Art Melbourne 2012: Learning Experience

Okay so CUTxPACE productions helped out with an event coverage of the annual Art Melbourne Festival at the Royal Exhibition Center and I must say the experience was so rewarding and enriching! I saw art, i smelt art, i was immersed and absolutely impressed at the passion of all these artists from all over the world! I know there were not many film makers or documentary makers… But nonetheless as artists ourselves in the medium of film and video.. I was blown away at the creativity and angles taken to express their artworks.

Thank you Paul for recognising our hard work as well! We really do want to spread the love of this event at the same time as it was simply amazing to be apart of something so huge.

The things to note was during this shoot, we had like ga-zillions of cutaways. I know i sound like im just slurring on and on, but seriously the cutaways were insane. I think when it comes to the topic of something so vague in narration; and possibly abstract at times; and visually compelling as well? Cutaways are always excellent in this case!

So take in mind for documentaries that would probably be something that’s vague, boring, or generic to an audience… Use more cutaways! Be wise in your choice of cutaways as well and plan what framing and shot type you’re going to take up as well cause it sure makes a heck of a difference!

I think like in this Art Melbourne video, our cutaways like alot of variety and colours which went according to the beats of our jazz music piece concurrently. Therefore, everything felt groovy and fun to watch. I say this in all humble-ness of course! I am so blessed with this opportunity and I’ve still got a long way more to go as a film/docu maker!

Meanwhile enjoy the video<3

Final DOP Notes

So its my first time being DOP and I’m a little excited:) Last semester I handled the camera and surprisingly (and thankfully)… my role overlapped with my DOP’s role. I loved and enjoyed directing the art of framing and shots in every scene. I’ve never planned or exactly have imagined how my entire documentary will be like from start to end. But i do have a good idea of what I do want. I remember someone told me this “Film-makers need to be stubborn people”. That’s how you produce heartfelt documentaries. It’s true to some extend i guess:) This was pretty much the longer version as compared to the submitted treatment notes. Let’s hope, fingers crossed we’ll get out talent soon for an awesome time of filming!

By the way, have you met CUTxPACE’s cutie mascot Laura? Just a heads up, what she represents is creativity, and the idea of being able to be patched up and recreated and made into one whole perfect work of art 24/7:) That’s who we are, fearless, determined and ever ready to create the best works with no boundaries! Go us!

 

DIRECTOR OF PHOTOGRAPHY NOTES AND STATEMENT

CHARMAINE FOO YAN LIN

 

“Anywhere But Here” envisions a direct address to camera style where our interviews, visuals and cutaways, would intentionally create a real-time and authentic moment for all. Additional inserts of video grabs and photos (from rallies and speeches) would build upon the conflict of our documentary and stimulate visually evoking thoughts and emotions for viewers. The observatory and expository style of this documentary will bring truths (social significances and prejudices of provisions of public housing) to light and illustrate as descriptively as possible, with full-on focused cinematography on “Subject A” and primary interviewees like family members.

The documentary will cover a variety of locations both indoors and outdoors as we follow “Subject A” around his/her life. Indoor locations would include “Subject A’s” house and support group offices. Outdoor locations are undetermined – this could include work locations or schools where his/her children attend. Our interviews with “Subject A” and primary interviewees will be held indoors.  Semi-planning will be done on location sites in terms of production design, camera positions and lighting to optimize our location shot on camera, thus creating the optimal illusions of the interviewees emotions.  Other observatory shots of “Subject A” and additional shots (homeless people, public housing estates) will be done outdoors. At each respective location, we will pay close attention to the background so viewers can identify with relevant location settings and emotions.

Natural lighting would be preferably used to place “Subject A” in his/her natural setting to let viewers acknowledge “Subject A” with more authenticity. This also helps with continuity of outdoor shots where natural lighting will also be preferably used to ensure maximized impact of observatory filming. For external shots we’d probably shoot early in the morning when the sun is not as strong.

Finally, in certain situtations (bad weather) where lighting would be essential, the basic 3-key lighting technique will be utilised. Ideally, our team decided not to use lighting as it might incur more costs for our interviewees and create more inconvenience in terms of time.

The interviews with “Subject A” and primary interviewees will be filmed as close up and intimately as possible with a shallow depth of field to place emphasis on his/her testimony and expressions. All interviews will be static on a tripod with some tracking pans, tilts, and minimal zooms if it adds value to our shots.

Wide shots (WS) and Medium close-up (MCU) shots will be used to capture how “Subject A” interacts with his family, friends or relevant parties in a natural and non­intrusive manner. We hope to get honest and candid moments, as these shots will add impact and character to our documentary.

During interviews, extreme close­ups (ECU) on “Subject A’s” eyes, mouth and body language will be cut later with voiceovers or narrations. This is so we can move away from the static ‘interview’ frame popular with current affair shows, and create an entirely different tone and style.

 

Reflections: “ Anywhere But Here” Documentary Interview #1

 

Preparation for Interview:

So our group did the usual preparations consisting of paper documents, equipment, script and building rapport with interviewee.

Paper Documents:

• Release forms (Location & Interview)
• Logging Sheet
• Script/Questions

Equipment:

• Ensure all equipment available and in good working condition
• Tested out all equipment on spot
• Extra batteries checked

Script:

• Manal drafted out an awesome long list of interview questions.
• As a group we highlighted and picked out significant questions that would be aligned with our documentary’s motivations in terms of RESPONSE & IMPACT.
• Questions were all altered and suited to our interviewee’s status in terms of credibility and knowledge; as well as room for personal opinions.
• Predicted some answers of certain questions – In order to ensure that recorded response has excellent levels and clarity.
• I prepared an additional “Response Keyword script” where I would predict the interviewee’s answers and I bold those words needed and ideal for recording.

During Interview:

Setup:

• Manal spoke to our talent and prep him up for certain questions. This helps to keep our talent relaxed and focused on the topic.
• The rest of the team individually prepared for our own duties.
• **Note: We adjusted some office props around to add association and relevance between our interviewee and our topic. For instance, we shifted certificates of the office, and a painting of a house, right behind our interviewee and in frame. This enables more credentials and impact of response for our audience.
• 2 interview locations were considered. However we picked the location which is our talent’s office itself as it gave a more authentic and serious tone with his computer and desk. The lighting was also natural due to the office windows which was what I desired for, according to our treatment plan.
• Ensured that our belongings and equipment cases were all out of sight and in a corner.
• Checked White Balance, Exposure and Sound Levels after framing of Interviewee.

Progress:

• Logging of Interview began (Start & End Time; Interruptions Noted Down; Significant Responses with Impact Noted; Environmental Sounds Noted)
• Interviewee paused at some questions due to stutters but all was great as Manal repeated the questions again for our Interviewee to get a fresh start with his response for camera and sound.
• Had a few environmental sounds (Especially vehicles and traffic sounds outside)
• Interviewee gave good responses and placed our questions in his answers

After Interview:

Visuals & Sound:

• Replayed and checked memory folder to ensure good camera and sound recordings.
• Recorded cutaways of office, location and other visuals.
• Atmosphere sounds were recorded. No wildlines were recorded as responses were captured ideally.

Admin:

• Checked that all legal forms signed and reviewed with interviewee.
• Ensure that all props/equipment placed in original place and kept safely and in better condition than when received:)
• Discussed and analysed any possible setbacks/undesired results/ future opportunities

My overall experience:

I was satisfied with the entire experience as everything went really smoothly due to good preparations and teamwork. Our interviewee was definitely experienced and a professional as he knew exactly what was required and desired for the interview. I realized the importance of repeating your questions to the interviewee again in the case of any disruptions or stumbles; this ensures that a proper cut can be made in post-production and it also allows a good pace of words as well.

I think what could be improved is the way we set-up our equipment as it was a little messy at first and it could have been more efficient. The logging system could also be re-improvised as I realized it was a little hard to keep up with our interviewee’s impactful responses at times.

Our strengths were definitely our teamwork and communication. All of us got down to our roles and when we were finished with our duties individually, we looked out for one another and this ensured efficiency. Communication with our interviewee also helped to build rapport between both parties and it also gave us a more indepth insight to our public housing topic. This definitely reinforced some ideas and documentary angles we were considering in our treatment.

So that’s about it! I definitely had a blast but it’s only the beginning so I’m anticipating more challenges as well as rewarding/fruitful interviews and recordings! Just FYI, we’ll probably be testing out the EX-3 Video Camera on our next endeavor.

Till then, xoxo

Charmaine Foo

Cunningham: The Art of Documentary

So this reading was a good insight and it just stimulated more thoughts of how exactly I wanted my documentary to turn out like in terms of its tone and especially its essence and feel. The first immediate feeling I want my viewers to have even from my opening shot. Dor me personally I definitely want my viewers to express true heartfelt feelings as they watch and learn more about my documentary.

“Salesmen”

Paul showed us this documentary in the lecture and I think it clearly depicts Wexler’s thoughts of simlulating the truth. If it is effectively simulated, it can also have optimal impact on your viewers. He further mentions that he also coaches talents in his films/documentary in order to simulate natural drama. This point was interesting for me as I’ve never liked simulations in drama because I think for some reason, it takes away that primary authenticity. Plus it has added work and preparation for your talents.

 

“It’s not like shooting a fly on the wall because a fly doesn’t have  brain.” You’re taking the next step by saying you want to provoke actions with your characters in a way….” – Al Maysles

Haskell Wexler: All documentary makers in one way or another by the very selection of what lens they use, what time of the day they shoot, what people are in shot, what remains in the film, what gets taken out of the film… It’s all a creative process and I quote:

“There is no reality.” Once images are recorded by whatever medium, they cease to be reality and it becomes the film-maker’s reality. – Haskell Wexler

Likewise, I guess as documentary makers this is something we might or might not consider strongly whilst in the process of making the best documentary. Every macro or micro decision made can change the entire scope of the shots and it is entirely also up to how your audience perceives and absorbs each frame,each shot, your production design, and so forth.

Documentary, there’s no way to fully learn or know what it is. That’s my opinion at least! :))

 

 

Feedback for Draft Treatment

1. Really good but its very challenging as a lot of un-foreseen obstacles and red tape will exist

2. Need to find a specific talent to bring us through; Having a familiar figure or talents to thread us through our topic (Central Figure to reinforce our motivation and topic)

3. Check out North Melbourne (intense environment) has alot of sudanese and new tenants but do be cautious

4. Resolution: Why take a neutral stance?? Robin said we should just go for it and take on the whole political stance and have a stronger tone. If its upsetting, if its pessimistic, if its angry… Just show it! Don’t stay neutral.

5. Permission Forms: It’ll be great to get them to play safe but he reckons if its just for cutaways, just get some small wide shots and small cuts.

6. Go meet someone (talent) first to do research and get to know your talent more to have better guidelines.

7. We suggested to cover alot of topics in out treatment but in reality we might not cover everything’s that mentioned but that’s when your strong main talent come in. Make sure they’re engaging and have a strong story as well.

8. Make our documentary inflammatory and pissed off!

9. Very good but we’ll discover and find out about ourselves more whilst we work on the job!

Learning Point: Making mistakes and learning on the job is inevitable and all the more exciting!

En Construccion Documentary Clip

Okay so Robin showed us “En Construccion” in class but I cant seem to find it online but I did come across this other similar documentray which was pretty awesome.

But first things first a short review on the documentary showed in class:

1. The topic was definitely something interesting (Archaeology of Dead Bodies)

2.  Framing of all subjects was great – There was enough headroom and all conversations were full on frontal shots where subjects were clear, interactive and it was authentic

3. Interviewees: Humor touch of conversations between old men and kids. Interviewees had clear voices as well.

4. Subtitles: Subtitles were clear but could be more organised at the top on screen.

Reflection: In-Class Exercise

Vanessa & Raymond – Together Forever.

So we were suppose to film a major moment in our life:)

pw:rayvan

Things To Note:

Subject: Topic was interesting if subject has good details and narratives which she did:)

Starting Images: Globe turning slightly misleading but worked out fine in the end

Good interviewee: Knew how to express topic well

Hum Sound: Remove it by using EQ and placment of the boom pole should be as far away from the sound as possible

Photos: Good Impact with the text of age. Could use a mild underlying track to ad life into photos as another alternative

Framing: Good. It was casual and very relaxing to watch the interviewer and interviewee in such a comfortable setting. The windows were very nicely framed in shot and thus both girls looked very relaxed and natural as well. This was in stark contrast to another group who shot in the same venue, but they had a completely different feel due to the different framing of subjects and their tone of topic and conversation.

SIde Note: Boom pole was in sight but NO ONE NOTICED! YAY! HAHA.

Jiro Dreams Of Sushi Documentary Review

This documentary was out of this world. Period. Just look at the cinematography and I loved the soundscape and crisp clear visuals filled with amazing lighting and framing! I’m sure post-production played a huge role but i’m sure the planning for this documentary took a whole lot of effort. It was very very well done, very tasteful and it made ma drool haha. Mind you, the above was just one trailer! Wait till you catch the documentary.

A Brief Introduction:

JIRO DREAMS OF SUSHI is the story of 85-year-old Jiro Ono, considered by many to be the world’s greatest sushi chef. He is the proprietor of Sukiyabashi Jiro, a 10-seat, sushi-only restaurant inauspiciously located in a Tokyo subway station. Despite its humble appearances, it is the first restaurant of its kind to be awarded a prestigious three-star Michelin Guide rating, and sushi lovers from around the globe make repeated pilgrimage, calling months in advance and shelling out top dollar for a coveted seat at Jiro’s sushi bar.

JIRO DREAMS OF SUSHI is a thoughtful and elegant meditation on work, family, and the art of perfection, chronicling Jiro’s life as both an unparalleled success in the culinary world and as a loving yet complicated father.

Some review notes:

• Panning track shots on subject was used during an interview itself
• Focus on character: Pull focus – very shallow depth of field used on subject
• Tracking in shots out of focus and then pulled into focus, It was a nice shot as it had a good pace and complemented the soundscape as well
• Slow motion shots were used to emphasize impact (Chefs putting on their passionate chef hats, Staring into the camera whilst reflecting…)
• Speed of frames in cuts creates the continuity and flow of documentary over the VO; This is often looked over and neglected but it is important in creating the right tempo and tone of your documentary
• Subject at the edge of frame what impact does it give? I think it just creates another perspective in my opinion. It also gives me the perception that the person has a small role or status in that frame
• Overlapping frames and opacity changes (Timelapse effect): Ideal in showing related scenes; plus it adds aesthetic appeal
• Hand held camera usage, used only when confident with handling. OR! Example in the documentary,
• Colourising old photos to suit flashback cutaways
• Centralising your subject right in the center of the frame and looking directly into the camera
• Fading out into mirrors/objects that moves to continue the impact and tone of the story and soundscape
• Panning movement shots on tripod weaving in and out to create a buzzy atmosphere. Designing your shots to create a perception/mood
• Playwrights (time) using work tools on the job of the subject to create the soundscape. Using a chef’s knife/chopping movements in a soundscape
• Using colours at the end to summarize a point (closing statements)
• “Always look high and beyond yourself” this was a quote from the film and the shot design was carried out via ECU frontal of the face, with the talent looking outwards in to the sky– This complements and portrays the quote effectively.

Lecture: Eyelines & Interview Framing

So these were some of the films shown during lecture and I thought they were really precise and helpful in choosing the right eyelines to film in order for optimal impact.

Errol Morris: Behaving as war criminals (The Fog War)

In the beginning, when Adam Curtis was interviewed.. His tone and body language were all really intense and strong. Thus, i thought the frontal ‘look directly into camera’ style was the best as it confronts the viewers and expresses his true opinions and desciptions of the war and nuclear bombs.

3:40: The cuts of his eyes looking straight into the camera has impact and meaning for viewers. I felt this was good as it was a full on frontal zoom into the eyes where emotions could be seen right after the powerful words and visuals.

This was just another educational research vimeo vid i found online about interview framing! It’s simple but really hits you and reinforces the technical and aesthetic aspects of framing. Check it!

Interviewing: Just some pointers I’ve learnt and picked up!

• Sit-down interviews are usually used in documentaries where interviewees are often sharing information or testimonies that have depth and formality. It is up to you in terms of your choice of your interview location, take note that different locations be it people in their homes, their workplace or it could be on the streets. All these decisions could help add or diminish impact of your interviewee’s presence, credibility and impact.
•  Interview locations should say something about the character and status of your interviewee as well.
• Look for preferably an interior location where you can control the sound. Likewise if you are outside, always be wary of the direction of your mic and do take into considerations of environmental sounds.For static interviews, consider using a unidirectional shotgun mounted on a boom stand to be able to get ideal sound and voice recordings with optimal levels.

Other tips from documentary examples shown:

• Do not shoot your interviewee directly against a wall if possible as it will affect your depth of field and it might end up being too stagnant for info heavy interviewees especiually. then again, make decisions that will suit the context and tone of your documentary.
• If directing, verify the framing shot of your interviewee and ensure that the tripod and camera is set to eye-level unless in circumstances where eye levels would not need to be equal. Make sure the shooter gives you plenty of lead or nose room in the direction your subject is looking. For the best eye-line, park yourself as close as possible to the camera sso both eyes of your interviewee will be focused and he/she can make eye contact with the audience easily.
• Plan your eyelines so that you can cut and place complementing interviewees or talents together as if they were interacting with each other.
• Typically, do the beginning of an interview in a medium shot when the interviewee is about to introduce himself/herself, and share more about the subject matter.
• Get more body language or gesture cutaways.

Get closeups, extreme closeups, and a variety of shots with proper planning, for the more intimate or narrative sections of the interview.

Plan your shot list!

Teenage Paparazzo Documentary

Check it: It’s Documentary Night again and I got an amazing insight to the life of a Hollywood Paparazi! Sounds about cool and the style was definitely observatory and it had participations from various fields of people from the entertainment industry. The documentary was definitely a nice touch between humour, reality – and the added conflict of the young boy’s ups and downs of being in such a hectic field at his young age. Now this was a pretty good character piece too, as we watch the subject, and the filmmaker himself grow. Check out the trailer above, i’m sure you’ll be intrigued!

OVERVIEW

Teenage Paparazzo documents the true story of what happens when a 4-year-old paparazzo (Austin) takes his first photo of a celebrity (Adrian Grenier)—and how the unlikely pair join forces to explore the landscape of a media-dominated, tabloid-crazed society. Celebrities vs paparazi(s), heroes versus villains, spectators versus performers, attention, diversion and the phenomenon of an everincreasing adolescent desire for fame (for the sake of fame) are a few of the topics covered.

Adrian Grenier will always be that cutie from Entourage, but now after his first documentary, Shot in the Dark, I was impressed with Teenage Paparazzo. I guess just like Adrian, he puts himself in the opposite party’s shoes and experiences ‘the other side’ by participating in his own documentary.  I think that’s where he learnt alot about himself as a filmmaker and as a producer and talent as well. I think like what Robin mentioned in the tutorials, as a documentary maker, getting involved would be one of the best ways to improve and succeed.

This piece was a tug of war as it got interesting watching the celebrity behind the cameras and the main star, Austin, gets sucked into the world of being famous as a celebrity paparazo. Adrien was definitely going for an investigation piece with thus, as he followed Austin all around on the job, and he himself determined situations or scenarios to enable Austin to ‘perform’ and ‘act’ on screen.I must say some were interesting to watch, but parts of the documentary got a bit too tacky as Adrian constantly showed Austin on duty as a paparazo but failed to dig deeper into the other truths of Austin’s life.

Another nice and unexpected twist about AUstin Visschedyk would be towards the end, viewers could watch Austin grow up and he desired for fame and popularity as well. In my opinion, the sight of cameras would probably influence the way Austin lives his life daily and this would let the documentary lose its touch of authenticity. By tagging along with young Austin Visschedyk and putting a camera on him, Grenier could get primary hands on experience and enable viewers to feel his honesty and efforts in duplicating the adrenaline and rush and emotions of Austin. I must say that camera work in his was partiularly imporatant as AUstin would be constantly on the run and in a rush, to film this, the hand-held camera work would be ideal as its gives the ‘live mode’ vibe but it has its cons.

INTERVIEWS:

Grenier interviewed various university professors, media experts about the psychology behind celebrity worship and this brought knowledge and balance to the documentary as it gives credibility to viewers as well. The celebrities who were interviewed (Paris Hilton, Eva Longoria, Linsay Lohan…) also gave a good perspective to the documentary as it strengthens the tone and topic. The other frontal interviews with Austin and his mum were also done in natural settings (mostly) to suit the documentary style and it was pretty well done I must say.

POINTERS TO NOTE:

The movie uses some split screen techniques and it placed the interviewees onto other backdrops (Austin on come static stock exchange market screen or on some NY Billboard), but at times it comes off a bit cheesy and amateurish. In addition I think it takes away the impact or motivation Grenier was trying to put across.  The conclusion was also a bit weak as I felt like the transition of Austin’s growth was not revealed to power up the mid-section and end of the documentary – after realisation from the conflict (that he himself got sucked into the mosh-pit of desire for fame). Plus! Austin’s story didn’t really have an end, so yeah. I must say it was worth watching though, good bad neutral pointers, its all in this. So check it.

 

xoxo,

Charmaine