Codes and conventions of interviews
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This document discusses conventions for filming interviews. It notes that medium close-ups are most common as they focus on the interviewee's expression. Over-the-shoulder shots are used when someone is asking questions. For vox pops, interviewees typically look near but not directly at the camera. Relevant backgrounds and props can reinforce expert interviewees' points. Music is lowered during interviews to better hear responses. The document advises applying these conventions when filming expert interviews and vox pops for a documentary.
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The codes and conventions of interviews
The document provides guidance on conducting interviews for documentaries, including positioning interviewees slightly left or right of frame to avoid visual boredom. Medium close-ups and close-ups are most common. Interviewees should look at the interviewer, not the camera, so the interviewer's position is important. Mise en scene should reinforce interview content or provide context about the interviewee's occupation or environment. Cutaways are used to avoid jump cuts and illustrate points, using archive material or footage filmed later.
Basic conventions of documentary
This document provides guidance on techniques for filming interviews and incorporating them into documentaries. Some key points covered include: filming subjects using the rule of thirds composition, lighting subjects from the front, using different shot sizes to engage viewers, including relevant graphics and background information, and supplementing interviews with cutaway shots, archive footage, and vox pops from ordinary people. The overall goal is to keep viewers interested through well-edited footage and storytelling techniques.
Codes and conventions of a interview
The document discusses various codes and conventions used in documentary interviews. It notes that interviews typically use a stationary medium close-up shot of the interviewee in focus on one side of the frame. Cutaways are often used to emphasize points or transition between topics, and archive footage may be incorporated. Graphics with the interviewee's name and details typically appear in one corner. Mise-en-scene elements like costumes, lighting, and settings are also used to relate to the interviewee or documentary topic.
Codes and conventions
This document defines various film and television production terminology:
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Assignment 3
This document contains an evaluation of three student examples of coursework assignments on construction. Example 1 discusses a project on transgender issues that used statistics and diagrams effectively with a variety of shots and transitions. However, the audio needed improvement as one person's voice was cut off. Example 2 had too much directly copied material and people were cut off mid-explanation. Example 3 used different camera shots, clear titles, adjusted audio levels, and presented information creatively, but the statistics were amateurish and too many archival materials were used without enough of the presenter. The examples are assessed based on appropriate use of shooting materials, editing meaning, shot transitions, captions, other effects, and sound recording and editing.
Codes and conventions
The document outlines several techniques and structures commonly used in television news reporting, including: having reporters directly address the audience, conducting live on-location broadcasts and interviews, using graphics, sign-offs, re-enactments with disclaimers, linking reporters in the field back to anchors in the studio, archive footage, and station idents. It also discusses the formal and authoritative tone of address between presenters and reporters, title sequences, grammar and pronunciation emphasis, and establishing shots, camera movements, chronological storytelling, crowd shots, diegetic and non-diegetic sounds, walkie talkie preambles, filler shots, reporter gestures and enunciation, human interest angles, summaries, and signing off with humor.
The Codes and Conventions of Interviews
The conventions for filming interviews include positioning the interviewee on the left or right side of the frame, and filming them in close-up, medium close-up, or mid shot. Cutaways of related archive footage are included to break up the interview and avoid jumps in editing. Low key lighting is used from behind or in front of the interviewee to prevent them from being silhouetted. Graphics are typically in a white sans serif font on the side opposite the interviewee.
Shot types
The document discusses different types of camera shots including close-ups, extreme close-ups, medium shots, two-shots or three-shots, long wide shots, extreme wide shots, wide shots, over the shoulder shots, POV shots, high angle shots, low angle shots, and tilting shots. It provides details on each shot type, describing what they show and how they are used to convey emotion, establish context, or make a subject appear larger or smaller.
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The codes and conventions of interviews
The document provides guidance on conducting interviews for documentaries, including positioning interviewees slightly left or right of frame to avoid visual boredom. Medium close-ups and close-ups are most common. Interviewees should look at the interviewer, not the camera, so the interviewer's position is important. Mise en scene should reinforce interview content or provide context about the interviewee's occupation or environment. Cutaways are used to avoid jump cuts and illustrate points, using archive material or footage filmed later.
Basic conventions of documentary
This document provides guidance on techniques for filming interviews and incorporating them into documentaries. Some key points covered include: filming subjects using the rule of thirds composition, lighting subjects from the front, using different shot sizes to engage viewers, including relevant graphics and background information, and supplementing interviews with cutaway shots, archive footage, and vox pops from ordinary people. The overall goal is to keep viewers interested through well-edited footage and storytelling techniques.
Codes and conventions of a interview
The document discusses various codes and conventions used in documentary interviews. It notes that interviews typically use a stationary medium close-up shot of the interviewee in focus on one side of the frame. Cutaways are often used to emphasize points or transition between topics, and archive footage may be incorporated. Graphics with the interviewee's name and details typically appear in one corner. Mise-en-scene elements like costumes, lighting, and settings are also used to relate to the interviewee or documentary topic.
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This document defines various film and television production terminology:
Disco, Donut, File, and Dress describe different types of segments in a news broadcast. Out of vision, Float, and graphics describe different visual elements. Slug, Bug, Ticker, and Establishing Shot refer to on-screen graphics or shot types. The document provides definitions for key terms used in filmmaking, television production, and broadcast journalism.
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This document contains an evaluation of three student examples of coursework assignments on construction. Example 1 discusses a project on transgender issues that used statistics and diagrams effectively with a variety of shots and transitions. However, the audio needed improvement as one person's voice was cut off. Example 2 had too much directly copied material and people were cut off mid-explanation. Example 3 used different camera shots, clear titles, adjusted audio levels, and presented information creatively, but the statistics were amateurish and too many archival materials were used without enough of the presenter. The examples are assessed based on appropriate use of shooting materials, editing meaning, shot transitions, captions, other effects, and sound recording and editing.
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The document outlines several techniques and structures commonly used in television news reporting, including: having reporters directly address the audience, conducting live on-location broadcasts and interviews, using graphics, sign-offs, re-enactments with disclaimers, linking reporters in the field back to anchors in the studio, archive footage, and station idents. It also discusses the formal and authoritative tone of address between presenters and reporters, title sequences, grammar and pronunciation emphasis, and establishing shots, camera movements, chronological storytelling, crowd shots, diegetic and non-diegetic sounds, walkie talkie preambles, filler shots, reporter gestures and enunciation, human interest angles, summaries, and signing off with humor.
The Codes and Conventions of Interviews
The conventions for filming interviews include positioning the interviewee on the left or right side of the frame, and filming them in close-up, medium close-up, or mid shot. Cutaways of related archive footage are included to break up the interview and avoid jumps in editing. Low key lighting is used from behind or in front of the interviewee to prevent them from being silhouetted. Graphics are typically in a white sans serif font on the side opposite the interviewee.
Shot types
The document discusses different types of camera shots including close-ups, extreme close-ups, medium shots, two-shots or three-shots, long wide shots, extreme wide shots, wide shots, over the shoulder shots, POV shots, high angle shots, low angle shots, and tilting shots. It provides details on each shot type, describing what they show and how they are used to convey emotion, establish context, or make a subject appear larger or smaller.
Media shot types
1) Different close-up shots have different purposes in filmmaking - an extreme close-up shows intense facial expressions while medium close-ups are used for conversations to show expression without being too intense.
2) In documentaries, big close-ups are often used for cutaways of interviewees but the interview itself is usually filmed with a medium close-up or medium shot.
3) Establishing shots show the audience where the scene takes place and are often used at the start of a sequence - a wide shot includes the subject while an extreme wide shot does not.
Codes and conventions of an interview
Camerawork in interviews is typically done with medium close-ups or close-ups of the interviewee framed using the rule of thirds. Big close-ups are used to show emotions and shallow depth of focus blurs the background to focus on the interviewee. The camera remains in a fixed position on a tripod. Mise-en-scene relates to the topic, like an interview about Jaws having a shark in the background. Cutaways are used to edit out questions and relate to what the interviewee discusses, through archive footage or graphics. Graphics overlay the interviewee's name and relation to the documentary to introduce them.
Different shot types of documentaries
Establishing shots introduce the location of filming from a high angle to show the surrounding area. Medium close ups show a person from the chest up to frame interview subjects or on-screen narrators. Medium shots frame subjects from the knees up, often to show objects being held or worn. Close ups nearly fill the frame with a person's head and neck to capture facial expressions. Extreme long shots show people or objects from a distance to provide context of the surrounding environment. These various shot types were studied and used in a documentary to follow conventions and appear professional.
Codes and conventions of tv documentary interviews
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Codes and conventions of interviews
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Shot types and codes and conventions of interviews
This document defines and describes various shot types and conventions used for filming interviews. It explains extreme wide shots, very wide shots, wide shots, mid shots, medium close ups, close ups, and extreme close ups, and how each shot frames and focuses on the subject. It also discusses cut ins, cut aways, over-the-shoulder shots, and the importance of mise en scene in establishing the credibility and context of the interview subject and environment.
Codes and conventions of a documentary
Documentaries follow certain codes and conventions to present factual information in a clear manner. They use actual footage along with interviews from multiple perspectives to develop a single narrative. Interviews are shot based on cinematography rules and edited to remove unnecessary questions. Voiceovers, music, and natural sounds are used to anchor meaning while graphics identify interviewees without distracting from the visuals. Editing employs simple cuts and cutaways to maintain pace and provide evidence throughout the documentary.
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The document provides filming guidelines for interviews, recommending filming subjects in medium close-ups, using cutaways to illustrate points and avoid jump cuts, and displaying graphics identifying interviewees. Proper mise-en-scene and framing techniques are also outlined, such as keeping the subject's eye lined at 1/3rd down the screen and ensuring they look at the interviewer rather than the camera.
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This document defines and describes various camera shots and angles used in filmmaking. It explains that a close-up shot focuses attention on an individual's expression or actions and can highlight a significant object. An extreme close-up fills the frame with a part of the face or body. An establishing shot establishes the scene and setting. A medium shot frames a subject from the waist up. A two shot shows two characters, often engaged in conversation to signify their relationship. Low and high angles are used to make a subject appear powerful or vulnerable, respectively. A long or wide shot provides more context by showing a subject and their surroundings.
Television conventions
Archival footage is commonly used in television news but can be subtly manipulated to direct viewers' focus. News programs also conduct interviews with correspondents around the world to report on current events. Editing techniques like L-cuts and title cards are used to transition between shots and identify people or organizations in an efficient manner. Each news channel has distinctive opening music to set tone and differentiate their brand. Channel idents through color coding and graphics in the opening also serve to distinguish one broadcaster from another. Anchors are frequently shown seated behind desks to convey authority though they may have limited direct information. Wide shots of the newsroom aim to psychologically connect viewers to global headlines.
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Codes and Conventions of Documentaries
Graphics are used in documentaries to communicate information simply and without distraction, credit contributors, and note interviewee details. Archive footage provides historical context and different perspectives on topics. Interviews are a main element, typically filmed close-up with a static camera, cutaways, and the interviewee making eye contact with the interviewer. Editing cuts together various materials while conventional editing omits questions to focus on answers.
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This document lists and describes various shot types used in documentaries. Wide shots like EWS and VWS are used to establish locations, while mid shots (MS) and medium close ups (MCU) are well-suited for expert interviews as they capture both the subject and background. Close ups (CU) and extreme close ups (ECU) show emotion and detail. Cutaways provide relevant supplemental footage. Understanding these shot types will help determine the best shots to take for a documentary.
Conventions of a documentary
Documentaries follow certain conventions when filming interviews and presenting information. Interviews are typically filmed with a steady tripod camera focused on the subject. Interviewees are framed using the rule of thirds composition technique. The interviewer stands off-camera to avoid distraction. Interview titles provide context on the subject. B-roll footage, creative montages, establishing shots, archive media, photographs, and vox pops are used to illustrate topics discussed. A presenter directly addresses the audience to provide narrative and context. Voiceovers are used authoritatively while non-diegetic music accompanies them at a low volume.
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Media shot types
1) Different close-up shots have different purposes in filmmaking - an extreme close-up shows intense facial expressions while medium close-ups are used for conversations to show expression without being too intense.
2) In documentaries, big close-ups are often used for cutaways of interviewees but the interview itself is usually filmed with a medium close-up or medium shot.
3) Establishing shots show the audience where the scene takes place and are often used at the start of a sequence - a wide shot includes the subject while an extreme wide shot does not.
Codes and conventions of an interview
Camerawork in interviews is typically done with medium close-ups or close-ups of the interviewee framed using the rule of thirds. Big close-ups are used to show emotions and shallow depth of focus blurs the background to focus on the interviewee. The camera remains in a fixed position on a tripod. Mise-en-scene relates to the topic, like an interview about Jaws having a shark in the background. Cutaways are used to edit out questions and relate to what the interviewee discusses, through archive footage or graphics. Graphics overlay the interviewee's name and relation to the documentary to introduce them.
Different shot types of documentaries
Establishing shots introduce the location of filming from a high angle to show the surrounding area. Medium close ups show a person from the chest up to frame interview subjects or on-screen narrators. Medium shots frame subjects from the knees up, often to show objects being held or worn. Close ups nearly fill the frame with a person's head and neck to capture facial expressions. Extreme long shots show people or objects from a distance to provide context of the surrounding environment. These various shot types were studied and used in a documentary to follow conventions and appear professional.
Codes and conventions of tv documentary interviews
The document discusses some common codes and conventions used in television documentary interviews. It notes that mise-en-scene is always relevant to the subject or interviewee. Interviews typically use artificial lighting and frame the interviewee to one side of center following the rule of thirds. Medium close-ups and close-ups are common shots used. Backgrounds are usually out of focus if the focus is on the interviewee rather than subject. Interviewees are commonly seated still on a fixed chair. A tripod provides a stable shot. Questions are edited out to allow the documentary to run smoothly. Graphics like names and subtitles identify the interviewee and subject. Non-diagetic sound can be used if relevant without intervening in the
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This document defines and describes various shot types used within documentaries including establishing shots, long shots, medium shots, extreme close-ups, close-ups, medium close-ups, vox pops, and expert shots. Establishing shots set the scene from a long distance while long shots show the full body and background. Medium shots focus on subjects from the waist up. Extreme close-ups and close-ups emphasize details. Vox pops and expert shots interview members of the public and professionals, respectively, usually in medium close-ups.
Codes and conventions of interviews
Interviews follow certain conventions including close-up or medium close-up shots of the interviewee to see facial expressions, positioning the interviewee off to one side of the screen following the rule of thirds, and having the interviewee look at the interviewer rather than directly at the camera. Relevant items may be included in the background visuals. Graphics are sometimes included with the interviewee's name and relevance. The camera remains static and at eye level to focus on the interviewee's words, and cutaways to related footage are sometimes included between responses.
Types of shots
This document discusses different types of camera shots used in film and photography, including extreme long shots for establishing scenes, point-of-view shots to see from a character's perspective, close-ups to show emotions, medium shots that focus on part of a subject, and long shots that show a lot of background context. Each shot type conveys information differently and is suited to specific purposes like setting a scene, emphasizing empathy, or changing the mood.
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This document discusses different types of camera shots including long shots, medium shots, close-ups, high angle shots, and low angle shots. It explains what each shot shows and the purpose and effect of each type of shot. The document encourages analyzing shots in videos to identify the shot type, what the camera is drawing attention to, how the shot type does this, and the intended effect on the audience. As an example, it suggests analyzing shots in the Godzilla trailer video.
Shot types and codes and conventions of interviews
This document defines and describes various shot types and conventions used for filming interviews. It explains extreme wide shots, very wide shots, wide shots, mid shots, medium close ups, close ups, and extreme close ups, and how each shot frames and focuses on the subject. It also discusses cut ins, cut aways, over-the-shoulder shots, and the importance of mise en scene in establishing the credibility and context of the interview subject and environment.
Codes and conventions of a documentary
Documentaries follow certain codes and conventions to present factual information in a clear manner. They use actual footage along with interviews from multiple perspectives to develop a single narrative. Interviews are shot based on cinematography rules and edited to remove unnecessary questions. Voiceovers, music, and natural sounds are used to anchor meaning while graphics identify interviewees without distracting from the visuals. Editing employs simple cuts and cutaways to maintain pace and provide evidence throughout the documentary.
Types of shot
The document defines and describes various camera shots and angles used in filmmaking, including establishing shots, wide shots, medium shots, close-ups, point-of-view shots, over-the-shoulder shots, two shots, shot reverse shots, high angle shots, and low angle shots. Establishing shots establish the location and time, wide shots provide background details, medium shots show more character details, and close-ups focus on specific parts of a scene. Point-of-view and over-the-shoulder shots make the audience feel involved. Two shots and shot reverse shots are used for dialogue scenes. High angle shots make characters seem inferior while low angle shots make them seem powerful.
codes & conventions of a mixed documentary
This document outlines codes and conventions for camerawork, archive material, mise-en-scene, and editing in a mixed documentary. It recommends using medium close ups and close ups framed from left or right angles with the interviewee not looking directly at the camera. For archive material, it suggests using still images and chromakeying with a blue or green background. The mise-en-scene should be appropriate to the subject using simple fonts, relevant music and sounds, and facts to anchor the time and place. Editing cuts should not distract, and a montage, dissolves, and voice over are used to glue the narrative structure together.
Codes and conventions of filming and editing interviews
The document provides filming guidelines for interviews, recommending filming subjects in medium close-ups, using cutaways to illustrate points and avoid jump cuts, and displaying graphics identifying interviewees. Proper mise-en-scene and framing techniques are also outlined, such as keeping the subject's eye lined at 1/3rd down the screen and ensuring they look at the interviewer rather than the camera.
Mobile phone documentary evaluation
The document analyzes the strengths and weaknesses of a student documentary about mobile phones. The strengths include following conventions of television documentaries by framing the interviewee off-center during interviews. It also uses relevant cutaways of mobile phones that relate to the topic. Additionally, the documentary maintains focus and steadiness through the use of a tripod. Weaknesses are that the interviewee does not rephrase questions in answers, lacking a music bed, not having titles, being unfinished and disjointed, and not using superimposition to connect the interviewee to the topic.
Camera shots & angles
This document defines and describes various camera shots and angles used in filmmaking. It explains that a close-up shot focuses attention on an individual's expression or actions and can highlight a significant object. An extreme close-up fills the frame with a part of the face or body. An establishing shot establishes the scene and setting. A medium shot frames a subject from the waist up. A two shot shows two characters, often engaged in conversation to signify their relationship. Low and high angles are used to make a subject appear powerful or vulnerable, respectively. A long or wide shot provides more context by showing a subject and their surroundings.
Television conventions
Archival footage is commonly used in television news but can be subtly manipulated to direct viewers' focus. News programs also conduct interviews with correspondents around the world to report on current events. Editing techniques like L-cuts and title cards are used to transition between shots and identify people or organizations in an efficient manner. Each news channel has distinctive opening music to set tone and differentiate their brand. Channel idents through color coding and graphics in the opening also serve to distinguish one broadcaster from another. Anchors are frequently shown seated behind desks to convey authority though they may have limited direct information. Wide shots of the newsroom aim to psychologically connect viewers to global headlines.
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This document provides guidance and best practices for yearbook photographers and editors. It discusses important elements of good photographs like focus, composition, and exposure. It also covers topics like candid vs posed shots, photo layouts, captions, and common problems to watch out for. Photographers are instructed to work closely with editors to understand what shots are needed based on layouts. Composition techniques like rule of thirds and use of leading lines are explained. Flash photography, exposure, and submitting photos for printing are also addressed.
Shot types and codes and conventions of interviews
The document defines and describes various shot types commonly used in interviews for documentaries, including extreme wide shots, very wide shots, wide shots, mid shots, medium close ups, close ups, and extreme close ups. It also covers cutaways, cut ins, over-the-shoulder shots, and the importance of mise-en-scene elements like clothing, makeup, lighting and setting for establishing the proper context and tone of the interview. The summary concludes that learning these shot types and conventions will help the filmmakers properly plan and execute interviews for their own documentary project.
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The document provides guidance for shooting video for a TV news story. It lists several types of shots that should be captured: wide establishing shots to set the scene, medium shots for more context, close-ups for emotion or soundbytes, and cutaways or reaction shots. It emphasizes using a tripod, white balancing between locations, and varying angles, pans and zooms to make the video interesting visually while avoiding long takes of any single shot type. People are noted as most engaging for viewers.
Codes and Conventions of Documentaries
Graphics are used in documentaries to communicate information simply and without distraction, credit contributors, and note interviewee details. Archive footage provides historical context and different perspectives on topics. Interviews are a main element, typically filmed close-up with a static camera, cutaways, and the interviewee making eye contact with the interviewer. Editing cuts together various materials while conventional editing omits questions to focus on answers.
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Similar to Codes and conventions of interviews
Shot types
This document lists and describes various shot types used in documentaries. Wide shots like EWS and VWS are used to establish locations, while mid shots (MS) and medium close ups (MCU) are well-suited for expert interviews as they capture both the subject and background. Close ups (CU) and extreme close ups (ECU) show emotion and detail. Cutaways provide relevant supplemental footage. Understanding these shot types will help determine the best shots to take for a documentary.
Conventions of a documentary
Documentaries follow certain conventions when filming interviews and presenting information. Interviews are typically filmed with a steady tripod camera focused on the subject. Interviewees are framed using the rule of thirds composition technique. The interviewer stands off-camera to avoid distraction. Interview titles provide context on the subject. B-roll footage, creative montages, establishing shots, archive media, photographs, and vox pops are used to illustrate topics discussed. A presenter directly addresses the audience to provide narrative and context. Voiceovers are used authoritatively while non-diegetic music accompanies them at a low volume.
Codes & conventions of interviews
The document discusses the codes and conventions used in conducting interviews. Specifically, it notes that the interview environment is relevant to the topic and focuses lighting on the interviewee. It also discusses positioning the interviewee to take up two-thirds of the screen, using different shot types, and including cutaways and archive footage to maintain audience attention. Graphics on screen normally include the interviewee's name and title. Music is generally not used during interviews so as not to distract from the interviewee's words.
Codes & conventions of interviews
The document discusses the codes and conventions used in conducting interviews. Specifically, it addresses the mise-en-scene of the interview area, positioning of the interviewee, shot types used, the purpose of cutaways, graphics that appear on screen, the use of music, and what the audience does not hear. The lighting focuses on the interviewee from behind the camera and objects may be placed to represent their role. Interviews use a rule of thirds for composition and people switch positions between interviews. A variety of shot types are used and cutaways maintain audience attention and provide context. Graphics display the name and title of the interviewee. Music is typically not used to keep focus on the interviewee's words.
Codes & conventions of interviews
The document discusses the codes and conventions used in conducting interviews. Specifically, it addresses the mise-en-scene of the interview area, positioning of the interviewee, shot types used, the purpose of cutaways, graphics that appear on screen, the use of music, and what the audience doesn't hear. The lighting focuses on the interviewee from behind the camera and objects may be placed to represent their role. Interviews use a rule of thirds for composition and switching positions keeps the audience focused. A variety of shot types are used and cutaways maintain attention and provide context. Graphics display the name and title of the interviewee. Music is typically not used to keep sole focus on the interviewee.
Typical codes and conventions of documentary interviews
The document outlines typical conventions used in documentary interviews. It notes that close-ups and medium close-ups are usually used, subjects are seated in fixed chairs, and tripods are used to keep the camera steady. Cutaways are included to keep viewers engaged and questions are typically edited out. Graphics may superimpose identifying text about the interview subject and their relevance to the topic. The mise-en-scene should also be linked to either the topic or the interview subject.
Research and planning
The document outlines several potential ideas for fanzines or documentaries, including on hip hop culture, specific artists, streetwear fashion, and a security company called Hans Global. The writer selects the Hans Global idea to create a documentary series interviewing the CEO about his career in the sports security industry. Research is presented on lighting, camera angles, interview techniques, and formatting. Questions are drafted for the interview. Style sheets and color schemes are analyzed to keep the interview looking professional. Shot lists and equipment needs are considered to properly film the interview.
Evaluation Question 1
Our group's documentary follows the typical conventions of a mixed documentary format, including:
- A narrator, archive footage, and interviews
- Cutting out questions from interviews to focus on answers
- Using a male voiceover in standard English to narrate over footage
- Including relevant cutaway footage and actuality footage between interviews
- Conducting tattoo artist interviews at their studios
- Using simple 2-line graphics to identify interviewees
- Framing seated interviewees in close-up or medium close-up shots looking at the interviewer
Our advertising and radio spots also apply conventions like identifying the channel, using imagery to intrigue viewers, and including scheduling details.
Codes and conventions of expert interview
The document provides guidelines for filming expert interview shots with one camera. It recommends filming the interviewee's answers first and then the interviewer's questions to maintain consistent lighting, setting and sound. It also suggests using clip-on microphones rather than shotgun microphones to ensure even sound quality throughout, and positioning tripods behind subjects to help them maintain eye contact while slightly off-camera.
Shot types and Codes and Conventions of Interviews
The document defines and describes various camera shot types used in interviews for documentaries, including extreme wide shots, very wide shots, wide shots, mid shots, medium close ups, close ups, extreme close ups, cut ins, cut aways, and over-the-shoulder shots. It explains that different shot types are used to convey different levels of detail, emphasis on subjects or their surroundings, and emotions. The document also discusses conventions for interview settings and mise-en-scene to make interviews look professional for documentaries.
A2 media coursework evaluation part 1
This document provides details about a student's media coursework project creating a documentary about smoking. It discusses the decision to focus on smoking given its health impacts. The target audience is identified as 16-26 year olds from socioeconomic classes B, C1, and C2 to be aired on BBC Three at 8:00 PM. The documentary will utilize common documentary conventions like voiceovers, interviews, archive footage, and establishing shots. Montage and exposition techniques will be employed to introduce themes and maintain viewer interest.
Pre production proforma
The document provides an overview of pre-production planning for a documentary. It includes details on style choices, interview subjects, equipment needs, locations, scheduling, and health and safety considerations. Storyboards and shot lists are included to plan filming. Contact information is provided for potential interviewees. A weekly production schedule outlines shooting and editing across 5 weeks to complete the documentary.
Codes and con of vox pop
Codes and conventions are used in media to create meaning and a successful finished product. For a vox pop, the conventions are to position the interviewee on the right or left side of the frame to allow background scenery, have them looking toward the off-camera interviewer for a relaxed feel, and use a shotgun mic for clear audio of the interview. Proper positioning and equipment helps viewers feel they are experiencing the interview directly.
Conventions of a Documentary
Documentaries employ various conventions to inform viewers including talking heads who speak to the camera, a variety of shot types and angles, voiceovers to narrate the story, archival footage for additional context, interviews with experts, and use of text/titles to convey key details quickly. Technical elements like sound, transitions, and visual coding through props and costumes also contribute to establishing realism and understanding.
Media
The document discusses how the filmmakers analyzed conventions used in camera work, sound, editing, and composition in other documentaries to inform their own documentary production. They studied techniques like handheld camera for interviews and tripod shots for formal interviews. They also applied conventions like background music, rule of thirds framing, fading transitions, and voiceovers in their documentary and radio trailer to make their pieces more professional. The conclusion states they adhered to documentary, radio, and magazine conventions without challenging norms.
Evaluation Question One
This document discusses the ways in which the media product challenges or develops documentary conventions. It begins by explaining the creator's understanding of documentary conventions comes from extensively viewing professional documentaries. It then examines several specific conventions: the title and fonts match expectations for factual titles; camerawork like zooming creates engagement; editing maintains visual activity; and interviews use multiple close-up angles like professionals to engage audiences. In conclusion, the creator believes the documentary meets and sometimes develops conventions for title, style, camerawork, editing, and interviews.
Codes and conventions of a documentary
The document discusses several common codes and conventions used in documentaries. It explains that conventions are generally accepted techniques like using upbeat music in horror films. It also discusses two types of codes: technical codes involving equipment and symbolic codes that convey underlying meanings. Some key conventions mentioned include using voiceovers to narrate, documenting truth, conducting interviews, incorporating relevant sounds, and selective editing.
Evaluation question 1
The document discusses how the student's documentary uses and develops conventions of real documentaries. It examines the documentary's interviews, camerawork, title, and fonts. The interviews used clear shots from a Canon lens to look professional. Camerawork gave a personal feel while getting needed shots. The title introduced the main character and topic. Consistent fonts created a happy, personal feel. Overall, the documentary effectively met conventions for interviews, professional look, titles, and fonts.
Pre production proforma
The document provides details on pre-production planning for a documentary. It includes a style sheet selecting a professional font and discussing using sound effects and animations. Interview footage sources are described, such as a show filmed over Zoom during lockdown. Game footage from Naughty Dog and Hitman 3 will be used when discussing quotes from industry professionals. Stock footage and original gameplay footage will be overlaid with text/audio. A shot list, layout, and resources needed are outlined. Contingency plans address potential issues like locations, participants, or equipment not being accessible. Health and safety considerations involve following COVID-19 guidelines and securing lighting/cables.
Conventions of a documentary
The document outlines several conventions used in documentaries, including interviews filmed with tripods using the rule of thirds, presenters who address the audience directly, backstage footage providing insight into the documentary's topic, archive footage and photographs showing changes over time, vox pops collecting public opinions, and establishing shots identifying important locations. Non-diegetic music is also used for interviews and voiceovers.
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Further developments on the three topics
The document discusses potential topics for a documentary: gaming, alcohol, and mobile phones. It analyzes the strengths and weaknesses of each topic. For gaming, strengths include how it affects young people, but weaknesses are difficulty finding experts and equipment. For alcohol, strengths are availability of underage drinkers to interview and experts, but weaknesses include legal and personal issues. For mobile phones, strengths are widespread ownership allowing many interviews, experts through media teachers, and personal experiences, but weaknesses could be bias and reluctance of some to be interviewed. The group ultimately chooses mobile phones as the topic due to their knowledge and peers' willingness to share views.
Narrative theorists post 5
Narrative theorists Tzvetan Todorov, Vladimir Propp, Claude Levi-Strauss, and Roland Barthes developed theories about the structure of narratives in films and documentaries. Todorov theorized that narratives follow a pattern of equilibrium, disruption of equilibrium, and restoration of equilibrium. Propp identified eight character roles that commonly appear. Levi-Strauss said narratives are built from binary oppositions such as good vs evil. Barthes saw narratives as consisting of codes that control what the audience sees and present puzzles for them to solve.
Post 3
This document discusses the history and genres of documentaries. It identifies six genres: expositional, observational, participatory, reflexive, poetic, and performative. The expositional genre focuses on social propaganda and was pioneered by John Grierson. The observational genre allows actors to be filmed without interaction. The participatory genre involves interaction between filmmakers and subjects. The reflexive genre brings attention to the filmmaking process. The poetic genre lacks narrative and character development. Finally, the performative genre presents personal and emotional experiences. The document also outlines some key developments in documentary history, including the first fictional films by the Lumière brothers and the staged documentary Nanook of the North.
Post 3
This document discusses the history and genres of documentaries. It identifies six genres: expositional, observational, participatory, reflexive, poetic, and performative. The expositional genre focuses on social propaganda and was pioneered by John Grierson. The observational genre allows actors to be filmed without interaction. The participatory genre involves interaction between filmmakers and subjects. The reflexive genre brings attention to the filmmaking process. The poetic genre lacks narrative and character development. Finally, the performative genre presents personal and emotional experiences. The document also outlines some key developments in documentary history, including the first fictional films by the Lumière brothers and the staged documentary Nanook of the North.
Post 3
This document discusses six genres of documentary film: expositional, observational, participatory, reflexive, poetic, and performative. It provides examples like John Grierson's creation of the expositional mode and Nick Broomfield's work in the reflexive mode. A brief history of documentaries is also given, noting the early work of the Lumiere brothers, Grierson coining the term "documentary", the propaganda film "Triumph of the Will", the direct cinema movement, cinema verite style, and the later concept of mockumentaries. Finally, it mentions Steven Barnett's theory of the "Disneyfication" of documentaries to prioritize ratings over factual seriousness.
Post 4 - philc
This document defines and provides examples of different types of documentary films, including fly on the wall, docusoap, docudrama, reality TV, mixed, self-reflective, and fully narrated documentaries. Fly on the wall documentaries do not acknowledge the camera and show real life events without narration. Docusoaps follow individuals in a community over multiple episodes. Docudramas reconstruct past events to help audiences understand the atmosphere. Reality TV combines information and entertainment. Mixed documentaries include interviews and archival footage. Self-reflective documentaries feature presenters who address the camera. Fully narrated documentaries use narration to guide the audience throughout.
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Codes and conventions of interviews
- 1. Codes and Conventions of Interviews
- 2. Use of only a few types of shot Mid Shot: Mid shots are used for interviews mainly if the background behind them is relevant and if seen would reinforce a point. Medium Close Up: Medium Close ups are more common as they zoom further into the expression and manner of the interviewee Over the shoulder shot: Over the shoulder shots are mainly used if there is a presenter asking the questions directly
- 3. Other Conventions Vox pops: More professional looking vox pops don’t have the interviewee looking directly at the camera but somewhere near it instead. Relevant mise en scene background and props: In expert interviews particularly relevant props and backgrounds are very good at reinforcing the underlining point. Lowered music levels: Throughout most documentaries there will be low lying non-digetic music which, when interviews are shown, gets quieter to hear the answers easier.
- 4. Where we may use this: When filming our expert interviews we will definitely take into account the background locations such as in front of mobile phone posters around college or in front of computers and other technologies. When filing our vox pops we will use more monotone locations such as photos from our location recce against white walls as the shots are there for only a short time and consistency between cuts will be helped by using the same backgrounds. On top of this we will also know how to properly direct our interviewees on where to look and also the camera positioning that will see our interviews consist of MCU’s to highlight expressions that our interviewees may feel.