Commision: Sequences and Actuality

Sequences and Actuality:

Directing Documentaries:
-Documentaries do not just happen.
-they have to be researched, meticulously planned, scripted and set up.
-Control is key throughout the pre-production.

Sequences:
-Artist representations of reality.
-Close ups are key!! Repeat he action ad beware continuity.
-Make it interesting, creative, relative to subject/ person. Properly set up light and sound.
-Always use a tripod unless you want to have shots where you are moving around.
-Ask questions before filming.

Sequencing contributors and talent:
-When dealing wit paid talent you can usually ask them to do whatever you creatively want for the film (within reason).
-When dealing wit members of the public this potential is more tricky.
-Ensure you have talked through your pans with them prior t the shoot so that you know hey are happy with arrangements.
-Gaining trust is key to dealing with 'real' people- this is built up during the pre-production process.

1. Hold shot for no less than 10 seconds.
2. 3: 1 - Close Up to Wide Shot.
3. Action and Reaction.
4. Compress time. (three minutes to twenty seconds)
5. 'Peak Moments'.

Get good coverage- Shoot to edit:
-The art is going to get as many options as possible for your edit.
-I.e. shoot lots of different angles which cut together for coninuity.
-Remember the rule of three.

Always get cutaways:
-To ensure that you can always 'cover' your edits, it is always essential to shoot cutaways.
-GVs (general views) are great for doing this.
-They are generic shots which are relevant to the subject and location which can be slotted anywhere into the edit.

Continuity:
-Continuity of performance and orientation.
-Performers need to ensure their delivery is also as similar as possible each time you retake on a different shot size.

Match cut on action:
-Editing between different size versions of the same shot necessities matching the action.

What is actuality?:
-Actuality is a type of documentary filming which captures events and does little if anything to control them- REALISM.
-Therefore, in contrast to sequencing, you will NOT be directing the action but responding to it!

Actuality shooting strategies:
-Letting the subject enter and leave the frame.
-Apply the rules of sequencing by controlling what and how you shoot.
-Filming plenty of reaction shots.
-Filming cutaways, establishing shots and non-sync wide shots.
-Always getting GVs/ cutaways.
-Only shoot what you need
-Plan use of sound kit carefully e.g. radio mics on main camera.
-Always get wild-track/ buzz-track.

Brief your camera op:
-Be careful discussion prior to filming and through keeping your eye not only on events before you, but in the way in which they are not being recorded, you can maintain a degree of control without interfering with events, but it is a careful balancing act to be learnt.

Why do we need sequencing and actuality?
Aren't interviews enough??
-It conveys a better feeling of 'real life'.
-Engaging the viewer- pace (faster than interview sync heavy)
-Helps to edit and illustrate sync clips.

Visible or invisible director?
-Reflexivity- The technique of exposing the film making process, thus distancing itself from the personal authorship in making documentaries.
-Self Reflexivity
- Exposes not only the process of making a film, but also the authors' own views and the journey they themselves make.
- Thus the director can become part of the film itself and takes on a more active role in the film.
- By making your own assumptions clear the viewer is empowered with a new understanding of the truth.

Screening: Nick Broomfield's 'Aileen- Life and Death of a Serial Killer'.