The final idea development for the factual project

1. Idea Development
Factual Production

2. Evidence of idea generation – mind maps - topics:
A range of ideas to take forward in to production. Should include images, colour schemes and font choices. Could include
mock ups and evidence of existing design work which is inspiring you.

3. A lot of my inspiration and ideas come from “A place like
this” The idea of the cinematography and tone of the shots
clashing so brilliantly with the subject matter explored is
deeply intriguing to me. But I’d like to take it further with a
heavier focus on music and lyrics to help support the story
that is being told. Though I know it will be difficult to ensure
that one does not drown out the other, I am confident that if
done right, I can tell three separate stories in the span of five
minutes, through the music, dialogue and cinematography
of the episode. These elements combined should hopefully
make the episode interesting enough to work as a
hypothetical web series.

4. STYLES

5. Perhaps the most important part of the documentary will be the music. I intend to record a cover of the
soulful RnB song Ivory Black. The lyrics, describing a man who has lost belief in himself and his
relationships, are interestingly vague and open to interpretation. A lot of our belief systems come from
what our parents and elders tell us, which means a song like this, juxtaposed over the stories of a woman
who has seen and experienced a great amount of tragic and cheerful events alike, will be very fitting. I
have not attempted to cover a song before, so this will be a learning curve for me, but I am confident that,
combined with the peaceful, often unfocused shots of the rest of the documentary, the music will fit very
nicely into the episode of the web series.

6. “Follow The Light” is the font I intend to use in the opening titles, as well as
the closing credits (If there is time for their inclusion.) It’s artistic, almost
independent movie-esque feel will help to set the tone of the episode from
the get go. I will use smaller, possibly bolder versions of the same font for
any sub headings, names, credits, etc.
Font:

7. Organizing the participants.
Though I would prefer an outdoor, bright sunny
location for the interview, the current winter
weather will likely prevent me from being able
to see this through, so I will make it a point to
scout several locations close to my interviewee
to ensure I have several back up locations
available should the need arise.
I will also need to consider how I’m going
to record the cover for my music, what
device I’m going to use, the tempo, etc.
Most, if not all of the shooting will take place on
location at the interviewee’s office in Thirsk,
which means I will be limited in my shooting
locations to areas in and around that office, the
same can be said for where I will record the
music for the film. Where I shoot however will
depend almost entirely on the weather.
The music will be recorded in a studio
with a piano, the vocals will be
recorded later on a microphone or
recorder, depending which would be
better suited.

8. The purpose of this video will be to create a relationship between the song I have selected and the
stories told by the interviewee, I want the audience viewing the documentary to be able to interpret the
song choice, cinematography and meaning behind the stories told in several different ways. The
cinematography will be often unfocused, in order to make it easier for viewers to hear the story and the
music. Most of the shots will be focused on the surrounding area rather than the interviewee, as the
focus isn’t really going to be on them, so much as the music, and the story they have to tell.
I’m trying to show through this video that the way we see the world and events from the past, can be
radically different under the application of music and sound. And that what we hear and what we see on
a film can tell entirely different stories from one another. The surrounding area around the interviewee is
going to be very pretty, bright and well light ideally. Whereas the story she tells could be quite bleak,
mysterious and bittersweet.
I want there to be several shots of the surrounding area without voiceover, so that the lyrics of the song I
have chosen can really shine through. As the soulful melody of Ivory Black will be a brilliant contrast to
the bright environment of the video, much like the story in the interview itself. So the final emphasis of
the video will most certainly be on contrast and the deeper meaning behind words.
STRUCTURE:

9. Bibliography
1. Jonathan Paul. (2016). Things to Remember When Picking Music For a Documentary
Film. Available: https://www.premiumbeat.com/blog/how-to-pick-music-for-
documentary-film/. Last accessed 17th September 2018.
2. Oliver Riot. (2015). Ivory Black. Available: https://www.spotify.com/uk/. Last accessed
19th September 2018.
3. Anon. (2018). Oliver Riot. Available: https://en.wikipedia.org/wiki/Oliver_Riot. Last
accessed 20th September 2018.
4. Justine Estrada. (2013). Music in Documentaries . Available:
https://prezi.com/f9xjhnuuptyq/music-in-documentaries/. Last accessed 20th
September 2018.
5. Ron Dawson. (2018). 5 Cinematic Techniques for Making A Documentary More
Impactful. Available: https://www.desktop-documentaries.com/cinematic-
techniques.html. Last accessed 20th September 2018.