Sunday, 10 April 2016

Documentary: Documentary Interview Styles

As part of my pre-production for the documentary unit, I decided to look at some different interview styles.

DOCUMENTARY INTERVIEW STYLES

 When I say interview styles, I mean the different ways it can be done, in terms of camera positioning, interviewer/interviewee positioning, and location/sound.

FRAMING/CAMERA/CAMERA POSITIONING

 The most common type of interview framing is a medium shot, usually cutting at the waist or chest.


Sometimes you can shoot with that framing, but have the interviewer in shot too.


And sometimes you can shoot the interview either from the side or in close up, however only really when you have more than one camera.


One thing you need to think about is how many cameras you are using, and this usually depends on how you plan to film the interview. If you are just filming the interviewee's responses, then one or maybe two (for close ups) cameras will be needed. If you are planning to film a shot with both the interviewee and the interviewer in, you may want three, one for the interviewer, one for the interviewee, and one for close ups or wides. However, if you don't intend to show both the interviewer and the interviewee in the same shot, you could just use one. To do this you would shoot the answers first, and then after the interviewee had left, you'd shoot the questions with a stand in.

LOCATION

 Interviews can be done in numerous different locations. Here are some things to think about before deciding on the location:
- Accessibility
- Lighting
- Sound
- Relation to the interviewee or the topic

Interviews can be done in a studio, or on location. You need to decide which locations best fit your documentary.

Studio
Location
ON THE SPOT VS SIT DOWN INTERVIEW

 And the final thing to think about is whether you should ask questions in the spur of the moment, on the spot whilst filming actuality, or if you should sit the interviewee down and formally ask them questions. It all depends on what fits you documentary best. It also can depend on if you want them to be handheld, raw looking interviews, or tri-pod, stable, professional and formal looking interviews.

Overall, this is all information my group needs to consider before deciding how we will conduct our interviews when shooting the documentary.

Images: 
http://41.media.tumblr.com/7a69d838ecfa50c6fb272d0bbb68a038/tumblr_nbp3kjOVcU1qkp845o1_500.jpg
http://philipbloom.net/blog/wp-content/uploads/2011/10/A002_C006_1003AB.0019263-670x353.jpg
https://www.danielm.cc/interview/big/apg3.jpg

Screenshots from Last Week Tonight YouTube Channel: Edward Snowden on Passwords
https://www.youtube.com/watch?v=yzGzB-yYKcc

Documentary: Script- Draft 1

As part of the pre-production for my documentary unit, I had to produce a script for my group's documentary: Pledge For Veg.

SCRIPT: DRAFT 1

 Before writing the script, I looked at all the information I already had about the documentary and the people involved, which included websites, leaflets and a transcript of an interview with our two main characters. I then used this information to put an outline together so I knew what direction the script would go in.

After doing this I began putting a script together using our story outline and script outline. I started by writing narration, based on what I thought might happen whilst we were filming. Then I wrote in quotes from our characters so that when we are filming, we would have an idea of what we would like them to or what we think that might say again. On parts of the script I used italics to add what I thought people might say, or what direction I thought that part of the script might go in.

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After showing the script to Helen, this was the feedback I received:
- The problem was introduced too early
- Change the order so that Jamie (one of our characters) is introduced right at the start
- Think about using the location to help set the story up
- Think about what the ending might be: positive? negative?
- Try to find some more contacts
- Think about visuals as well as audio, not just audio

Some of Helen's notes on the draft
The next step is to use this feedback, and group feedback to work on a second draft.

Documentary: Sequencing Workshop

To follow on from the interview workshop we did a few weeks back, recently we took part in a sequencing workshop, that allowed us to film sequences to cover edits in our interview.

DOCUMENTARY- SEQUENCING WORKSHOP

 In preparation for the workshop, we produced a shot list, based on what Cheyenne had said in the interview. The sequences needed to be related to what was being said on screen, and there also had to be enough to cover all the cuts made in the edit.

Here is the shot list:

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At the start of the day we booked out our equipment (a camera, and a tripod). We continued in the same roles as before; I was the director; Saskia was the camera operator; and Cheyenne was the talent.

Next we discussed the shot list and decided what to film first. We started by setting-up the equipment and filming all the shots that took place in the same location. I opened up a series of windows for Cheyenne to look at on a computer whilst we filmed her doing so. We spent some time filming this part of the sequence, shooting wide shots, medium shots, and close ups. We pretty much stuck to the shot list, although there were a few ideas the team had on the spot.

Next we moved to a different part of the base room to film so more of the sequences. We shot some footage of Cheyenne on the phone, to represent her demonstrating her communication skills. And finally, we shot the final part of the sequence, something which differed from the shot list. I decided to film Cheyenne watching her film on a projector, so we could physically see her reflecting upon it. This was an idea I had based on something I had seen recently in another documentary, however I did not think of it when we were writing the shot list.

After all the filming was complete, we sat down and edited the interview together, along with the sequences. We used to sequences to hide any edits and also to fill any gaps. After this was complete, we added some music and some titles.

Finally, we shared the film with the rest of the group. The feedback was mostly positive, however there were a few things that could be adjusted:
- Use some of the 'noddies' (interviewer reaction shots) shot during the interview to hide edits as well.
- Ensure the narrator doesn't say I unless people know who they are, or they have already been introduced on screen.
- Think carefully about which sequences match which parts of the interview.

Overall we were happy with the final film, and I think it demonstrates that we have the knowledge to go out and make our documentary.

Here is the final film:



Wednesday, 6 April 2016

Documentary: Second Contact Visit

To continue the preparation for our documentary unit, Cheyenne, Saskia and I visited our contacts for a second time to set everything in stone and gather more research.

SECOND CONTACT/LOCATION VISIT

 When we arrived at the site we met with Martina, the Veg-box and communications coordinator. She told us where we could find Jamie, the project grower, so we could ask him some more questions about the allotments.

We walked up to the second plot and met Jamie, who was working with a group of his volunteers. He introduced us to his volunteers, who were all willing to take part in the documentary.

Cheyenne, Saskia and I had a little walk around the top plot to note down any filming locations, and possible risks for our risk assessments. Whilst there we had a chat about style and storylines.

After our tour, we spoke to Jamie, who told us about his opinions on the loss of farming land over the years, which was great because we wanted to feature that in our documentary. He also told us about his schedule for the shooting days, so we knew when and where he would be.

Finally, we walked back down to the bottom plot to meet Martina. After a quick chat about the schedule for shooting, we left the site.

Here are some photos we took during our visit:

The top plot- used to grow produce for the bags
The bagging area
The bagging area

Sunday, 3 April 2016

Documentary: BAFTA Guru- Dale Templar

As part of my pre-production I watched a video on the BAFTA Guru website: Dale Templar: In Conversation. Here is what I learnt.

BAFTA GURU- DALE TEMPLAR

 Dale Templar is the series producer of Human Planet. Her passion is wildlife and people.

Dale Templar
Every shoot on human planet was like an expedition. They had to carry around huge amounts of expensive equipment to unimaginable places.

On the show they used special slow-motion cameras, and super slow-motion cameras (like the Phantom), which meant they had to fly in a special camera operator, along with the camera.

Phantom Camera
They also used a crane to take the camera up and over areas a camera operator cannot get to. This also meant they had to carry those around too.

Camera Crane
For aerial photography they used a special piece of equipment called a Cineflex. This gave them stabilisation and a long zoom. This camera had to be attached to a helicopter. When a helicopter was available, they used a piece of equipment called a Cinebulle, which essentially is a hot air balloon with a camera attached to it, and a seat for an operator.

Cinebulle
Almost every single piece of kit they took out on location broke down at some point, especially a piece of kit called a Cable Dolly. In one sequence they suspended it over a river, and you can see how much work, and safety equipment, goes into setting up and using the dolly.

Cable Dolly
Overall I found this video very interesting. I was surprised to see all the different types of technology they use to film each episode, and to learnt that they even dare to take some of this equipment into unimaginable places. Many environments can be difficult to film in, so before going on any shoot you need to think about how the environment is going to affect how you work, and how your equipment works. Preparation is key.

Video:
BAFTA Guru- Dale Templar: In Conversation (http://guru.bafta.org/dale-templar-conversation)

Images:
https://pbs.twimg.com/profile_images/2260714223/Dale_bafta_talk_CU.jpg
http://www.blogcdn.com/www.engadget.com/media/2010/04/19apr10engplflex954.jpg
http://www.aceeast.com/cam_images/Techno151.jpg
http://www.cleyet-marrel.com/site/IMG/jpg/MadagascarBaobabs06_1.jpg
http://www.adventurecamera.co.uk/images/ScottishLandscapes-cableDolly.jpg

Documentary: Dreams Of A Life (Documentary Film)

In a recent lecture we watched a very interesting documentary film: "Dreams Of A Life".

DREAMS OF A LIFE


What I find most interesting about this documentary is that is made up of interviews and sequences, with the occasional photo thrown in. This is a very intriguing and difficult method for making a documentary.

The documentary tells the story of a woman, Joyce (Carol) Vincent, who was found dead in her flat, three years after she had died. The documentary explores her life leading up to her death, and tries to work out why nobody realised she was dead, and how she lost touch with the world around her. To do this the director, Carol Morley, interviewed past friends and colleagues, who were all shocked to discover she had died.

Carol Morley
The real Joyce (Carol) Vincent
Unlike most documentaries, this one cannot use GVs or actuality because the main subject of the documentary is dead, and the family members did not want to take part. Instead the documentary uses sequences and actors to show the story. These sequences are based on what the filmmaker, Carol Morley, has learnt in her interviews and research. These sequences are then mixed in with the interviews, by superimposing them onto Joyce's TV, shown in her living room during the reconstructions.

An actress was used to portray Joyce in the reconstructions
Throughout the documentary we hear stories about Joyce, told by her friends. The documentary also sheds light on Joyce's childhood, whilst trying to uncover the truth behind her life and the many lies she told. The question the documentary seeks to answer is 'Why was no one looking for her when she was missing?".

One of Joyce's friends tell the audience stories
The structure of the documentary is similar to a storytelling piece, it has a beginning, middle and an end. At the beginning of the documentary we are introduced to the Joyce and many of the people we are going to meet throughout. The main question is also introduced. Throughout the middle section, we begin to investigate her life, and hear about her through her friends. We look into her childhood and homelife, as well as her relationships over the years. By the end of the documentary, we begin to form a conclusion. It pieces all of the information together to show the bigger picture and explain why nobody looked for Joyce. The film ends with all of her friends talking about what they regret and what they should have done to help Joyce.

In terms of style, the documentary uses numerous shot and angles to help tell the story. High angles were used when CCTV was being presented. Close-ups were used when we were shown evidence, Joyce's belongings and articles about Joyce. The use of many panning shots allowed us to explore Joyce's world and the area she lived in. The use of many long shots suggested that Joyce was very isolated, lonely and distant. The documentary had a very dark mise en scene, which suggest isolation, desperation and loneliness, all things Joyce may have been feeling during her last moments.

Archive material played a big part in the film. Many newspaper articles were used to tell the story, for example some show how the story was investigated after her body was found. The film also uses CCTV footage of Joyce, and a clip from an event Joyce attended, where you can actually see her on camera. Images of Joyce are also used to give the audience an idea of what she looked like. And finally, an actual voice recording of her was used to help the audience understand what she sounded like. All of this actual footage, images and sounds, helped the audience build a picture of Joyce, along with the descriptions given by friends, and the actress used in the reconstructions.

Use of archive material in 'Dreams Of A Life"
Overall I found the documentary very interesting, and found the techniques it used to tell the story to be very unique, and intriguing. The style of the documentary perfectly matched the story it was trying to tell. And, considering the lack of real information on Joyce, I think the filmmaker, Carol Morley, did a great job introducing the world to Joyce (Carol) Vincent.

Images:

http://d5op7n9h7a6lz.cloudfront.net/assets/img/carolmorley.jpg

https://i.ytimg.com/vi/lb-NyRaaBP0/maxresdefault.jpg

http://www.campfilms.co.uk/wp-content/uploads/2013/05/cath2.jpg

http://www.sinuousmag.com/sm/wp-content/uploads/2012/03/dreams-of-a-life-zawe-ashton-as-joyce-vincent-01.jpg

http://www.madman.com.au/images/screenshots/screenshot_13_18382.jpg

Documentary: Parodies of the Documentary Genre

KEITH LEMON SKETCH SHOW


I've decided to look at "The Keith Lemon Sketch Show" as part of my pre-production research. My reason for doing this is because the show often parodies a few documentary techniques. I think that a good way to learn about these techniques is to watch how people imitate and parody them, because these people need to know them inside out, to ensure they parody them right.

The show is a sketch series that parodies numerous television shows and celebrities. The show also parodies the documentary genre. One such parody is entitled 'The Urban Fox', which is a parody of the wildlife genre, mixed with an observation documentary style.

'The Urban Fox' follows a well-meaning fox, played by Keith Lemon, as he terrorises his local neighbourhood, as well as a local dog. Each episode focuses on a different aspect of the Fox's life.

Here is how 'The Urban Fox' parodies the documentary genre:

  • The use of a narrator.
  • The narrator starts off the documentary by using some factual knowledge to set the scene and introduce the characters/situation.
  • The use of GVs to fill gaps when either the narrator is talking, or a character on screen is talking.
  • The use of mid-shot interviews shot on location, with GVs and sequences cut over the top.
  • The use of interviews to tell the story.
  • The use of classical/easy listening orchestra based music in the background.
  • Title of the documentary series layed over a shot that relates to the story.
  • The use of handheld shots. Often zooms and quick pans are left in the final cut.
By watching this parody, I have picked up on a few documentary techniques. I find it is easier to spot them in a parody, because they are purposely obvious, as part of the mick take.





W1A

I have also decided to look at "W1A" because the show is a 'mockumentary', which means it entirely mocks the documentary genre. The show is set up as documentary about a select group of people who work at the BBC. However, the entire show is a scripted comedy that uses actors as subjects. The show is entirely fictional.

Here is how the show parodies the documentary genre:

  • A narrator, who most of the time tells us things that are obvious to us because we can see them on screen.
  • Narrator introduces characters and sets up each scene.
  • Handheld shots, with zooms and quick pans left in the final edit.
  • Unlike some other documentaries, the camera seems to stay at a distance for most scenes.
  • GVs are used to fill spaces when either characters or the narrator is speaking.
  • There are no sit down, formal interviews used. Instead the story is told using 'actuality'.
  • The characters do not talk to the cameras, like in some documentaries.
  • The show uses time lapse sequences to bridge scenes together.
  • The show parodies the types of people that work in television, and the sorts of characters you might feature in a documentary.
  • The show uses happy/easy listening orchestra based music in the background.
'W1A' parodies the documentary genre in a different manner to that of 'The Keith Lemon Sketch Show'. It's a more 'fly on the wall' style, where the characters act out their lives as though they're not being followed by cameras. This style adds perfectly to the comedy of the show.

By watching these two shows I have been able to think about the style of my groups documentary, because I have been able to look at the specific elements of a documentary, as a parody. These parodies purposefully exaggerate the elements of the documentary genre, and this made it easy to analyse them.


Images:

http://italktelly.com/2014/wp-content/uploads/2016/01/THE_KEITH_LEMON_SKETCH_SHOW_SR2_14.jpg

http://i.dailymail.co.uk/i/pix/2014/03/19/article-0-1C2FB1A000000578-272_634x529.jpg

Documentary: Initial Meeting With Contacts

Over the Easter holidays I met with two contacts at The Windmill Community Gardens.


INITIAL MEETING WITH CONTACTS

I first met with Martina Knight, who is the Veg-box and communication coordinator. She was my first point of contact, as the manager was away on holiday. She began by showing me around the two 1 acre sites. She showed me some of the growing sites, and some of the activity areas. Finally, she took me up to the main growing plot for the Veg-box scheme, where I met Jamie Fassam, the only grower on site for the scheme.

After having a little chat with Jamie about his role, he mentioned to me that he had been in a documentary before, called Hotel On Sea. This tells me that he may be a good character to feature, as he has experience being on camera.

After chatting to the two of them for a while, we sat down for an interview. I recorded the interview and asked them all the questions I had written prior to the interview. I ended up finding out quite a lot about the project and a few stories we could tell. I think the two of them will make good characters, and both of them have agreed to take part in the documentary.

Below I have listed the main points from the interview-
  • The project is funded by members of the community.
  • On Tuesdays they have a gardening club.
  • There is a parent and toddler group.
  • On Fridays they've got a wellbeing group for people with mental health needs.
  • On Saturdays they have a group for 8-14 year olds.
  • The Veg-box scheme plays a big part in bringing money to the project.
  • The local community like the project.
  • They have many long term and loyal volunteers.
  • They have many loyal customers.
  • Jamie has two Bee hives on site so he can produce honey.
  • They have a pond.
  • They're currently building a food forest.
  • Many of the volunteers enjoy the quietness and peacefulness of the site.
After the interview had finished, I asked the two of them to fill out a contact sheet.

I will use the transcript of this interview, and the other information I have already gathered, to create a draft script for the documentary.

Image: http://images.inc.com/uploaded_files/image/1940x900/handshake-pano_19966.jpg

Documentary: Preparation For Meetings With Contacts

Before meeting any contacts, I produced a few documents for use during any interviews and initial meetings.

PREPARATION FOR MEETINGS WITH CONTACTS

 First I produced a document that contained all the information about the documentary, including our research, that the contacts and I needed to know. I will give this information to contacts when I have meetings with them, and also use it to help myself remember all of the facts.

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Next I produced a list of questions to ask contacts, that were tailored specifically towards the topics we were thinking about covering. I will use this during my interviews with contacts, and I will record the interviews so I can create transcripts afterwards. These questions should help me find out everything I need to know so I can write a draft script. The questions also help me remember what information I need to collect in order to do a full recce of the site.

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And finally, I produced a contact form for all my possible contacts to fill out. On the form I ask for all the details that will allow me and the rest of the group to choose who could take part, and be able to contact them through multiple methods. I asked for Name; DOB; Gender; Occupation; Relation to topic/documentary; Address; Postcode; County; Mobile number; Telephone number; and Email. I will ask every contact I make to fill one out so we can keep it for future reference.

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I will use all of these documents during the interview process as part of the pre-production when making new contacts. I will also share to documents with the rest of the group so they can use them during their own contact making process.

Documentary: Production Development (03/04/16)

Over the Easter holidays I have carried out some work to help develop the production of our documentary: 'Pledge For Veg'
PRODUCTION DEVELOPMENT

 I have made contact with our proposed subjects/location, The Windmill Community Allotments. I called them up and spoke to the Veg-box coordinator, as the head of the site was away on holiday.

During the phone call I told her a little bit about the documentary and how we would like to use their allotments and Veg-box scheme. She then told me a little bit more about the scheme and asked if I would like to come down. I then arranged a meeting with her so I could ask her some more questions and hopefully make some more contacts.

My preparation for the meeting can be found here.

Information about the meeting can be found here.

After the meeting I had a much better idea of the direction this documentary could go in. I found out a lot more about the project, the people involved, and the stories that could be told on the site.

My next step was to begin writing the script. I started by writing an introduction based on the facts I already knew and the people I had already met. I will post a new blog post later on once the first draft is complete.

That is all, for now.

Documentary: The Final Proposal

Below is my group's final proposal for our documentary idea: 'Pledge For Veg'


THE FINAL PROPOSAL

 We are producing a 10 minute documentary about allotment gardening in the UK.

 We are doing this because we recently discovered that since WW2 the number of allotments in the UK has dropped from 1.4 million plots to just 330,000 plots.

 Also, the number of people on a waiting list for an allotment plot averages about 100,000 people each year. So why aren't we building more allotment plots.

 Main aims-
- Find out what is in place today for those 100,000 people on a waiting list each year. How can they still access home grown fresh fruit and veg?
- What kind of people still grow in allotments? Why?
- What are the benefits of allotment gardening for people and wildlife?

 THE FACTS

 Only 5% of the fresh fruit and veg that enters UK households comes from free sources, like gardens and allotments*

 Research on the number of allotment plots in the UK over the last 140 years: Allotments Research
Reasons to grow your own fruit and vegetables:
- You know what you're eating because you control the growth of the plants.
- It's cheaper.
- It reduces food miles.
- It improves your health. It can offer emotional, physical and mental benefits.
- It can help reconnect family and friends. Acts as a bonding activity.
- It can be rewarding. By growing good vegetables, you feel like you have accomplished something.
- In most cases, home grown fruit and veg will be fresher.

A recent survey by The National Allotment Society revealed that almost all of their members enjoy allotment gardening because of the fresh air, homegrown produce, healthy lifestyle and like-minded people this activity offers**

PROPOSED STYLE/NARRATIVE/HOW WE WILL TELL THE STORY

We will tell the story using interviews, actuality and sequences, and graphics to show information.

We will use our research to present a balanced argument.

The interviews will be done on location, on the day. A real feel.

We will mix narratives together.


*According to a 2011 National Statistics Survey into family food.

(https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/193804/familyfood-2011report.pdf)

**Source: http://www.nsalg.org.uk/allotment-info/benefits-of-allotment-gardening/

Image: http://i.huffpost.com/gen/1281681/images/o-ALLOTMENT-facebook.jpg

Saturday, 2 April 2016

Documentary: Eden (TV Channel)

As part of the pre-production for the documentary unit, I looked into the proposed channel we were making the documentaries for: The Eden Channel.

 EDEN CHANNEL

"Eden aims to show the world in all its beauty and wonder"
- Eden- What is Eden? -

Eden, part of the UKTV network, is a television channel dedicated to showing wildlife and science programs. They mostly feature BBC Natural History documentaries; science programming; and adventure and travel programmes. According to their website their range of programming is "everything from animal behaviour and glorious landscapes to cutting-edge science and life-endangering exploration".

SOME BASIC FACTS

  • The channel launched as UKTV Documentary on 8th March 2004, and relaunched in it's current format on 27th January 2009.
  • Many of it's programming is taken from the BBC archives.
  • Slogan- 'Never Stop Wondering'.
  • Broadcast across the UK and Ireland.

THEIR PROGRAMMING

 Over the years Eden has shown many programmes from the BBC archive. In recent years they started playing more science based programmes, whilst still keeping with it's nature themed identity. Eden has also occasionally produced it's own exclusive programming, with the most recent being 'David Attenborough's Natural Curiosities'.

Looking back over the history of Eden's programming, here are a few examples of the types of programmes they show:

  • BBC Wildlife Specials
  • Bang Goes the Theory
  • The Blue Planet
  • Deadly 60
  • Frozen Planet
  • Horizon
  • Human Planet
  • Natural World
  • Planet Earth
  • Walking with Dinosaurs
  • Wonders of the Universe
The list goes on. It seems as though the channel likes to play a lot of Attenborough documentaries, and documentary series about the Earth as a whole, that focus on many aspects. There are a lot of one off shows and series.


My group is currently looking at making a documentary about allotment gardening in the UK, and currently, according to their website, Eden has only ever shown two documentaries that focus entirely on plants. This means we will have to think very carefully about how we can make our documentary fit with the Eden identity and their current programming schedule.

OUR PROPOSED TIMESLOT

 In the brief it states that our proposed timeslot is 8pm on the Eden Channel. The current schedule for that timeslot over the next week (2/3/16-8/3/16) is as follows:

  • 2nd April- Human Planet
  • 3rd April- Human Planet
  • 4th April- World's Wildest City: Manaus
  • 5th April- World's Wildest City: Manaus
  • 6th April- World's Wildest City: Manaus
  • 7th April- World's Wildest City: Manaus
  • 8th April- World's Wildest City: Manaus
It looks as though Eden changes the 8pm schedule on a weekly basis, always playing a series a week, and a different series over the weekend. They seem to play everything in bulk, so people can sit down and watch multiple episodes at once. One off specials seem to be played on busy nights of the week like Wednesdays, Fridays & Saturdays at either a 8 or 9pm timeslot.

This is all information we need to think about and take into consideration when decided how to put our documentary together to ensure it fits with the timeslot and the channel.


Sources: 
http://eden.uktv.co.uk/article/what-eden/
http://eden.uktv.co.uk/