Downloaded 31 times
Uploaded byShannon Walsh
4 the interview_workflow
The document outlines the various phases and roles involved in documentary film production, including pre-production, production, post-production, and distribution. It discusses preparation such as developing ideas and scripts, shooting, editing, sound design, and distribution. It also provides guidance on interview techniques for documentary filmmakers such as preparing questions, active listening, avoiding leading questions, and making subjects feel comfortable.
More Related Content
Similar to 4 the interview_workflow
4 the interview_workflow
- 1. W E EK 4
- 3. Preparation / Preproduction •Idea, treatment and script developed, finding money, characters, locations, sets • Preparation for production Shooting / Production Edit / Post Production • Assembling material in the edit • Sound edit, sound mix • Colour correction, outputs • Distribution phase PRODUCTION PHASES
- 4. PREPRODUCTION Research • As extensiveas possible Writing • Proposal & Treatment Casting • Finding your character Pre-Production People • Producer – financial and organizational, sometimes creative • Executive Producer – distant, financial or ‘rights’ • Line Producer – Organizer of on set production • Associate Producer – coordinating lab and technical personnel • Script Writer • Researcher & Visual archivist • Production Assistants
- 5. PRODUCTION ROLES • Director Director’sCrew • Characters • Camera Unit Cinematographer / Director of Photography, Camera operator Sound recordist, Boom operator • Production crew Production manager, Production Assistants (Pas)
- 6. PRODUCTION CREW Director Conduct andorganize research Write proposals Explain creative (and sometimes financial) elements to funders, subjects, crew, etc. Decide on content Assemble the crew Schedule the shoot Lead the crew Direct participants during shooting Supervise editing Supervise Post-Production Online, Sound Edit & Mix, & Mastering Find distribution
- 7. PRODUCTION CREW Director of Photography •Orders camera equipment • Tests and adjusts equipment • Masters all technical elements • Answers to director, but takes initiative when shooting handheld or other necessary situations • Scouting locations, ensuring electricity requirements • Lighting aesthetics and set ups • Deciding camera positioning and ‘look’ in collaboration with the director • Making all camera movements • Listens and is sensitive to situation and human behaviour
- 8. PRODUCTION CREW Sound Person • Choosesright equipment for situation • Checks equipment in advance • Is aware of not causing shadows or getting microphone into frame • Keeps mic close to sound source even during handheld shooting • Hears sound inequities and finds solutions whenever possible • Recording location sound and wild sound on own initiative • Alerts DP and director if sound is un-usable and must be reshot
- 9. POST-PRODUCTION ROLES & STAGES •Editor / Assistant Editor • Sound Designer / Sound Editor • Sound Mixer • Colour Correction • Graphic Design (Titles & Inter-titles) • Conforming and Outputting
- 11. ART OF THEDOCUMENTARY INTERVIEW 1. Prepare your questions in advance 2. Help people relax and feel comfortable 3. Avoid ‘yes’ or ‘no’ questions 4. Don’t ask more than one question at once 5. Practice ‘active listening’ 6. Keep your mouth shut! 7. “Save it for the interview” – don’t talk too much about the subject beforehand, don’t show your interview questions 8. Have them repeat your Question in the Answer 9. Ask for final comment 10. Don’t stop filming when the interview is ‘over’
- 12. INTERVIEW APPROACHES • Conversationalinterview where interviewer appears on screen. • In this case a walking interview can be good to give a feeling of a natural conversations, but will need to be properly covered for sound with wireless microphones and possibly a boom • Capturing discussion between two characters talking about the subject
- 13. “TELL ME …” AskingQuestions • Prompting subjects by asking them, “Tell me about…” • Repeating the question in the answer for clarity in edit room so you can cut out interview question. Example: • Q: “Why did the protests in Hong Kong grow in size so quickly?” • A: “The protests grew in size so quickly because….”
- 14. AVOID LEADING QUESTIONS, &QUESTIONS WITH ‘YES’ AND ‘NO’ RESPONSES Example of leading questions that give bad answers: • Q: “Is it difficult being a domestic worker in Hong Kong”? A: “It’s not too bad. • Q: “You’ve been working here for 10 years?” • A: “Yes” • Q: “You said you come from the Philippines?” • A: “Yes, that’s right.” How could this have been done differently?
- 15. USE OPEN ENDEDQUESTIONS • Tell me what it is like to …? • How long have you…? • How did you feel..? • Tell me about when….? • Prepare a questions list before hand • Develop themes so your questions flow, but don’t get stuck on your questions • Be prepared, but also spontaneous • Ask easy questions first and go towards harder or more emotional questions later
- 16. CONSIDERATIONS Background • How mightbackground effect the feel of the film? • How will location effect the way character feels in the space? • Can we learn something about the person through the background? • What does background convey to the viewer about the story being told? • Can the same background be found in all interview situations? • Is it quiet enough (no planes, fridges, screaming children, music)? • Exterior vs. Interior (considering weather, time of day, storytelling)?
- 17. “The Law inthese Parts” (2012) Incredible use of green screen, and a single interview location
- 18. CAMERA PLACEMENT 1. Decidehow you are going to place the camera ahead of time! Discuss with DP 2. Close up or Medium Close up / straight on, low angle, high angle 3. Often Medium Close up is standard interview position, with options to move in if need be 4. Getting subjects to look into camera, or close to into the camera 5. Be careful of eyeline! Interviewer is often best placed as close to camera as possible 6. Looking directly into camera gives sense of authority, or as though subject talking directly to viewers 7. Low angle gives power to subject, rather than looking down on them 8. Film Cutaways & B Roll
- 19. SHOT TYPES ECU: ExtremeClose Up CU: Close Up MED: Medium LONG: Long
- 20. Example from Justin Smith,Co-Founder, Director at TheBizMedia
- 25. Fog of War,Errol Morris, 2003Pushing the Talking-Head
- 26.
- 27. CONSIDERATIONS 1. Make sureyour interview subject feels comfortable 2. Let them know how long it is likely to take and the kinds of questions you’ll be asking (if it’s appropriate) 3. Have water on hand 4. Non verbal listening, and listening in general 5. Assure them that they don’t need to be nervous and you just want them to be themselves 6. Make eye contact throughout, and let the subject know that they should be speaking directly to you, not the camera, and to ignore other people in the room (if there are any) 7. Leave a pause at end of someone speaking
Editor's Notes
- #24 Justin Smith, Co-Founder, Director at TheBizMedia
- #26 SUBVERTING THE TALKING HEAD Another way to deal with Speaking truth to Power Archival footage, US cabinet conversations, and a 20 hour interview interview with McNamara. Used the “Interrotron” which allows interviewee to look directly into the camera – said to make it different than traditional talking head… Show GATES OF HEAVEN 17:15 -19:20 -21:09 or keep dog singing lady