Documentary Presentation (not mine)


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Documentary Presentation (not mine)

  1. 1. Introduction to Documentary
  2. 2. What is a documentary?
  3. 3. What is a documentary? “Get two documentarians together, and the chances are high that they will argue about what documentary is. Even though documentary has evolved continuously from its inception, its purview and methods remain ambiguous, and its parameters keep enlarging. Uncontested, however, is what remains central to documentary’s spirit – the notion that documentaries explore the mysteries of actual people in actual situations.” – Michael Rabinger “Directing The Documentary”
  4. 4. What does a documentary do?     Preserve Persuade Analyze Express     Discuss Explore Intervene Enlighten
  5. 5. Documentary’s “Contract”  Agreement between filmmaker and Audience  Do one’s best to tell the ‘truth’  Authenticity, Truth claim  “None of this is made up”  It’s okay to have an opinion
  6. 6. Documentary Modes * Consider how each of these modes/ examples are in dialogue with this contract
  7. 7. Documentary Modes EXPOSITORY Frank Lloyd Wright (1998, Ken Burns)
  8. 8. Documentary Modes EXPOSITORY Frank Lloyd Wright (1998, Ken Burns) - “Voice of God” narration - direct presentation of facts - can include all kinds of “evidence”
  9. 9. Documentary Modes OBSERVATIONAL Hoop Dreams (1994)
  10. 10. Documentary Modes OBSERVATIONAL Hoop Dreams (1994) -minimal (or no) narration -long takes, real-time, synch-sound -present tense -never (or almost never) see or hear the filmmakers
  11. 11. Documentary Modes INTERACTIVE Roger and Me (1989, Michael Moore)
  12. 12. Documentary Modes INTERACTIVE Roger and Me (1989, Michael Moore) -filmmaker is present on screen -filmmaker makes the action happen
  13. 13. Documentary Modes ESSAYISTIC History and Memory (1998, Rea Tajiri)
  14. 14. Documentary Modes ESSAYISTIC History and Memory (1998, Rea Tajiri) -uses “first person” address: “I” -tells personal stories from a personal viewpoint -does not try to be “objective”
  15. 15. Documentary Modes EXPERIMENTAL Tarnation (2003, Jonathan Caouette)
  16. 16. Documentary Modes EXPERIMENTAL Tarnation (2003, Jonathan Caouette) -obeys the documentary contract -otherwise, anything goes
  17. 17. When watching documentaries, remember… • Everything in a documentary is intentional – Who/what/when/where/why/how are all decided by filmmaker: camera movements, framing, editing, music, etc – What are possible biases? • Relationship between filmmaker and subject – What’s the claim to truth/ authenticity? • Relationship between documentary and reality – Is subject being represented in a way that won’t harm his/her integrity?
  18. 18. Ethics in Documentary Filmmaking  Working with the community  Collaboration  Interview Release Forms
  19. 19. Modes of Representation How do documentaries present ideas?  Combo of visual and audio components  Voice- over narration  Interviews  Related Media  Original video (primary footage, b-roll  Original images (still photos, graphics, charts, maps, etc)  Archival film/ video  Archival images (still photos, graphics, charts, maps)  Dramatizations  Text  SOUND (music, effects, background - room noise)
  20. 20. Production Phases: Your Workflow • Pre-Production – Research, treatment, write script, storyboard/shot lists, gather photos, set up interviews • Production – Conduct interviews, record primary/b-roll footage, record voice-over narration (if necessary), edit script • Post-Production – Edit script, video editing, music, sound effects
  21. 21. Pre-Production: Production Schedule • Get in your groups and decide your topic • Assign roles to each member according to the syllabus timeline • Work to create treatment/script • Schedule times for production
  22. 22. Pre-Production: the Treatment • Outline what you hope to create as a film (be specific) – Introduction of your topic (with a hook!) – Specific information that explains the events/issues – Conclusion • Layout your production plan (use the Production Schedule Worksheets!) – What components are going to provide specific information. (Who? When? Where?)
  23. 23. Production • Get to it! – Record interviews – Shoot b-roll film – Locate found footage • Note: some footage will be created during postproduction
  24. 24. Production • Crew Roles – Director – Producer – Cinematographer (DP) – Sound
  25. 25. Post-Production • Log and organize your footage • Create a script that revises the treatment, but considers the footage attained • Begin sequencing the footage in Final Cut Pro (Assembly Cut) • Go back and forth with the previous 2 steps • Record voice-over narration (if necessary)
  26. 26. Stages of your project • Assembly Cut – Barebones version. It just establishes the information in a sequence • First Cut – Begin to consider how you want to represent your information • Ex: Show interview…use graph…use created footage with text…voice-over narration over b-roll footage
  27. 27. Stages of your project • Final Cut – Smooth out the modes of representation – Smooth transitions between shots – Add all music/sound effects and fix audio levels – Add text (Check the font, size and spelling) – Export as a DVD