Documentaries: Lecture Sequences and Actuality

Sequences and actuality 

Documentaries do not just “happen” They have to be researched, meticulously planned, scripted and set up .

What is a sequence?

Just as with drama, we direct sequences for documentaries which represent reality based on prior research. 

CLOSE UPS ARE KEY!!!

REPEAT THE ACTION & BEWARE CONTINUITY 

Make sure your sequences are:

• INTERESTING,
•  CREATIVE 
• RELEVANT 
• PROPERLY SET UP FOR LIGHT & SOUND ((Wherever possible shoot sequences with a tripod))

Sequencing contributors and talent

When dealing with paid talent you can usually ask them to do whatever you creatively want for the film.

When dealing with members of the public this is potentially more tricky. Ensure you have talked through your plans with them prior to the shoot so that you know they are happy with arrangements. Gaining trust is key to dealing with ‘real’ people – this is built up during the pre production process((When contacting people such as emailing or calling them)).

 Your research should highlight potential actuality and relevant sequences which will ‘tell the story in pictures’ so you can plan this in your shooting script.

Get good coverage-Shoot to edit

The aim is to get as many options as possible for your edit.

i.e. shoot lots of different angles which will cut together for continuity

Remember the rule of 3 close ups for every wide shot

break each shot into action and reaction shots to give GOOD COVERAGE.

Always get cutaways

To ensure that you can always “cover” your edits, it is essential to shoot cutaways GVs (general views) are a great way of doing this.

((Generic shots which are relevant to the subject and location which can be slotted in anywhere in the edit))   

They need to be close ups or defocused wides. Don’t forget framing/composition!

Match on action

Editing between different size versions of the same shot necessitates matching the action.

You will need to find the best exit point of the outgoing shot and the best in point on the incoming shot to give the illusion of a continuous movement. 

 ACTUALITY – What is actuality?

Actuality is a type of documentary filming which captures events and does little if anything to control them – REALISM.

Actuality is very difficult to film and thus to edit – you cannot control the action so therefore controlling your camera and what you shoot is even more important.

They are often shot handheld to improve responsiveness and flexibility – in fact conventions have evolved whereby the ‘wobbly’ look of actuality is expected and adds to the sense of ‘reality’ and events unfolding unfettered by the production team.

Thus planning is vital for such shoots – you need to do a careful recce so that you are aware of potential challenges during the shoot and can devise ways of dealing with them CONTROL IS THE KEY 

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 wides always getting GVS/cutaways. Only shoot what you need plan use of sound kit carefully. ALWAYS GET WILDTRACK/BUZZTRACK.

BRIEF YOUR CAMERA OP -

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

Why do we even need sequencing and actuality? Aren’t interviews enough??

It conveys a better feeling of ‘real life’ Engaging the viewer

VISIBLE OR INVISIBLE DIRECTOR?

Reflexivity – ((the technique of exposing the filmmaking 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’ unfolding before them. 

BEST PRACTICE –

Scripting, Storyboarding & shot lists

It is important to consider what and how you will shoot your sequences and actuality PRIOR to the shoot day. You can work through your ideas in your script and through storyboards to generate shot lists for the shoot.