphere, 201
Working hypothesis
Advanced Working Hypothesis Helper, 341, 362, 370, 583–584
Basic Working Hypothesis Helper, 123, 341, 581–582
overview, 52
refining proposals, 363
using Working Hypothesis Helper, 52–55, 123–124
Working principles, 3
World at War, The, 298
World Soundscape Project, 193
Worldwide film schools, 537
Worthington, Rosalie, 468
Wrapping up tasks, 197
Writer’s Journey: Mythic Structure for Storytellers and Screenwriters, The, 26, 300n
Writing
style for scripts/proposal materials, 52
Writing on the Wall, The, 60, 61, 62, 63
WYSIWYG (What You See Is What You Get), 251
Y
video length for, 221
Z
Zebra stripes in viewfinder, 410
Zeppelins, 223
Zola, Émile, 24
Zoom, defined, 103
Zoom ratio for lenses, 148
Zoom speed, 467
Zooming vs. dollying, 397