Index
Page numbers in italics refer to figures
3D documentaries 135
-12 audio levels 235
-20 audio levels 235
24p 115
60i 115
180° principle 100, 101, 103, 193, 315
A
acquisition video formats 110
actions continuity 314–315, 315
Active Voice 386
ADCs see analog-to-digital converters
Advanced Television Systems Committee (ATSC) 110, 111
advances 377
AGC (automatic gain control) 216
air risks 262
All My Babies documentary 27, 27
Alter, Nora 305
Alvarado, David 44, 63–64, 69, 115, 151, 161, 161, 227–228, 344
ambient sound 205, 212, 241, 339, 344–345, 345
amplitude 206, 207; compression 355
analog-to-digital converters (ADCs) 129, 213, 215
analog video 110
aperture of lens 148–150, 149, 167
APS-C 118
artists, documentary filmmakers as 4
associative editing 311–313, 312
Atomic Café documentary 329, 329
ATSC (Advanced Television Systems Committee) 110
audio 351–359; clips 294; connectors, camcorders 125–126, 125; filters 354–356; ingestion 277; monitor reference 359; outputs, digital recorders 218, 221; recording 237–242; sweetening 353–356; tracks 278, 351–353; transitions 356–357; see also sound
audio levels 100, 193, 315, 357–358, 357
audio/video codecs 111
authenticity 154
authority 27
auto functions 123–124, 139–140, 149, 202
autoiris (autoexposure) 149
auto-knee 202
automatic gain control (AGC) 216
B
background sound see ambient sound
backlight 186, 187, 187, 188, 188
Baichwal, Jennifer 36–37, 93, 153, 160, 322
balance 57–58; audio signals 214; frames 88; see also white balance
Balázs, Béla 19
bandwidth, scanning types 114
Banished documentary 308–310, 309–310, 372
barn doors 172, 173, 181–182, 181–182
bass-roll off 238
Bayer pattern filter 127
“being present” 19
bias 57
binary code 110
bins 278, 280, 280, 284–285, 294
bit depth 120, 129–130, 130, 214–215
black diffusion 177
blocking light 172
booming 94, 162, 162, 239–241, 241
Born Into Brothels documentary 54, 54, 56
Boyd, Brian 369
breakaway cables 209, 211, 211
broadcasting 382
broadcast standards 110, 111–112, 135
B-Roll 99
Brooks, Daniel 211, 211, 213, 213, 228, 231–232, 234–235, 235, 256
C
camera 18–19, 91–98, 116–126, 196–198; adjustment 97–98; angles 91–93, 91–93; filters 175–183, 176–178; function menus/switches 123–124; mounting plate 158; moves 93–98, 94; positions, lighting 196–197; profile 369; support 153–164; takes, camcorders 123; types 18–19, 116–126
camera crew 64
camera-mounted lighting 198
capacitors, microphones 221
cash support 48
Castaing-Taylor, Lucien 118, 349
Casting the First Stone documentary 25, 195, 195
CBR (constant bit rate) 131
CCD (charge coupled device) 126–127
center-averaging 190
Center for Media and Social Impact (CMSI) 346
CF (compact flash) card 122
characteristic curves/gamma 200–201, 200–201
characters 296–298; identification 90–91; main characters 44; see also casting documentaries
charge coupled device (CCD) 126–127
checkerboarding 352
Chiang, S. Leo 42–43, 44, 46, 68, 84, 102–103, 105, 115, 145, 193
chrominance 131
Chronique d’un Eté documentary 25, 25
CineGamma 202
cinéma vérité 23–25, 25, 154, 192, 252, 341
The Civil War documentary 336–337
clamps 182
CMOS see complementary metal oxide semiconductor sensor
CMSI (Center for Media and Social Impact) 346
color 131–134; bars 133–134, 133–134, 374; conversion gels 178–180; correction 363–368; encoding 131–132; grading 363; sampling 131–132; settings 203; temperature 171, 171, 180, 180
communication: crews 70–71; tools for 71–72
community involvement 47, 54–55
complementary metal oxide semiconductor (CMOS) sensor 117, 126–127, 126–127
compression filters 355
condenser microphones 220–222, 221
consent 53
consistency, sound 239
constant bit rate (CBR) 131
continuity 24, 99–100, 307, 313–318, 315
contrast 198–199, 199, 364, 364
A Conversation With my Black Son documentary 38, 38
countdown 375
counterpoint narration 304
crews 63–65, 227–228, 227, 255; communication 70–71; responsibilities 65; size 63–64, 63
cross lighting 193
Crumb documentary 91, 91, 98, 98
culture 59
cutaway shot 90, 315, 317–318, 317
Cutie and the Boxer documentary 100–101, 100, 243–244, 314–315, 315
D
DACs (digital-to-analog converters) 214, 215
Darwin’s Nightmare documentary 55, 55, 317, 317, 322, 322, 372, 372
data rate: camcorders 132, 132; video images 111
DAWs (digital audio workstations) 359, 360
DC power 123
dead recording space 212
deal memos 71
deep depth of field/focus 87, 87, 150–151, 150–151
deliverables 228
depth of field (DOF) 87, 87, 150–152; deep vs shallow 150, 150–151; factors impacting 151
derivative work 334
DF TC (drop-frame time code) 116, 116
dialogue 340–341, 342–343, 342
diaphragm, microphones 220
diegetic sound 341
diffused light see soft light
diffusion media 170–171, 171, 180–181, 181
digital audio quality 214–215, 215
digital audio recorders 69, 218
digital audio workstations (DAWs) 359, 360
digital imaging technician/loader 64
digital signal processor (DSP) 129–130
digital single-lens reflex (DSLR) camera 117, 117
digital sound recording 213–217, 215
digital-to-analog converters (DACs) 214, 215
digital zoom 122
diopter viewer 121
direct cinema 23–25, 25, 108, 154, 192, 341
directing/director 64, 65, 252–253
directional light see hard light
direct sound 349
ditty bags 183
documentary: art and 4, 307–324; brief/selective history 18–28; ideas 3–16; impact of 383–388; origins 3; process value 14; styles 17–28, 44–45
DOF see depth of field
double-system sound 69, 117, 209–211, 209, 227
drag 157
drop-frame time code (DF TC) 116, 116
DSLR (digital single-lens reflex) camera 117
DSP (digital signal processor) 129–130
dusk-for-night light 197
Dutch angle see canted angle
dynamic range 191, 199–201, 203, 207, 237, 363
E
echo 355
editing 269; art of 307–324; making simple edits 283, 285–289; overview of stages 293–294; patterns 321–322; process 272–277, 273; shooting and 98–99; sound 351–353, 359–361; stages 289–292
educational markets 47, 382–383
Eisenstein, Sergei 311
electret condenser microphones 220–222, 221
employment rules 260
engagement campaigns 383–388, 385
entering frame 104
ephemera 336
equalization (EQ) 352, 354–355, 354
equipment 69–70; respect for 257–258; setting up 233–237; sound recording 205–226
errors/omissions insurance 70
essay documentary style 26–27, 304–305
Etre et Avoir documentary 53, 53, 319–320, 320
European Broadcast Union 111
Evaporating Borders documentary 379, 379
Every Mother’s Son documentary 13, 31–34, 32–33, 58, 249
exclusivity 56
exiting frame 104
expansion filters 355
expository films 22–23, 23, 307–310, 340
exposure: beyond basics 185, 198–203; control 190–192; elements 167–168, 167
expressionistic techniques 194–196, 196, 349
expressive sequences 105
external microphone inputs 125
extract edits 288
eye-level shot 91
eye light 194
F
fast color corrector filter 364–367, 365–366
feasibility 14
field of video 113
file-based media 123
filmmaking types 3; see also documentary
film research 8
filters 167, 172–183, 176–178, 354–356, 364–367, 365
fine cut 292
finishing: film 292–293; picture 363–376; sound design 339–361
first-person narration 302–303
fiscal sponsorship 49
fixers 260
flags 181
flash memory recorders 217, 218, 219
flat frames 86
flat response, microphones 222
flicker effect 107
flood/spot control 170
fluid heads, tripods 157
focal lengths: lenses 137, 137, 141–148, 142–145; and sensor size 144, 144; video camcorders 122, 122; see also crop factor
focal plane, lens 137
focus assist 139
Fog of War documentary 88, 88, 300, 318, 318
fore-shortening 86
formats: common sources 275, 275; NLE projects 274; video 110–111
four-walling 380
frame 85–93; balanced/unbalanced 88; dimensions of 85; entering/exiting 104; graphic qualities 85–86; moving frame 95–97
frame rate 114–115; broadcast standards 112; exposure 167; film 107; postproduction 275–276; scanning types 114
framing: compositing and 324; lenses 137; Manufactured Landscapes93, 93
frequency 222; filters 238, 354–355; response, microphones 222, 222
friction heads, tripods 157
fuses 263
G
gels 172, 175, 178–181, 178, 180
gobo 182
Gold, Tami 52, 243, 244, 248, 252, 252
government funding 48
Granito: How to Nail a Dictator documentary 386–388, 386–387
graphic match 313
graphics files 294
Grierson, John 3, 22, 108, 303, 339
H
handheld devices 153–154, 153, 223–224
handles 356
“Handsworth Songs” documentary 21
hard drive recorders 219
hard sound effects 343
HD (high-definition) broadcast 85, 85
HD (high-definition) cameras 107
HDMI see high-definition multimedia interface
heads, tripods 156, 157–159, 158
Hell & Back Again documentary 345, 345
Helvetica documentary 151, 151, 371, 371
high-definition multimedia interface (HDMI) 125, 126
high-end finishing workflows 292–293
Hiroshima Bound documentary 247, 247
historical approach 18–28, 329–330
History and Memory documentary 21–22, 329–330, 330, 333
HMI (Hydrargyrum Medium-arc Iodide) lights 175
home video 383
Hotel 22 documentary 38–39, 39
The House I Live In documentary 301–302, 303, 303
Hydrargyrum Medium-arc Iodide (HMI) lights see HMI (Hydrargyrum Medium- arc Iodide) lights
hypercardioid microphones 223, 223
I
ideation 63
If I Can’t Do It documentary 12, 12
illegal actions 57
image combination 324
image sensor, camcorders 126–127, 126
imaging devices 167
The Immortalists documentary 45, 45, 68–69, 68, 161, 161
impressionistic films 20–21, 29, 36, 310–313
infographics 105
informed consent 53
ingesting: audio 277; video 274–276
in-kind support 48
inquiry letter 41
insert edits 288
Inside Job documentary 34–35, 35, 56, 247
intellectual property rights 58–59
intensity of light 167, 169–170
interlaced scanning 113–115, 113–114
International Telecommunications Union 111, 133
Internet 47
interviews 14, 43, 243–253; conducting 250–252; jump cutting 317–318, 318; lighting 186–188, 246; locations 245–248; preparing 244–245; structuring 298–301; tips for 251
Intimate Stranger documentary 350, 350
introduction see synopsis
inverse square law 169–170, 170, 208
In Whose Honor? documentary 6, 6, 12, 22–23, 23, 35, 304, 304
iris, lenses 148
isolation pads, headphones 238
ISO settings 167
J
J-cut edits 289
jello artifact 127
jump cutting interviews 317–318, 318
juxtaposition 307
K
keyframes 358
key-to-fill ratios see lighting ratios
L
The Last Bolshevik documentary 305, 305
Last Minutes with ODEN documentary 39, 39
Last Train Home documentary 299–300, 299–300
lavalier microphones 224, 224, 234–235, 235, 241
LEDs see light emitter diodes
lens 137–152; aperture 148, 148; and camcorders 121–122; defined 137–152; exposure 167; focal length 141–143, 142–145; focus 138; functions 138; optics of 137–141; prime 145; speed 149; video camcorders 121–122; zoom 145–146, 145–146
lens housing see barrel of lens
Lessons of Darkness documentary 147, 147
letter of inquiry 41
level controls, sound 216, 217–218, 217
Leviathan documentary 118–119, 119
lift edits 288
light emitter diodes (LEDs) 114, 174–175, 175
lighting 69, 246; basics 165–183; beyond basics 185–203; properties of light 169–171; ratios 189–190; safety tips 265–266, 265; sources of light 167–169, 167; styles 188–190; units 172–175
light stands 181
line of action 100
linear pulse code modulation (LPCM) 215
line level signal 214
line producer 65
location 65–69; agreements/contracts 66–68; evaluation 231; IDs 372; interviews 245–248; permits 53; respect/protect 257; risk and 262; scouts/scouting 65–66, 196; sound techniques 227–242
log gamma 191, 201, 203, 203, 369
Looking for Love: Teenage Mothers documentary 252, 252
loudness 207
low-budget documentaries 79
LPCM (linear pulse code modulation) 215
Lucas, Martin 9
Lumière, Auguste and Louis 18–20, 24, 107, 307–308
luminance 131
M
macro lenses 138
mafer clamps 182
magic hour 197
manual exposure control 190–191
manual override: aperture 149; camcorders 149
Manufactured Landscapes documentary 86, 93, 93, 322
Man With a Movie Camera documentary 3, 21, 156, 156, 259, 259, 339
Marie’s Dictionary documentary 38, 38
Marker, Chris 305
markets for distribution 377–383
master clips 294
master mix track 358
master shot 100
materials: organization 330–331; resources 255–258
Maysles, Albert 24, 64, 64, 313, 346
media file indicators 272, 272
media transfer device 273
memory 28
memory cards 122
metaphorical imagery 330
microphone 125, 220–225; attenuation 237–238, 238; inputs, digital recorders 216–217, 217; level signal 213; location techniques 234–235, 235, 239–241, 239, 241, 242; support for 225, 225
mirrorless shutter cameras 118
mixed-lighting situations 179, 180
monitoring 132–134, 134; audio 359; exposure 168; headphones 238–239
mono mix 359
mono recording 242
montage categories 311–312, 311
The Most Dangerous Man in America documentary 312, 312
Motion Picture Experts Group (MPEG) 111
motivated lighting 169, 187, 192
motivation 97
MPEG (Motion Picture Experts Group) see Motion Picture Experts Group (MPEG)
Mr. Cao Goes to Washington documentary 68, 68, 102–103, 102–103, 317, 317
Mr. Death documentary 103–104, 105, 105, 249, 249
music 339, 340; common pitfalls 347–348; cue sheets 351; source and score 346–347
My Brooklyn documentary 8, 8, 9, 212, 245, 246, 246, 284, 347, 385, 385
N
narration 339–341; B-Roll 99; reflexivity and 21–22; scratch narration 291; structure 44; styles 303–305; writing 302–305
narrative promise 31
National Television System Committee (NTSC) 111
natively working 275
natural light 168, 188–189, 189, 192, 193
ND see neutral density
NDF TC (non-drop-frame time code) 116
needle-drop music 347
nets 182
neutral density (ND) filter 129, 129, 150, 176–177, 176
neutral density (ND) gels 179–180
Never Enough documentary 68, 68, 342–343, 342
Night Mail documentary 303–304, 305
NLE system see nonlinear editing system
Nobody’s Business documentary 12–13, 13, 151, 151, 319–320, 320, 330, 330, 335
non-diegetic sound 341
non-drop-frame time code (NDF TC) 116
nonlinear editing (NLE) system 210, 270–274, 271, 273; audio levels 357–358, 357; color correction 363–368; interface 278–283
nonsynchronous dialogue 340
nonsync sound see wild sound
No Room To Move! documentary 9
Nostalgia for the Light documentary 86, 86–87, 87, 155–156, 156, 311, 311, 313, 321, 321
NTSC (National Television System Committee) 111
O
observational work 23–27, 29, 44, 307, 310, 313–318, 340; covering 99–105; directing participants 252–253; editing 289; lighting 192–195, 193, 195; structuring 298–301
off-screen images/action 85
omnidirectional microphones 222, 222–223
onboard microphones 225
one-chip cameras 127
open-faced lights 172
opening montages 312
optical zoom 122
organizational elements 294, 330–331
Our Daily Bread documentary 104–105, 104, 153
output formats 373
outtakes 327
overexposed images 148, 199, 202
overlapping objects 86
overmodulation 234
overwrite edits 288
P
pan 94, 94, 96; dampers 157; handle 157; heads 155; locks 157; slider 359
participatory observation 25
peak meters 218, 218, 234, 236
personal profiles 38
perspective: and focal length 146–148; moving frame 95–97; see also sound perspective
phase error 242
photosphere 191
picture syncing with sound 277–278
pillarboxed images 336
pixels 126
plane of critical focus 138, 150
playhead 281
Pluraleyes 278
point of view 102
polarizing filters 177–178, 177–178
The Polymath documentary 20–21, 21
pop filter 356
portable field mixers 219–220, 219–220
postproduction process 24, 269–294
postproduction supervisor 269
postsynchronous sound 343
pots 218
practicals 194
presence 232
presetting focus 139
pressure zone microphones (PZMs) 225, 225
primary sources 245
producer roles 65
production: insurance 70, 260; management 63; procedures 255–266; proposal and 41; scheduling 71–72; sound 208–211, 216–225
production coordinators 64, 65
pro-filmic reality 99
program masters 372
progressive scanning 114–115, 114
projects: description 43–46; files 272; organization 294; timeline 49; window/panel 278, 294
provenance, archives 330
public domain 59, 326, 333–335
pulldown process 115, 276, 282
pulling focus 140
PZMs (pressure zone microphones) 225, 225
Q
quality of sound 208
quartz lights see tungsten-halogen lights
quick release tripods 158
R
radio mics see wireless microphones
raw footage 289
reaction shots 101
realist approach 22, 34, 154, 169, 192, 349
receding planes 86
recordable discs 376
reference: audio 232, 357; tone 236–237
reflective light meters 190
Regen (Rain) documentary 20–21, 21, 310, 310
relationships see subject relations
remix culture 59
render files 273
rerecording mixer 353
research 8–10, 15–16, 325–327, 328–329
resistance mechanisms 157
responsibilities: to audiences 57–58; to other creators 58–59; to subjects 52
Restrepo documentary 26
reveals 97
riding the gain 237
rights: clearance 333, 335, 348; distribution 377; see also copyright
rim light 186
rocker switch 122
Roger and Me documentary 58, 99, 99, 302, 380
rolling shutters 127
roll-off setting, microphones 222, 222
royalties 377
royalty-free approach 333
S
Sadoul, Georges 19
sample rates: digital audio quality 214–215, 215; ND filters 129
sample reels 49
scanning type 112, 113–115, 113–114
scenes 83–84; observational 99–105, 289, 298–301; paper edit 289–290
scouting 65–66, 69, 196, 228–234, 230
scratch folders 294
SDI (serial digital interface) 125
SD (secure digital) card 122, 123
SD (standard-definition) video 85, 110
secondary sources 245
secure digital (SD) card 122, 123
selects 289
semi-theatrical distribution 381–382
sensors 126–127, 126, 144–145, 144
sequences 83–84; digital editing 272, 274; editing elements 294; monitor/program panel, NLE 282; NLE system 278, 281; reflexivity 21
serial digital interface (SDI) 125
servo zoom mechanism 122, 122, 145
set lights 194
setting levels, locations 234, 236
setting tone, locations 236–237, 236
shade 197
shallow depth of field/focus 87, 150–151, 150–151
shared shot content see mise-en-scène
Sherman’s March documentary 188–189, 189, 246, 246
shooting: from behind 92; with editing in mind 98–99; flat 203; planning 63–82; prepping/scouting 228–234; see also shots
short documentaries 37–40, 80–81
short-range apparent motion 107
shot/reverse shot technique 100, 100
shots 83–84; adjusting 97–98; camera angles 91–92, 91–92; composition 85–86; dynamic moves 94; size 90–91, 90; too-similar-shots 316–317, 316; see alsoshooting
shoulder, exposure 201
show and tell sequence 103–104, 103
The Shrimp documentary 39–40, 39
sibilance suppression 356
sidelight 186
Sidney Poitier: An Outsider in Hollywood documentary 328–329, 328
sightline 100
signal 206
signal-to-noise (S/N) ratio 217
single event stories 39
single frame 324
single-system sound 69, 209, 209, 211, 227, 277–278
sizzle reels 49
slate 21, 209–210, 210, 277, 374–375, 374
SMPTE countdown 375
S/N (signal-to-noise) ratio 217
soft light 170–171, 170, 173–174, 174, 181
solid state drives (SSDs) 124
solid-state memory cards 122–123, 123
Song of Ceylon documentary 108, 339, 339
sound 22; editing 351–353, 359–361; film 108; importance 205; location techniques 227–242; postproduction 269–271, 274, 277–278; recording 69–70, 205–226, 231–233, 232; syncing picture and 277–278; types 340–348; understanding 206–208; see also audio
sound effects 340, 340, 343–345, 350
sound perspective 348–349, 349
sound recordist 63, 64, 65, 117, 227
soundtrack building 291
source music 346
speakers 274
specials, lighting 194
speed: lenses 149–150; of sound 208
spill light 181
splitting electrical loads 265
splitting tracks 352
sponsorship 49
spotting 351
spreaders 159
SSDs (solid state drives) 124
stabilizing arm systems 162–163, 163
standard-definition (SD) video 85, 110
stands, lighting 181
State of Fear documentary 14–15
stock footage 8
stock houses 326
stops 148
storytelling 29–35, 33, 296–298, 325–337
straight cuts 288
Stranger With a Camera documentary 26–27, 335
streaming 383
structuring documentaries 29–40, 44–45, 295–306
stylistic approach 7, 17–28, 44–45, 349
stylized expressive sequences 105
stylized images 188, 189, 194–196
subcarrier frequency 115
subclips 294
subject positions 196–197, 248–250, 249
sunlight 197
superimposition 323
surround sound 350
Sweetgrass documentary 85, 85, 89, 89, 224, 340–341, 341, 349, 349
sync rights 348
sync sound 22, 108, 205, 208–211, 210, 277–278, 340
synopsis 42
system noise 217
T
Takagi, J. T. 212, 227, 229, 231
talking heads 244
target audiences 46
TC see time code
team structure 256
telephoto lenses 142, 147, 147
texted/textless master 372
theatrical releases 46–47, 380–382, 381
The Thin Blue Line documentary 6–7, 27–28, 27, 87, 87, 166, 323, 323, 337, 337
third-person narration 302
three-chip cameras 127
three-point lighting 186–187, 187, 246
three-quarter back position 92
Through a Lens Darkly documentary 327–329, 327
through the lens (TTL) metering 190
tilt 94, 94; dampers 157; locks 157
timbre 208
time code (TC) 116, 116, 210, 272, 278
time lapse photography 156
timing 318–322; electrical load limits 264–265; light and 196; organization 83–106; structure 301–302
Tongues Untied documentary 26, 26
too-similar-shots 316–317, 316
track adjustment 357
trailers 49
transcoding 275
transcripts 285
transitions: audio 356–357; shots 321–323
trimming light 181
tripod-mounted slider 94
Trouble the Water documentary 296–297, 296–298, 300–301, 301, 326, 341
Truth Be Told documentary 381
TTL (through the lens) metering 190
tungsten-halogen lights 171
TV documentary see television
U
ultra high-definition (UHD) 111, 119
ultra high end cameras 119–120
unbalanced audio signals 214
unbalanced frames 88
underwater photography 164
V
value 14
variable bit rate (VBR) 131
velocity 208
veracity 17
video 108–116; camcorders 109, 120–133, 216; camera lenses 137–138; connectors, camcorders 125–126, 125; diaries 249; images today 110–116; knee 202; standards 111, 111; tracks 278
video on demand (VOD) 383
viewfinders 121
A Village Called Versailles documentary 42–43, 42, 44, 45
visual evidence 23, 99, 298–301, 301, 308
visual language 83
visual perspective see perspective
VOD (video on demand) 383
volume unit (VU) meters 236, 236
W
walk and talk sequence 103–104, 233, 246, 246
Watermark documentary 36–37, 37
watermarks, archives 330
water risks 262
white balance 127–128, 128, 171
white diffusion 177
wide-angle lenses 142
Wiseman, Frederick 24–25, 252, 301, 313
witness mark 138
workflow 270–272, 271, 292–293
work samples 49
wrapping 274
X
XLR connectors 214, 216, 216, 222
Y
Z
zone systems 192
zoom lenses 145–146, 145–146; defined 145–146; lens speed 150; optical vs digital 122; using for critical focus 139; zooming in and out 94