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Directing The Documentary

عدد النسخ: 2 عدد النسخ المعارة : 0 عدد النسخ المتاحة للاعارة : 2
رقم التسجيلة 6685
نوع المادة book
ردمك 9780415719308
رقم الطلب

PN1995.9.D6R33

المؤلف Rabiger, Michael

العنوان Directing The Documentary
بيان الطبعة Ed. 6
بيانات النشر New York: Focal Press Taylor & Francis Group, 2015.
الوصف المادي 535 P
المحتويات / النص

Part 1: You and Your Ideas 1 You and Film Authorship The Director’s Temperament Unfinished Business: How Your Life Has Usefully Marked You Project 1-1: The Self-Inventory (Marks and Themes) Project 1-2: What Is the Family Drama? The Work of the Director Witnessing with the Future Box Ethnography Working for Social Change A Rewarding Way of Life Learning from What you Shoot Filmmaking Democratized The Ordinary Can be Extraordinary Documentaries that Cross Boundaries and Buck Trends Importance of Creativity Documentary as a Prelude to Directing Fiction Getting an Education Film School Teaching Yourself Planning Your Future Journals Internships as a Student Hands-On Learning 2 The Nature of Documentary Beginnings Grierson’s Definition Documentary as Art An Oral Tale with a Purpose Art Finds Order Characters with Goals Philosophies of Approach Observational Mode Participatory Mode Making Incursions Giving, Not Just Taking A Workhorse Genre Testing for Documentary Values Learning From Your Work The Artistic Process When You Lose Your Way Privacy and Competition Issues Hostile Environments Hands-On Learning Part 2: Documentaries and Film Language 3 Documentary History Technology and Screen Language Birth of the Cinema The Documentary Arrives on the Scene Documentary Paradoxes The Cinematic Eye Sound Travelogue Essay Films Shooting Goes Mobile Direct Cinema and Cinéma Vérité Observational Documentary Participatory Documentary Waiting for Privileged Moments Objectivity and Subjectivity Which Approach is Best? The Ascendency of Editing The Three-Act Structure in Documentary Video and Digital Technology Eclectic Filmmaking Longitudinal Study Brechtian Protest Documentary Noir Diary Ambush and Advocacy Archive-Based Filmmaking 3D Documentaries The Interactive Documentary Hands-On Learning 4 Constructing Reality The “Contract” and Exposition Actuality and Evidence Types of Actuality Objectivity, Balanced Reporting, and Propaganda Fairness Evidence Then and Now Documentary is Not Reality, But a Construct Drama Authored Constructs Conflict Character-Driven or Plot-Driven Stories Dramatic Tension Development Film Language Form and Style Hands-On Learning 5 Story Elements and Film Grammar Perception and Making Stories How Screen Language Mimics Consciousness Documentary Ingredients and Human Consciousness Elements A Guiding Theory Shots are Like the Human Gaze Cuts Camera Movement Motivated Camera Movements and Cuts Denotation and Connotation The Camera in Relation to Action Preparing to Shoot with Feeling The Actor and the Acted-Upon Observing a Conversation Hunting Subtexts Hidden Agendas and Subtexts Attention and Focus Eye Contact and Eyelines Looking At, and Looking Through Scene Geography and Axes Scene Axis Camera Axis Panning and Cutting Screen Direction Changing Screen Direction Shot Duration, Rhythm, and Demand on the Audience Generating Options Shot Duration Visual Rhythm Rhythms Help Us Concentrate Speech Rhythms Sequences as Building Blocks Elision Transitions and Transitional Devices Picture Transitions Sound Transitions Overlap Cuts Your Dual Roles: Observer and Storyteller Conflicts Between the Two Resolving Tensions Hands-On Learning Part 3: Preproduction 6 Developing Story Ideas Ideation Beginning the Writing Process Story Sources Making an Idea Database Keeping a Journal Newspapers and Magazines Online History Legends Myths Family Stories Childhood Stories Social Science and Social History Fiction Selecting a Subject Testing a Subject Don’t Bite Off More Than You Can Chew Narrow the Frame Choosing a Central Character Character is Destiny Locating and Raising the Stakes Manipulation Dangers Using the Medium to Stir Feelings Shock Value Primary Evidence Testing for Cinematic Qualities Mood Matters Local Can be Large Subject-Driven, Character-Driven, and Plot-Driven Films Subject-Driven Films What to Avoid Displace and Transform Hands-On Learning 7 Research Developing a Proposal A Note on Film Writing Research Overview Make a Working Hypothesis Project 7-1: Developing a Brief Working Hypothesis Field Research Narrowing the Frame Taking Notes Research Methods are Subject-Driven Finding the Paradigm Shootable Evidence Making an Inventory Project 7-2: Dramatic Content Worksheet How to Film It: Style and Content Hands-On Learning 8 Developing and Pitching a Short Documentary Turning Dramatic Content into an Outline Pitching Who/What/When/Where/Why A Typical Pitch Critiquing a Pitch Expanding the Pitch to a Proposal Scheduling Signed Agreements Location Agreement Personal Release Budget Project 8-1: A Short Observational Documentary Some Short Film Proposals and Their Films Hands-On Learning 9 The Crew Developing Your Own Crew Why Crewmembers’ Temperaments Matter Small Crew Roles and Responsibilities Director Director of Photography (DP), and/or Camera Operator Sound Recordist Put Commitments in Writing Part 4: Production 10 Capturing Sound Headphones to Monitor Your Work Sound Design and Soundscapes Sound Terms Acoustics and the Hand-Clap Test Signal, Noise, and Signal-to-Noise Ratio Ambience Resonance and Echo Presence Microphones Transduction Microphone Axis and Directionality Sound Perspective How Sound Behaves Signal Decay over Distance Defensive Measures Sound Environments and Signal-to-Noise Ratio Why Sound Consistency is So Important Sound and the Camcorder Balanced and Unbalanced Inputs Strain Relief Automatic Sound Level Manual Sound Level Volume Unit (VU) Meters Averaging and Peaking The Microphone Input Box Making Use of Stereo Inputs Microphone Types and Pickup Patterns Power Supplies Pickup Patterns Body Mike Precautions Roll-Off Wireless Mikes Wired Mikes Spares and Accessories Microphone Handling Handling the Fishpole Windscreens and Shock Mounts When Sound and Picture Subjects Diverge The Recordist and the Camera Safety Cover Virtuoso Performances Shooting Location Spotting and Ambient Noise Interiors Sounds on the Set Presence Track Recording Sound with Editing in Mind How the Editor Uses Presence Tracks Ambience Inconsistencies Wild Tracks Sound Effects Soundscape Construction Hands-On Learning 11 Lighting Light Quality Soft Light Lighting Instruments Light Quality and Lighting Instruments Light Emitting Diodes (LEDs) HMI Lamps Fluorescents Color Temperature Safety Power Supplies Power Requirements Vary by Instrument Calculating Consumption Scouting Locations Lighting Defining Shadows (Hard and Soft Light) Why you May Need Lighting Curing Contrast Problems Avoiding the Overbright Background Lighting Methodology Key Light Direction Practical Cheating Two Basic Lighting Methods Adding to a Base and Using a Key Three-Point Lighting Lighting Tests and Rehearsals Backgrounds Hands-On Learning 12 Camera Codecs and Workflow Equipment Checkout Golden Rule #1, Test It First Golden Rule #2, Prepare for the Worst Camera Caveat Concerning DSLR Cameras and Timecode Body Design Viewfinder Camera Controls Professional Options Color Balancing the Camera White Balance Options Shooting under Mixed Color Temperatures Exposure Automatic Exposure Manual Exposure Backlight Control Picture Gain Filtering Neutral Density Other Filters Lenses Interchangeable Lenses Lenses and Perspective Lens Protection Aspect Ratio Focus and Depth of Field Practicalities of Focus and Depth of Field Power Supplies Camera Support Systems Tripod and Accessories Pan/Tilt Head Setup Quick-Release Plate Mobile Support Systems Monitors and Viewfinders Composing the Shot Rule of Thirds Matching Shots Lead Space Handheld Composing Covering Two People Standing in Conversation Camera Operating Check and Recheck Composition Camera Operator’s Interior Monologue Operator’s Body Mechanics Refocusing During a Shot Handheld Shots Walking a Handheld Camera Checking your Handheld Tracking Skills Tripod Preparation Error Recovery Operating with Editing in Mind Inserts and Cutaways Camera Operator’s Checklist Hands-On Learning 13 Directing Directing Participants Creating Trust A Documentary is a Record of Relationships In Search of Naturalness Giving Participants Work Interviewing in Brief Avoiding Voice Overlaps Silence is Golden Winding Up Gracefully Filming in Institutions or Organizations Directing the Crew Communication Who is Responsible for What Working Atmosphere Crew Unity Check the Shot Run-Up Positioning Yourself Crew Etiquette Communicating with the Camera Operator Communicating with the Sound Recordist Sensory Overload Breaks Who Else can Call “Cut!” Sound Presence Securing the Personal Release “It’s a Wrap” Assuring Quality Feedback Reinforcing the Purpose of the Shoot Hands-On Learning Part 5: Postproduction 14 Creating the First Assembly Editing Personnel, Process, and Procedures Director-Editors Equipment Using Transcripts Making Them A Workaround Solution to Transcribing Transcripts Can be Misleading Postproduction Overview Forestalling Workflow Problems Low Resolution Editing Digitizing Synchronizing Sound Logging and Categorizing the Material Viewings Before You Begin the Assemby Crew Dailies-Viewing Session Crew Reactions Editor and Director’s Viewing Session Taking Notes Gut Feelings Matter Beginning the Assembly Seeking a Visually Driven Film The Only Film is in the Dailies Rendering Finding a Structure Why Structure Matters Time and Structural Alternatives Finding an Action-Determined Structure Using a Speech-Based Narrative Structure The Contract Stories Need Dramatic Tension Stories Need Development Microcosm and Macrocosm Assembling Facing the First Assembly Return to Innocence Recognizing your Film’s Ideal Length Diagnostic Questioning What Works and What Doesn’t The Documentarian as Dramatist Pleasing Your Audience What Next, When the Dust Settles? Hands-On Learning 15 Editing for Refinement Compressing and Juxtaposing Elision Cutting Between Sequences Cutting Within a Sequence Action-Match Cutting Jump Cutting Using Fast or Slow Motion Parallel Cutting Cutting to a Rhythm Unifying Material into a Flow The Audience as Active Participants The Overlap Cut Mono- and Bi-directional Attention Dialogue Sequences Overlap Cut Theory Subtexts Transitions Between Sequences Anticipatory and Holdover Sound Editing Pitfalls Regaining Some Distance Make a Diagnostic Flow Chart A Trial Showing Sound Check Surviving Your Critics and Using What They Say Participant Viewings The Uses of Procrastination Try, Try Again Hands-On Learning 16 Editing From Fine Cut to Festival Aiming for a Fine Cut Check All Source Material Looking Ahead to the Sound Mix Sound Design The Sound Design Discussion Sound Clichés Recreating Sound Effects (SFX) Sound Libraries Equalization (EQ) and What the Sound Mix Can Do Sound Mix Preparation Narration or Voice-Over Dialogue Tracks and Problems of Inconsistency Laying Music Tracks Spot Sound Effects Using Atmospheres Sound Mix Strategy Premixing Tailoring Be Cautious with Comparative Levels Rehearse, Then Record Safety Copies Music and Effects (M & E) Tracks Titles Style Titling Font, Layout, and Size Overladen Titles Spelling Title Durations Copyright Mark Transcript and Subtitling Acknowledgments Legal Omissions Website and Press Kit Festivals Book II: Storytelling Part 6: Documentary Aesthetics Enter the Storyteller Give Yourself a Storytelling Role to Play 17 Point of View and Storytelling Monological Versus Dialogical Films Point of View Film, Literature, and Graphic Art Will and Empathy Using your Emotional Self POV in Screen Drama Observational or Participatory Approach Overview of Generating POVs Range of POV on the Screen Single POV (Character in the Film) Multiple Characters’ POVs Within the Film Omniscient POV Personal POV Reflexivity and Representation Self-Reflexivity Film Language and the Authorial Voice Finding Fresh Language Storyteller and POV Question Checklist Hands-On Learning 18 Dramatic Development, Time, and Story Structure Plots and their Central Characters Plot and the Rules of the Universe Active and Passive Heroes and Heroines “Character is Fate” Whether the Hero Develops The Antihero Drama and the Three-Act Structure The Dramatic Arc Defining the Crisis Scenes are Dramas in Microcosm The Director Intercedes Beats and Dramatic Units Misidentifying Conflicts A Scene May Have One Dramatic Unit or Several Inhalation and Exhalation The Director as Dramatist Time and Structure Preparing for the Predictable Stories Need Development Chronological Time The Event-Centered Film The Process Film The Journey Film The Historical Film The Biographical Film Non-Chronological Time Time Reordered Poetic Time The Journey of Inquiry The Walled-City Film The Thesis Film Time as Non-Relevant The Catalogue Film When No Time Structure Predominates Structure Questionnaire Hands-On Learning 19 Form, Control, and Style Form Setting Limits Content Influences Form Style Style You Can’t Choose Style You Can Choose Hands-On Learning 20 Re-Enactment, Reconstruction, and Docudrama Re-enactments Truthful Labeling Using Actors Wholesale Reconstruction The Docudrama Subjective Reconstruction Fake Documentaries or Mockumentaries Hands-On Learning 21 Values, Ethics, and Choices Art and Temperament Form Follows Function Moral Responsibilities Evidence and Ethics Behalfers: Speaking for Others Embedded Values Ethical Conflicts in the Field Film is Collaborative, So is Responsibility Art as Displaced Autobiography Giving, Not Just Taking Hands-On Learning Part 7: Advanced Production Issues Part 7A: Advanced Preproduction 22 Advanced Research Researching for Information Archival Material Fair Use and Best Practices In Relation to Participants Observation and Access Keeping Notes Observing Character Open Questions and Leading Questions Trust The Case for Subterfuge Compromising Yourself Hands-On Learning 23 Advanced Story Development And Proposal Using the Working Hypothesis to the Full Evidence, Exposition, and Dramatic Tension Exposition The Problem and Dramatic Conflict Volition Challenging the Audience to Make Judgments Credibility of Evidence, Witnesses, and Testimony Credibility of Documentary Sources Making a Database and Marshaling Evidence Deciding Central Characters Defer Choosing Participants When in Doubt, Make a Recording Story Development List Your Action Material Develop Each Scene’s Dramatic Content Alternative Structures from a Card Game Try Your Materials Against the Dramatic Curve Developing a Proposal The Demo Reel Be Specific to the Fund Writing Quality Categorized Information Treatment Model Application Hands-On Learning 24 Advanced Technology And Budgeting Workflow and Equipment Choosing Film or Digital Acquisition Broadcast HD, Formats, and Scanning Frame Rates and Scanning Picture and Audio Compression Sensor Size High-End Digital Shooting—Uncompressed and RAW Consumer Cameras Digital Sound Double System Sync Postproduction Budgeting Above and Below the Line Insurances Budgeting and Scheduling Software Drawing Up an Equipment List Keep it Simple Over-Elaborate Equipment Scheduling the Shoot Locations and Shooting Order Shooting in Chronological Order Scheduling for Key Scenes Emotional Demand Order Weather and Other Contingency Coverage Allocation of Shooting Time Per Scene Under- or Over-Scheduling The Call Sheet Hands-On Learning 25 Preparations before Directing The Directing Plan Casting Reminders for Each Sequence Test Your Assumptions Obtaining Permissions Trial Shooting Scouting Locations Logistics and Scheduling Longitudinal Development Location Permits Permission Tripod or Other Camera Support Systems Guerillas in the Mist The Personal Release Form Crowd Scene Releases Legal Issues Paying Participants Celebrities Public Servants People in Dire Need Hands-On Learning Part 7B: Advanced Production 26 Optics Space and Perception Camera Eye and Human Eye Cheating Space Lens Characteristics How We Use Perspective Varying Apparent Separation Manipulating Perspective Focal Length Perspective Changes When Camera-to-Subject Distance Changes Lenses and Image Texture Lens Speed Depth Zooming Versus Dollying Getting a Film Look Depth of Field Composition Static Composition Aspects of Visual Design Visual Rhythm and Images in Succession Dynamic Composition Internal and External Composition 27 Advanced Cameras and Equipment Archiving Issues Compatibility Hiring Equipment Shooting Abroad Workflow Camera Support Tripod and Pan/Tilt Head Shoulder Rigs Stabilizers Dollies Settings and Options Aspect Ratio Timecode (TC) High-End Cameras Compared Camera Accessories Matte Box and Filters Lens Hood Camera Aesthetics Camera Height Adapting to Location Exigencies Backgrounds Revealing Subtexts Compromises for the Camera Strobing Care of People and Equipment Travel in Wild or Hazardous Areas Emergencies 28 Advanced Location Sound Shooting Single or Double System Creeping Sync Using the Camera to Record Sound Sound Recorders Location Recorders Sound Codecs Sound Mixers EQ and Roll-Off Volume Unit (VU) Meters When the Mixer Feeds into the Camera Peak Tests Multiple Mike Inputs Phasing Recording Stereo Phantom Power Smart Slates Sound Monitoring Microphone Types Cardioid Shotgun Lavalier Wireless Mikes Microphone Placement Lavalier Using the Fishpole What to Rent and What to Own 29 Organization, Crew, and Procedures for the Larger Production Outreach Production Department Producer Unit Production Manager (UPM) Sound and Camera Assistance Sound Assistants Camera Assistant Grip Gaffer Interns Procedures Sync Using a Clapperboard Shot Identification Alternative Numbering Systems Syncing Up Dailies Shooting Logs The Countdown to Shooting Starting Without a Clapper Hands-On Learning 30 Advanced Directing What Makes Us Feel Normal The Mind–Body Connection Doing What Comes Naturally Self-Image and Self-Consciousness Habits of Being Keys to Directing People Social and Formal Issues Advantages of the Small Crew Having or Losing Authority Using Social Times and Breaks Sharing in All Things Camera Issues and Point of View Compromises for the Camera Camera as Passport Point of View and Motivating the Camera’s Movements Explaining Multiple Angles on the Same Action Abstraction and Symbolism Serendipity Subjectivity Versus Objectivity Special Meaning Through Framing Using Context Coverage Scene Breakdown and Crib Notes Eyeline Shifts Motivate Cuts Reaction Shots and Eyeline Changes Cover Alternative Versions of Important Issues Production Stills 31 Conducting and Shooting Interviews First Contact Initial Research Deciding About Location Who Interviews One Camera or More? When Others are Present Interviewing Groups Vox Pops (vox populi, Latin for “voice of the people”) Preparation and Basic Skills Politely Setting Limits Metaphoric Thinking Human Constants Just Before the Interview Rehearse Alone Free Yourself to Listen Prepare the Camera Operator for Touch-Directions When Two Matching Shots Must Cut Together Agree on Image Size-Changes Vary Zoom Speeds Preparing the Interviewee Say What You Need Establish Your Right to Interrupt Camera and Editing Considerations Interviewer and Camera Placement When the Interviewer Should be On-Camera Preparing to Edit Out the Interviewer Including the Question in the Answer Voice Overlaps Vox Populi Interviews Solving the Need for Ellipsis Jump Cuts Cutaways Parallel Storytelling Varying Shot Sizes The Interview Begins Interviewing and Directing Lead by Example Leading Questions and Open Questions Focusing Questions The Right Order for Your Questions Maintain Eye Contact and Give Behavioral Feedback Aim to Elicit Feelings Going Where Angels Fear to Tread Temptations When Interviewing Having Power Witnessing The Interviewer’s Nightmare Dummy Run Interviewing in Depth Crossing Thresholds Silence is Your Most Powerful Instrument Don’t Catch Them When They Fall Privileged Moments and Beats Being Adversarial Without Giving Offense The Devil’s Advocate Approach Starting from Generalized Comment Seeking Briefer Versions Triggering Unfinished Business Concluding the Interview Invitation to Add Anything Not Covered The Release Interviewing Self-Assessment Going Further: “Inward Journey” Monologues Hands-On Learning Part 7C: Advanced Postproduction 32 From Transcript to Assembly What You Need for Transcripts Accurate Transcriptions Timecode (TC) Line Numbering Using a Database Selecting and Assembling Transcript Materials From Paper Edit to First Assembly Literal and Non-Literal Comments Treating Your Audience as Equals Give Action Preference over Words 33 Creating Narration Narration Pros and Cons Voice Drawbacks Problems Narration Can Solve Comparing Ways to Create Narration Method A—Reading from a Script Method B—Improvisation Method A: Creating the Scripted Narration Writing Timing and Syntax Accommodating Sound Features Complement, Don’t Duplicate Trying it Out: The Scratch Recording Narration: Auditioning and Recording A Script for the Narrator Conversing and Reading Aloud are Different Voice Auditions Recording and Directing the Narrator Acoustic Setting Reading Method B: Creating the Improvised Narration Simple Interview Improvising from a Rough Script Improvising from an Assumed Identity Recording Presence Track Secrets of Fitting Narration Using the First Word’s Power on a New Image Operative Words 34 Using Music and Working with a Composer Where to Use Music Using Music to Reveal Hidden Dimensions Music Misused Helping to Indicate Narrative Structure Helping to Indicate Emotional Depths Music as Storyteller Voice Starting and Stopping Music Stock Music Spotting Session Libraries and Copyright Working with a Composer Choosing a Composer When the Composer Comes on Board When there is a Temp Track Discussing a Music Cue List Compiling Music Cues Unifying Through Time Keys in Diegetic and Non-Diegetic Music Conflicts and Composing to Sync Points Conductor Needs Live Music Session Music in Postproduction Fitting Music The Sound Mix 35 Editing Refinements and Structural Solutions Editing Rhythms: An Analogy in Music Harmony Counterpoint Dissonance Using your Instincts While Editing Using Trial Audiences Subtexts and Making the Visible Significant When Instincts Aren’t Enough Using the Diagnostics Again Diagnostic Log Turning your Film into Playing Cards Dealing with Multiple Endings More Trial Audiences Length Fear of Failure Part 8: Work 36 Developing a Career Will I Find Work to Pay My Bills? On Graduating Networking Craftsperson Your Demo Reel for Getting Work Uploading You, on the Web Making a Job for Yourself The Search for Subjects Study the Competition Practice your Pitch The Demo Reel for a Particular Proposal Documentary Proposals Using Festivals The Importance of Short Films Seeking Job Information Informational Interviews On Getting a Work Interview 37 Starting up on Your own Starting a Business Incorporating For-Profit or Nonprofit? Fiscal Sponsorship Seeking Funds Current Information Kickstarter Caveats Funds and Foundations Survey Organizations Tod Lending on Proposals Funding Organizations Broadcast Organizations Government Agencies Marketing and Distribution A Personal Message

المستخلص

Directing the Documentary, Sixth Edition is the definitive book on the form, offering time-tested principles to help you master the craft. Ideal for documentary courses as well as aspiring and established documentary filmmakers, this book has it all, with in-depth lessons and insider perspectives on every aspect of preproduction, production, and postproduction. Focusing on the hands-on work needed to make your concept a reality, this new edition covers it all, from the fundamental to advanced elements of directing and more. It includes dozens of projects, practical exercises, and thought-provoking questions, and provides best practices for researching and honing your documentary idea, developing a crew, guiding your team, maintaining control throughout the shoot, and much more. This new edition features: A two-stage cinematic learning process: camera observation skills, then advanced storytelling Dozens of real-world exercises and case studies to demystify production processes and enhance your skills Easy-to-comprehend guidance in the creative, technical, and artistic aspects of directing Fresh coverage of the latest filmmaking technology Expanded sections on grant writing and fundraising, emphasizing proposal and pitching skills A self-assessment of your interviewing skills and expanded coverage of narration-writing A companion website (www.directingthedocumentary.com) that includes handy production checklists and forms, updated projects, exercises, and video examples In Directing the Documentary, Sixth Edition Michael Rabiger combines expert advice on the storytelling process and technical aspects of documentary filmmaking with sound commentary on the philosophical underpinnings of the art, providing the practical and holistic understanding you need to become a highly-regarded, original, and ethical contributor to the genre.

المواضيع Documentary films - Production and direction