Grade 10- Ople report compilation

2. THE ACTUAL SHOOT
LOCATION SHOOTING
•SUCCESS IN THE PRODUCTION STAGE IS FIRST MEASURED BY THE
THOROUGHNESS OF YOUR PREPARATION DURING PRE-PRODUCTION
•THE SECOND MEASURE OF SUCCESS IS THE AMOUNT OF FIELD EXPERIENCE YOU
HAVE
•SOME OF THE MOST INTERESTING SEGMENTS ARE THOSE THAT ARE UNEXPECTED

3. THE VIDEO SETUP
•THE CAMERA SERVES AS THE DIRECTOR’S EYES; THE CAMERA IS TO
THE DIRECTOR WHAT THE PEN IS TO THE WRITER

4. SHOTS IN THE STORYTELLING PROCESS:•ESTABLISHING SHOT – INSTANTLY SETSTHE STORY AND LURESTHEVIEWER INTO IT
•SHOT SEQUENCE – NUMBER OF SHOTS OFTHE SAME SCENE,WHICH CONVEYSA
SINGULAR MESSAGE
•INSERT SHOT – IT GIVESTHEVIEWER A CU (CLOSE-UP)OF AN ESSENTIAL DETAILTHAT
IS PART OFTHE MAIN ACTION ONWIDER SHOT (ALSO CALLEDTHE MASTER SHOT)
•POINT-OF-VIEW SHOT (POV) – TAKEN FROMTHE PERSPECTIVE OF ONE OFTHE
CHARACTERS
•REACTION SHOT – SHOWSTHE REACTION OF A PERSON OR A GROUP OF PEOPLETO
AN ACTION OR A SPEAKER’S STATEMENTS SHOWN INTHE PREVIOUS SHOT
•TRANSITION SHOT – USEDTO LINK A SCENE OR SEQUENCETOTHE NEXT ONE

5. SHOT IN STORYTELLING ACCORDING TO
THE WAY THEY ARE FRAMED:•WIDE SHOT OR LONG SHOT (LS) – RANGES FROM A PANORAMIC SHOT OR AN EXTREME
LONG SHOT (XLS)TAKEN FROM AN AIRPLANETO A FULL SHOT (FS) OF A PERSON
FROM HEADTOTOE
•MEDIUM SHOT (MS) – CAN BE NARROWTO PRESENT A SINGLE INDIVIDUAL FROM ABOVE
THEWAISTTOTHETOP OF HIS HEAD ORWIDERWITHTHREE PEOPLE (ATHREE-SHOT)
ORTWO PEOPLE (ATWO-SHOT) SHOWN AT MEDIUM RANGE FROMTHETHIGHTOTHE
TOP OFTHE HEAD
•CLOSE-UP (CU) – ISOLATES A PERSON OR AN OBJECT ENTIRELY FROM HIS OR ITS
SURROUNDINGS BY SHOWING, FOR INSTANCE, A PERSON’S HEAD OR SHOULDERS
CALLED MEDIUM CLOSE-UP (MCU) OR JUSTTHE EYES OR LIPS CALLED AN EXTREME
CLOSE-UP (ECU)

6. FOUR ANGLES FROM WHICH YOU CAN
SHOOT A SUBJECT:
•NORMAL ANGLE – YOU POSITIONTHE CAMERA ATTHE SAME HEIGHT OR ATTHE EYE
LEVEL OFTHE SUBJECT
•HIGH ANGLE – TAKENWITHTHE CAMERA SET ABOVETHE SUBJECT, GIVINGTHE
VIEWER A FEELING OF SUPERIORITYAS HE LOOKS DOWN ONTHE SUBJECT
•LOW ANGLE – TAKENWITHTHE CAMERA BELOW A SUBJECT’S EYE LEVEL, HASTHE
OPPOSITE EFFECT
•OBLIQUE ANGLE – TAKENWITH ATILTED CAMERA, SHOWSTHE IMAGE AT A
DIAGONAL OR SLANTED PERSPECTIVE

7. DIRECTOR’S CHOICE OF LENSES
•STANDARD OR NORMAL LENS – GIVES AN UNDISTORTED PICTURE
•TELEPHOTO LENS OR LONG LENS – OFTEN USEDTO CAPTURE CUS OF
SUBJECTS FROM A DISTANCE
•WIDE-ANGLE LENS OR SHOT LENS – OFFERSAWIDEVIEW OFTHE SCENE
BEING SHOT
•ZOOM – TYPE OF LENSTHATALLOWSTHE DIRECTORTO GO FROMA
WIDE OR NORMAL LENSTO ATELEPHOTO LENS ANDVICE-VERSA

8. THE AUDIO SETUP
•SOUND ELEMENTS RECORDED DURING A FIELD SHOOT INCLUDE
NATURAL (OR NAT) SOUND AND THE SPOKEN WORD
•NAT SOUND OR AMBIENT SOUND: INCLUDE TRAFFIC NOISE IF YOU ARE
FILMING OUT ON THE STREET, OR MUSIC FROM A JUKEBOX IN BAR
WHERE YOU ARE SHOOTING

9. DIFFERENT TYPES OF MICROPHONES USED TO
CAPTURE THE SOUND ELEMENTS IN THE FIELD:•HANDHELD MICROPHONES: WORKHORSES OFTHE NEWSROOM BUT ARE NOT IDEAL
FOR DOCUMENTARY SOUND RECORDING
•LAVALIERE MICROPHONE (ALSO CALLED CLIP-ONS OR TIE-TACKS): SMALL RECORDING
DEVICESTHAT ARE CLIPPEDTOTHE LAPEL OR COLLAR OFTHE PARTICIPANT’S
OUTFIT
•SHOTGUN MICROPHONE: HIGHLY SENSITIVE IN PICKING UP SOUND IN ONE DIRECTION
(UNIDIRECTIONAL)
•WIRELESS TRANSMITTERS RECEIVERS: PROVIDETHE ON-CAMERA PARTICIPANTS
GREATER MOBILITY BECAUSETHERE ARE NO CABLESTO RESTRICTTHEIR
MOVEMENTS

10. •TO ACHIEVE SOUND REALISM, YOU MUST ALWAYS
RECORD ROOM TONE- THE AMBIENT SOUND
PECULIAR TO EACH LOCATION OR ENVIRONMENT
WHERE YOU ARE FILMING
•IT IS ALSO ESSENTIAL TO RECORD SOUND EVEN IF
YOU PLAN TO USE A VOICE-OVER (VO)

11. WORKING WITH THE CREW
•WHEN YOU ARRIVE AT A NEW LOCATION, MAKE IT A POINT TO INCLUDE
THE REST OF THE CREW ON WHAT YOU PLAN TO ACHIEVE ON THAT DAY
•WHEN YOU COMMUNICATE YOUR INTENTIONS TO THE CREW, THEY
ARE MORE FORTHCOMING IN MAKING SUGGESTIONS
•THE ATTITUDE IS NECESSARY IN ANY HUMAN INTERACTION

12. PRODUCTION FORMS
•TAPE AND SHOTS LOG (ONE LOG FOR EACH VIDEOTAPE USED) –
WRITTEN RECORD OF ALL SHOTS TAKEN ON THE FIELD
•TALENT RELEASE FORM – MUST BE FILLED OUT BY EVERY PARTICIPANT
AS HIS AGREEMENT TO ALLOW THE DOCUMENTARIST TO USE HIS
IMAGE AND VOICE FOR THE PURPOSES OF THE DOCUMENTARY,
INCLUDING PUBLICITY AND PROMOTION

13. DRAMATIZATIONS, RE-CREATIONS, AND
REENACTMENT•DRAMATIZATIONS: REFERSTOTHE DRAMATIC PRESENTATIONOF A
HISTORICAL OR BIOGRAPHICAL EVENT
•RE-CREATIONS: REFERSTOTHE PORTION OF A DOCUMENTARY ON A
HISTORICAL EVENTWHICH ARE DRAMATIZED USING ACTORS
•REENACTMENTS: STAPLE IN CRIME-BASED DOCUMENTARIESAND IT IS
POPULAR IN NEWS-BASED DOCUMENTARIESAND NEWS MAGAZINE
PIECES ASWELL,WHERE ACTORS ORTHE ORIGINAL PEOPLE
INVOLVED RECONSTRUCTTHE INCIDENT UNDER DISCUSSION FOR
THE CAMERA

14. DIRECTING ACTORS
•ONCE A DOCUMENTARIAN MAKES THE DECISION TO USE DRAMATIZATION AND
RE-CREATIONS, HE SHOULD USE ACTORS WHO ARE TRAINED TO EMOTE AND TO
PERFORM IN A DRAMATIC ROLE
•IT SHOULD FOLLOW A SCRIPT FORMAT WHICH INCLUDES THE SETTING,
CHARACTERS’ NAMES, DIALOGUE AND BRIEF DESCRIPTIONS OF THE ACTION
•SHOOTING SCRIPT CONTAINS THE CAMERA SHOTS DETERMINED BY THE
DIRECTOR AND IS SHOT OUT OF SEQUENCE

15. DIRECTING NONACTORS
•ONE WAY OF DIRECTING NONFACTORS IS THROUGH THE INTERVIEW
•THE INTERVIEWER SHOULD TAKE CARE TO LISTEN CLOSELY TO THE
RESPONSES AND FOLLOW UP ON WHAT IS INTERESTING AND
REVEALING
•THE INFORMATION DERIVED FROM ON-CAMERA INTERVIEWS CAN BE
USED AS THE BASIS FOR THE DEVELOPMENT OF THE STORY