The Mechanics of Documentary Storytelling Andy Carvin www.andycarvin.com www.digitaldivide.net [email_address]

What We’re Gonna Talk About Story structure Video technique Scripting technique Editing technique

Story structure

Video technique

Scripting technique

Editing technique

Story Structure: 3 Parts The Tease The Body The Conclusion

The Tease

The Body

The Conclusion

The Tease Allows viewer to focus on what the film is about Introduces one or more principal characters Establishes setting/location critical to the story Presents a conflict/set up a problem/asks a question Sets the tone for the film Sucks in the audience - hopefully

Allows viewer to focus on what the film is about

Introduces one or more principal characters

Establishes setting/location critical to the story

Presents a conflict/set up a problem/asks a question

Sets the tone for the film

Sucks in the audience - hopefully

The Body The main plot; the meat of the story Get to know the characters, what they're doing and why they’re doing it See the action unfold The body usually makes up 80% of a documentary

The main plot; the meat of the story

Get to know the characters, what they're doing and why they’re doing it

See the action unfold

The body usually makes up 80% of a documentary

The Conclusion Wrapping up, giving closure Recaps point of story Whatever you promised or asked in your tease needs to have been delivered

Wrapping up, giving closure

Recaps point of story

Whatever you promised or asked in your tease needs to have been delivered

Example 1: The Soccer Match Tease: Meet Sarah, the team captain; Former county champs, going through a rough patch About to compete against current champions Body: Get to know the team; what are their strengths? What challenges do they face? Experience leadership of coach, individual members Climax: Match vs the champs. What happens? Who wins? Conclusion : Reactions of the captain and team mates How did the experience change them?

Tease: Meet Sarah, the team captain;

Former county champs, going through a rough patch

About to compete against current champions

Body: Get to know the team; what are their strengths?

What challenges do they face?

Experience leadership of coach, individual members

Climax: Match vs the champs. What happens? Who wins?

Conclusion : Reactions of the captain and team mates

How did the experience change them?

Example 2: The Boardwalk Tease: Establishing shot of boardwalk, montage of activity; ask what the boardwalk means to Atlantic City Body: History of the boardwalk; archival footage from library, old postcards; interviews with community members, parents, grandparents; today’s boardwalk Conclusion: Summarize its history; next generation of kids growing up here; continuity of boardwalk in the life of the city; end with grandfather and grandkid strolling into sunset

Tease: Establishing shot of boardwalk, montage of activity;

ask what the boardwalk means to Atlantic City

Body: History of the boardwalk; archival footage from

library, old postcards; interviews with community members,

parents, grandparents; today’s boardwalk

Conclusion: Summarize its history; next generation of kids

growing up here; continuity of boardwalk in the life of the

city; end with grandfather and grandkid strolling into sunset

Video Technique Footage must always serve the story Establishing shot: wide view providing context (think sitcoms: Outdoor shot of Cheers, Seinfeld restaurant, Friends apartment in NYC) Interviews: typically head and shoulder shot - close, but not too close. Zooming in for intimacy, intensity Zoom forces viewer to focus on something

Footage must always serve the story

Establishing shot: wide view providing context

(think sitcoms: Outdoor shot of Cheers, Seinfeld restaurant, Friends apartment in NYC)

Interviews: typically head and shoulder shot - close, but not too close.

Zooming in for intimacy, intensity

Zoom forces viewer to focus on something

Video Technique, Continued Wider shots to see interview subject in context of a particular situation Odd angles add intensity ("God shot," MTV shot) Action style, keeping things moving: either characters move or the camera moves Lots of “talking heads” feels like TV journalism Shooting same thing from as many angles as possible - creates more editing options

Wider shots to see interview subject in context of a particular situation

Odd angles add intensity ("God shot," MTV shot)

Action style, keeping things moving: either characters move or the camera moves

Lots of “talking heads” feels like TV journalism

Shooting same thing from as many angles as possible - creates more editing options

Scripting Technique Script follows your story structure: Beginning, middle, end (Sounds obvious but not always easy) Uses at least one of two elements: Narrator voice and character voice Most documentaries use both

Script follows your story structure:

Beginning, middle, end

(Sounds obvious but not always easy)

Uses at least one of two elements:

Narrator voice and character voice

Most documentaries use both

Script Narration and POV Narration always has a point of view Third-Person Narrator (narrator never seen, just heard; disinterested) Self-injected narrator (seen, but not in plot - 60 Minutes, TV journalism, Michael Moore) Character narrator (”I’m Priscilla Presley, and this is our family’s story...") No narration: characters speak for themselves Example: Riding the Rails

Narration always has a point of view

Third-Person Narrator

(narrator never seen, just heard; disinterested)

Self-injected narrator (seen, but not in plot - 60 Minutes, TV journalism, Michael Moore)

Character narrator (”I’m Priscilla Presley, and this is our family’s story...")

No narration: characters speak for themselves

Example: Riding the Rails

Scripts are heard, not read Narration isn't literature - it's oral, conversational "If a three-syllable word can be said in a one-syllable word, change it!" - Nat Geo scriptwriter John Goodman Tone of narration shouldn't vary during the documentary Multiple narrators don’t always work Use lots of action verbs - avoid overuse of descriptive adjectives and adverbs. Let the visuals be your adjectives

Narration isn't literature - it's oral, conversational

"If a three-syllable word can be said in a one-syllable word, change it!"

- Nat Geo scriptwriter John Goodman

Tone of narration shouldn't vary during the documentary

Multiple narrators don’t always work

Use lots of action verbs - avoid overuse of descriptive adjectives and adverbs.

Let the visuals be your adjectives

Editing Technique: Music Music can be a powerful element It’s often a character in its own right Example: Beach Clip

Music can be a powerful element

It’s often a character in its own right

Example: Beach Clip

Editing Technique: Pacing Pacing of edits affects the tone Faster edits picks up the pace, but requires more footage! Slower edits means slower pace, but you get to milk your footage Example: Parade Clip

Pacing of edits affects the tone

Faster edits picks up the pace, but requires more footage!

Slower edits means slower pace, but you get to milk your footage

Example: Parade Clip

Editing Technique: A-Roll vs. B-Roll A-Roll: your primary footage (interview subjects in particular) B-Roll: secondary footage used to support interview or narration, also used to cover errors like “jump cuts” A-Roll is melody, B-Roll harmony When editing, you generally go back and forth A-Roll of soccer match - B-Roll of fans - A-Roll of soccer match Interview subject - B-Roll of what they're talking about - Interview subject Example: The Guitarist

A-Roll: your primary footage (interview subjects in particular)

B-Roll: secondary footage used to support interview or narration, also used to cover errors like “jump cuts”

A-Roll is melody, B-Roll harmony

When editing, you generally go back and forth

A-Roll of soccer match - B-Roll of fans - A-Roll of soccer match

Interview subject - B-Roll of what they're talking about - Interview subject

Example: The Guitarist

Editing Technique: The Four Transitions Cut: simplest transition from one shot to the next, usually in same location and time frame Dissolve: graduate transition where shots overlap; often used to show change in location/time Wipe: special effect transition where one scene seems to "wipe away" the other scene Fade to Black: Scene literally goes black; end of chapter or story Example of transitions: India footage

Cut: simplest transition from one shot to the next, usually in same location and time frame

Dissolve: graduate transition where shots overlap; often used to show change in location/time

Wipe: special effect transition where one scene seems to "wipe away" the other scene

Fade to Black: Scene literally goes black;

end of chapter or story

Example of transitions: India footage

Remember: Always Serve the Story! All of your tools should be used to contribute to telling your story: Video footage Characters Narration Music Edits It’s like composing a symphony: Each instrument contributes to the whole package!

All of your tools should be used to contribute

to telling your story:

Video footage

Characters

Narration

Music

Edits

It’s like composing a symphony:

Each instrument contributes to the whole package!

Thank You! Andy Carvin [email_address] www.digitaldivide.net www.andycarvin.com

Thank You!

Andy Carvin

[email_address]

www.digitaldivide.net

www.andycarvin.com