2013

STUDENT
FILM-MAKING
HANDBOOK
Production group / film title:

Group Members:

2013 Bayside City Council

CONTENTS

TABLE OF CONTENTS
Introduction
Four Stages of Production
Project Task
Progress Report/Checklist

3
4
5

Concept Development
Brainstorming
Research
Initial Synopsis

8
11
12

Pre-Production
Production Roles
Writing
The Visuals
Release Forms
Storyboard
Shot Lists
Call Sheet
Release Form
Location Clearance Form
Cutaways and Additional Footage List
Shooting Schedule Calendar

14
15
16
17
18
19
20
22
23
24
25

Setting up your camera

Filming a shot
Recording Sound
Conducting an Interview
Handy Film-Making Tips Summary
Logging Sheets

28
30
33
34
37
39

Production

Post-Production
Using Music in your Movie
Pickups/Re-Shoot Form
Music License Agreement
Music Performance Release Form

42
43
44
45

YOUTH DOCUMENTARY PROJECT 2011

INTRODUCTION
Documentary Making
Film-making is arguably the most exciting, creative and challenging of all art forms. It
combines the traditional artistic expressions of writing, music, art and drama into one
dynamic medium that has the power to move and inform an audience like nothing else.
And this year you will get the chance to produce your own five minute documentary. All
the way from concept through to finished edit, the ideas, decisions and organisational
decisions will be yours to make, guided by your teacher and outside film professionals.

The Four Stages of Production

There are four stages you need to go through to produce your movie
CONCEPT DEVELOPMENT In which you will come up with a concept and
develop a script for your documentary.
PRE-PRODUCTION
In which you will plan and prepare for filming
your documentary.
PRODUCTION
In which you will form a film crew and shoot
your documentary
POST-PRODUCTION
In which you will edit your shoot footage into a
finished five-minute film.
This handbook provides advice, examples, forms and worksheets that will help you get the
most out of this exciting project.
ALL FILMS MUST RUN FIVE MINUTES OR LESS TO BE
ELIGIBLE FOR SCREENING AND JUDGING
Judging Criteria:
1. Approach and investigation of the documentary form
2. Subject matter
3. Effort and commitment to the process
4. Intention and scope of the project
What were they trying to achieve?
5. Technical competency camera
6. Technical competency editing

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1 2 3 4 5
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Film Compilation: Only the films chosen for screening will be sound mixed and mastered to tape.
Additionally, only the prize-winning films will be included in the official DVD compilation.
Screening Criteria:
15+ Rating - The Bayside Film Festival will be applying for a 15+ rating on all films. Films should refrain
from using visuals/dialogue containing content that can be perceived as offensive and from presenting
depictions of characters of persons in a vilifying and/or discriminatory nature. Awareness of cultural sensitivity
issues is a strong focal point for this event.

YOUTH DOCUMENTARY PROJECT 2011

INTRODUCTION
Youth Documentary Project Task
AIM
To produce a short documentary (five minutes or less) focusing on an issue that impacts on
students lives and/or the local community. REMEMBER - You are making a NO BUDGET
documentary. Find the material to hand, use your own skills.
WHAT TO DO
Organize yourselves into production teams of 3 - 4 students and choose your story.
Decide what your story is about and define it in one sentence
EXAMPLE: Story: Surviving The Cyclone
SENTENCE: Through interviews with a family who was camping when cyclone Yasi hit
we will come to understand something of the fear that mother nature can inspire.
WHO
Crew member has neighbours who were stuck in the cyclone and would like
to be interviewed for the story.
WHAT

Family has photographs and their own video footage we can use plus
interviews.

WHEN

Saturday week 4: All the family will come together for interviews

WHERE

Family home, living room,

HOW

Single interviews with family and one scene with everyone watching tv and
commenting on footage.

WHY

See peoples reactions first hand - does it change them? What did they learn?

Choose roles for each member of your production team,

Work with the skills you already have.
Assign pre-production, production and post-production roles to each team member.
Plan your production. Take into account the following variables
1. Intended audience what production styles will you use to engage your audience?
2. Locations at what times are they accessible?
3. Production timeline sensible planning can avoid production headaches.
4. Style and mood is your documentary upbeat, somber, mellow? Understand the tone
you are trying to create and plan production techniques accordingly.
5. Choose interview subjects try to choose viewpoints that reflect BOTH sides of the
argument. Also try to include a cross-section of people relevant to the subject.
6. Book talent and equipment in advance to ensure availability.
INTERVIEWS - Having decided who you are going to interview, ensure that your
questions are organized in advance. You should have a list of 8-10 questions that are
essentially sub-questions relating to the overall driving question. The more prepared you
are, the more confident and relaxed your interviewee will be in front of the camera.

YOUTH DOCUMENTARY PROJECT 2011

INTRODUCTION
Progress Report/Checklist
The following checklist gives a week by week guide to how your group should be
progressing.This also allows you to plan ahead. If for example you are the editor doing
graphics start working on this straight away. Share the tasks evenly to ensure that everyone
is involved and you are all being fair to your fellow film-makers. The Producer is
responsible for assigning tasks and completing the progress report checklist. There is
plenty to do, you should be busy the whole time.
Week

Task

Week 1

1. Choose a topic and driving question.

2. Write a brief outline of your concept.
3. Choose production roles for the group.
4. Brainstorm ideas: genre/style/audience/
locations/interview subjects etc.

Week 2

1. Research topic and driving questions.

2. Choose interviewees & locations check availability & practicality
3. Write a script or breakdown for your film.

Week 3

1. Choose and confirm times and dates for filming.

2. Write lists of questions for interviewees.
3. Prepare interviewee & location release forms.
4. Book your equipment in advance
5. Write shot list

Week 4

1. Begin filming.
2. Ensure release forms are signed by interviewees.
3. Get location release forms signed if necessary.
4. View rushes and discuss
5, Gather stills, archival images etc

Week 5

1. Continue filming.
2. Continue reviewing footage.
3. Continue digitizing footage.
4. Begin planning editing sequences.
5. Plan musical and audio treatment.

Week 6

1. Complete filming.
2..Begin edit, complete digitizing footage
3. Plan graphics -titles, inter-titles, name slates
4. Begin organizing/creating music.
5. Complete music release forms if necessary
6. Write and record voice over narration if required.

WHO

DONE

YOUTH DOCUMENTARY PROJECT 2011

INTRODUCTION
Progress Report/Checklist (cont)

Week

Task

Week 8

1. Continue and review edit,

2. Collect additional footage if necessary.
3. Begin organizing/creating music.
4. Complete music release forms if necessary.
5. Collect any desired sound effects
6. Lay down VO and audio FX

Week 9

1. Continue and review edit.

2. Commence graphics/supers for film.
3. Lay music and FX to edit

Week 10

1. Complete edit.
2. Complete film credits (include all interviewees/
teacher and any other contributors).
3. Ensure Bayside logo is included at end of film
4. Collect all release forms and paperwork into
production folder
5. Render edit out to video file .mov files for Mac
and .avi files for PC.
6. FINAL FILMS DUE 27.06

WHO

DONE

YOUTH DOCUMENTARY PROJECT 2011

CONCEPT DEVELOPMENT

CONCEPT
DEVELOPMENT
Brainstorming

Research

Initial Synopsis

YOUTH DOCUMENTARY PROJECT 2011

CONCEPT DEVELOPMENT

Brainstorming

What are you interested in at the moment?

Who are you interested in?
Look for people or situations in transition.
Look to those around you who you have access to; family, friends
neighbours, people with stories to tell.
Over the next two pages write down as many things as you can!
Think about locations, images, actions, events, questions.
How will you tell the story - interviews, voice over, text?

What will we SEE what images will tell the story without words?

YOUTH DOCUMENTARY PROJECT 2011

CONCEPT DEVELOPMENT

Brainstorming

Think about your audience.

Who are they?
What do they know, what will you show and tell them?
What is the central idea you can convey?
How will you reveal this?

YOUTH DOCUMENTARY PROJECT 2011

CONCEPT DEVELOPMENT

Brainstorming
1.

2.
3.

4.

5.

1.

2.

3.

Think through these five questions

WHO or WHAT, WHEN, WHERE, HOW, WHY?
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
Write a driving three questions or statements you can
return to which will keep your film on track. You will
return to these when making key decisions.
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________

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YOUTH DOCUMENTARY PROJECT 2011

CONCEPT DEVELOPMENT

Research
What are five different locations / people / internet sites that
you could collect information from upon one of your topics?
(be specific - eg. Dont just write the Internet)
1. _________________________________________________
2. _________________________________________________
3. _________________________________________________
4. _________________________________________________
5. _________________________________________________

What are five key questions that you want to find out through
your research?

1. _________________________________________________
2. _________________________________________________
3. _________________________________________________
4. _________________________________________________
5. _________________________________________________

Carry out your research and compile all your information in

your production folder.

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YOUTH DOCUMENTARY PROJECT 2011

CONCEPT DEVELOPMENT

Initial Synopsis
In the space provided, write a brief outline of what your documentary
is going to be about.
________________________________________________________
________________________________________________________
________________________________________________________
________________________________________________________
________________________________________________________
What images will you include?
________________________________________________________
________________________________________________________
________________________________________________________
________________________________________________________
Who will you use for your interviews / talent?
________________________________________________________
________________________________________________________
________________________________________________________
________________________________________________________
What genre of music will you use?
________________________________________________________
________________________________________________________
________________________________________________________
What will the overall tone and style of your documentary be?
________________________________________________________
________________________________________________________
________________________________________________________

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

PRE-PRODUCTION
Allocate Production Roles

Writing - treatment & narration

Visuals

Interview/Talent Information
Interview Release Forms

Location Release Forms

Shot List

List of Additional Footage

Shooting Schedule

Titles Concept Development

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION
Production Roles
As you are working in collaboration, it is important that you all undertake sections of
the task in order to make the whole process much more equitable.

Role:

Name:

Producer
Responsible for the organisation of all aspects of the documentary
and the management of the whole team. Needs to have strong
communication skills. Responsible for paperwork, permissions, coordination.

Director
Responsible for the creative direction of the documentary. Should
attend and direct all shoots and also work closely in post-production.

Writer
Responsible for writing narration and treatment any research and
writing the interview questions. Should be prepared for multiple rewrites in consultation with director.

Director of Photography (DOP)

Responsible for the filming of the documentary. They need to be
skilled in all operations of the camera to ensure the documentary is
looking its best. They may also be responsible for SOUND on small
crews.

Sound recordist
Responsible for the recording of sound at shoots to ensure that all
audio can be heard clearly. Will be responsible for recording extra
sound, voiceovers (VO)

Editor
Responsible for the editing together of the documentary at the postproduction stage. Works with the director and the DOP.

Titles Designer
Responsible for the design and creation of the main titles. Works
with the editor in consultation with the director.

Music Composer
Responsible for the composing of the music or the sourcing of it.

**Remember - all music must be copyright free!

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

Writing:
RESEARCH
TREATMENT
NARRATION
QUESTIONS
RESEARCH After your initial research in the concept development
stage you need to do some thorough research. MAKE SURE YOU
HAVE YOUR FACTS RIGHT -times, dates, names, locations, those
responsible for locations, fill out the talent information sheet and the
location informatin sheets.
The TREATMENT is the detailed explanation of the story. It is a
working document used to communicate to all the crew members what
will happen, what they will be seeing. It is used in documentary as the
preliminary document as we usually do not precisely know what we will
find as we shoot the story. This is the excitement of doco film making,
the story unfolds before your eyes.
A script is necessary however for the narration or voice over. Writing the
narration or VO is a serious creative job. The outline can be sketched in
pre-production but it often has to be re-drafted once interviews and
footage are collected. It requires research to get the facts right.
The INTERVIEW QUESTIONS should be drafted in such a way as to
help you get clear information from your subjects. The list of about 10
questions should encourage them to use their own words. Give them to
the subject before hand if it helps. Dont forget to do your research
beforehand- this may mean an email or conversation prior to the actual
interview. You need to be sure the person is the right one to interview,
that they want to talk about the subject and that they understand what
your story is about.

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

THE VISUALS
Working as a team you should discuss WHAT visuals will help tell
the story without words. Video is a visual medium and relying on
words only to drive your story will take away from the impact. By
using images to create mood, create a sense of location, give
breathing space between ideas, give depth to your ideas through
metaphor and pace in editing and juxtaposition you will explore the
full VISUAL LANGUAGE of your story.
THE STORYBOARD (pg18) is fairly straight forward process of
drawing the various shot sizes and visual compositions that you are
planning to use. As these are invaluable when it comes to filming, be
sure to indicate the type of shot. Close up, Mid shot, Wide Shot,
Extreme Wide Shot, POV point of view.

This document works in conjunction with the SHOTLIST (pg19)

The shot list is another useful document. Thinking through the visuals
of the story and listing important shots and visual links for your crew
and director to work to gives the editor material to work with and
makes location shooting efficient.

THE CALL SHEET

The CALL SHEET (pg 20& 21) is created by the producer
for each new location of shooting. It is really useful
document if you are all arriving from different places. Doing
this work in advance for important shoots will avoid
mistakes.

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

RELEASE FORMS
PERSONAL RELEASE FORM
LOCATION CLEARANCE FORM
MUSIC PERFORMANCE RELEASE
MUSIC LICENCE AGREEMENT
Release forms -you simply have to have them. And there are many
kinds for many different situations. Here we will only use four- the
Personal Release Form (pg 22), the Location Clearance Form (pg 23)
the Music Performance Release Form (pg 45) and the Music Licence
Agreement (pg 46).
Photocopy these forms as you need them and carry multiple Personal
Release Forms and Location Clearance Forms with you on the shoot.
A Personal Release form is a document that gives you, the filmmaker,
the rights to film another person for your project and then to use that
footage in your film. And who needs to sign a Personal Release?
Ultimately, when it comes to getting release forms, go with the old
saying, Better safe than sorry. Most definitely get one if the person
says anything on camera like an interview subject.
Many locations will not allow you to shoot until you have asked
permission first. Many places you think are public, like a shopping
centre will expect you to get permission before you can film. The
release form is part of this process.
The music release form proves you have recorded the music with the
performers permission.
These forms make your film LEGAL to anyone that might want to
screen it like the BAYSIDE FILM FESTIVAL. Getting them and
filing them and being able to show them to anyone who wants to
screen your film is essential.

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION
Shot
Type
C/U
MED
L/S
XL/S
Setting
Int
Ext
__________________________________
__________________________________
__________________________________

Shot
Type
C/U
MED
L/S
XL/S
Setting
Int
Ext
_______________________________
_____________________________ __
_______________________________

Shot
Type
C/U
MED
L/S
XL/S
Setting
Int
Ext
__________________________________
__________________________________
__________________________________

Shot
Type
C/U
MED
L/S
XL/S
Setting
Int
Ext
__________________________ _____
_______________________________
_______________________________

Shot
Type
C/U
MED
L/S
XL/S
Setting
Int
Ext
__________________________________
__________________________________
__________________________________

Shot
Type
C/U
MED
L/S
XL/S
Setting
Int
Ext
_______________________________
_______________________________
_______________________________

Shot
Type
C/U
MED
L/S
XL/S
Setting
Int
Ext
__________________________________
__________________________________
__________________________________

Shot
Type
C/U
MED
L/S
XL/S
Setting
Int
Ext
_______________________________
_______________________________
_______________________________

18

YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

Shot List
Day ___ of ___
Shot
Number

v Location ____________
Type of
Shot

Description

19

YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

The Call Sheet Production Date & Time of Shoot _________________________________

Location ____________________________________________
____________________________________________________

Interviewee name ____________________________________

Phone ____________________________________________
Permission and Release signed __________________________
___________________________________________________
Interview Questions
1.
_________________________________________________
2.
_________________________________________________
3.
_________________________________________________
4. _________________________________________________
5.
_________________________________________________
6.
_________________________________________________
7.
_________________________________________________
8.
_________________________________________________
9.
_________________________________________________
Crew
Director ___________________ Mobile _______________
DOP ______________________ Mobile _______________
Sound _____________________ Mobile _______________
Other _____________________ Mobile _______________

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION
Reasons for location
_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________________________
Key Features of location to be filmed
1.
___________________________________________________
2.
___________________________________________________
3.
___________________________________________________
4.
___________________________________________________
5.
___________________________________________________
Equipment needed
1.
____________________
2.
____________________
3.
____________________
4.
____________________
5.
____________________
6.
____________________

Main framing of shot

Shot
Type
C/U
MED
L/S
XL/S
Setting
Int
Ext
__________________________________
__________________________________
__________________________________

Reasons for framing the shot this way

_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________________________

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

Interviewee Release Form

Upon signing this release form, I hereby authorize and give my consent for
______________________________________
and the Bayside Film Festival, to distribute and sell still pictures, sound motion
pictures and tape recordings taken of me for the video production titled:
______________________________________
I also give my permission for my picture and/or voice to be used in any
promotional material that relates to the publicity of the project mentioned
above.
My appearance in this project may be edited at the sole discretion of the
producers and I understand that the Producer/s are under no obligation to
include me in the final product.
SIGNED, SEALED AND DELIVERED
Name
Address
Signature
WITNESS
Date

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

Location Clearance Form

This agreement is made on the_______

day of_________________ 2008

BETWEEN:_____________________________________________________
______________________________________________________________
And
THE LOCATION SITE MANAGER/OWNER
Name of Location Site:____________________________________________
Name of Location Site Manager/authorising person:_____________________
Address:_______________________________________________________
Phone:___________________________Mobile:________________________
Email:_________________________________________________________
Nature of agreement
I, the location site manager, authorize____________________________IONS to film
at this site on __________________(Date).
I understand that video production equipment such as video camera, lighting & sound
equipment will be used to capture footage at this location site.
I understand that the footage filmed at this site will be used
in________________________________________________________ This
documentary may be transmitted, broadcasted or communicated to the public
through film festivals, interactive media, online World Wide Web and noncommercial television stations.
I acknowledge that I have agreed to authorise filming at this site location on a
voluntary basis, and that the use of this location does not give me any right to
require payment or participation in the proceeds of this documentary project.
SIGNED, SEALED AND DELIVERED

Location Site Manager/Authority

Production Company representative
representative
..
Witness

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

List of cutaways, overlay & additional footage

Shot
Type

Shot
Description

Shot
Duration

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

Shooting Schedule
Week

Mon

Tue

Wed

Thur

Fri

Sat

Sun

10

11

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YOUTH DOCUMENTARY PROJECT 2011

PRE-PRODUCTION

Shooting Schedule

Week

Mon

Tue

Wed

Thur

Fri

Sat

Sun

12

13

14

FILMS DUE
26th JUNE

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YOUTH DOCUMENTARY PROJECT 2011

PRODUCTION

PRODUCTION
Filming

Logging of footage

BE PREPARED
Like the Boy Scouts, the number one motto for film-makers is Be
Prepared. It is no good being out on location with talent and crew waiting
if you discover that you forgot the battery for the camera. Keep checklists.
Plan everything. Make lots of copies of your release forms.

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YOUTH DOCUMENTARY PROJECT 2011

PRODUCTION

Setting Up Your Camera

Most modern video cameras have a menu that lets you access special features. This
section will guide you through the key functions to set up your camera for optimum
use when shooting your film.
FRAME SIZE
All documentaries for the 2011 YDP should be filmed using a frame ratio size of 16:9 (widescreen).
Most cameras have a switch or menu item that readily makes this screen shape available (in fact, most
cameras are automatically fitted with a 16:9 shaped view screen for easy filming).

Widescreen (movie) 16:9 format

4:3 (TV) format

It is important that before you import your footage into your editing system software, that you set the
frame ratio of your edit to 16:9. If you do not do this, your footage will be stretched and distorted in
post-production.
SETTING THE WHITE BALANCE
Before filming, you must check that the colour (white balance) is correct. Most cameras have a white
balance button which allows you to tell the camera what colour white is. Zoom in on a white surface (a
clean sheet of paper will do). Push the white balance button and wait for the viewfinder icon to stop
flashing. The camera now registers this colour as white and then adjusts all other colours accordingly
for a correct colour scheme.

Incorrect colour balance

Zoom in on a white sheet

of paper and press white
balance

Colour balance
now correct

Zoom back out to your

desired frame

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YOUTH DOCUMENTARY PROJECT 2011

PRODUCTION

Setting Up Your Camera (cont)

USING MANUAL EXPOSURE
Most cameras have an auto-exposure function. If this is enabled, the camera automatically exposes for
the brightest light source in the frame which may not be the subject. Also, any changes in the frame
composition (character movement, pans across a scene) will cause the exposure to bounce around and
produce ugly flashes.

With auto-exposure, the camera exposes for

the sky rather than the face

The same shot with correct manual

exposure

Use the menu to switch your camera to manual exposure. Then simply set up your frame and adjust
your exposure to the desired look for the primary subject. This exposure will now stay constant during
the shot.

USING MANUAL FOCUS

Like exposure, your camera will have an automatic focus function. Once again this is not
recommended, as the camera will automatically focus on the object closest to the lens (which may not
be your subject) and will jump in and out of focus on various objects if you pan the camera across a
scene.

Auto-focus focuses on the leaves

instead of the face

Zoom all the way into your subject

to set focus

Pull back out to your desired frame

Use the menu to switch your camera to manual focus. When you are ready to film a shot, zoom right
in on your subject and focus accordingly. When you zoom back out, your subject will stay in perfect
focus.

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YOUTH DOCUMENTARY PROJECT 2011

PRODUCTION

Filming a Shot
USING THE CAMERA LENS
The most important part of a camera is the lens. Unlike the human eye, which has a peripheral vision
extending to 180 degrees, the camera lens presents a tunnel-vision view which enables the film-maker
to present a unique visual viewpoint on their subject matter.

Wide angle lens notice the amount of

unnecessary background in the shot.

Long lens unnecessary background is eliminated

and the subject stands out more

For the most part, the more you zoom in to what is called the long end of the lens, the more you
separate your subject matter from the background, producing a far more attractive film frame.
SETTING THE FRAME SIZE
Choose the frame size that best suits your shots communication goals.
Wide shot normally used for establishing a scene or location. (Note
that a wide shot can still be shot at the long end of the lens)

Medium shot a standard head and shoulders, most commonly used on

television. Note that in a 16:9 frame, you can balance your head &
shoulders shot with a nice background.

Close-up the most emotionally engaging shot for the audience. Do not
be afraid to fill your frame with your subject. Be bold with your
framing.

Ultra close-up the most dramatic way to use your camera, often
allowing you to examine and isolate aspects of your subject in a way not
normal for the human eye.

If you have a constantly recurring interviewee or visual theme running throughout your
documentary, a good idea is to keep making your frame tighter as the film progresses. This has
the effect of drawing the audience in closer and closer as you go, heightening the dramatic tension
towards a climax.

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YOUTH DOCUMENTARY PROJECT 2011

PRODUCTION

Filming a Shot
FRAME ANGLES

By placing the camera higher or lower, you change the

dynamics of the frame.

Overhead angle provides a gods eye or map point of view.

High angle makes the subject appear shorter and more vulnerable.

Eye level presents a standard real life view.

Low angle makes the subject appear taller and more dominant.

Ultra low angle can give a feeling of extreme danger or power.

BLACK AND WHITE

If you want to make your shot black and white in post production, remember that you dont have
the colour palette to help separate the various elements in your frame.

Subject is separated from

background through
colour contrast

In black and white, subject

and background become
mixed and murky

Use contrast to separate

subject and background if shooting
for black & white

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YOUTH DOCUMENTARY PROJECT 2011

PRODUCTION

Filming a Shot - Lighting

If possible, you should always light your subject to separate it from the background and enhance
the look of your movie. This can be achieved through the use of the sun for exterior shots and
artificial lights for interior shots.
EXTERIOR:
Sun directly in front of the subject produces an unattractive, harsh look.

Sun just forward of side-on to the subject is the ideal light.

Sun at 45 degrees behind subject (back-light) is a fantastic look, but is

best achieved in the morning or late afternoon when the sun is low in the
sky and not as bright. Note how the camera is manually exposed for the
face and not the sun or sky.

INTERIOR:
Subject lit only by overhead room lights. Image is flat and lifeless.

Subject lit just forward of side-on with a single light. Notice how the
foreground now has separation from the background.

Subject lit from behind. This produces a more silhouette look and can be
particularly effective if you are trying to make your subject appear
secretive or sinister.

Back-lighting can also be used to very good effect when shooting

machinery or inanimate objects. Note how a back light gives this model
ship texture and glow.

If you dont have lights, try to situate your subject near a window with ambient natural
light. If this is not possible, even a normal lamp with a 100 watt bulb placed near the subject
will help.

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YOUTH DOCUMENTARY PROJECT 2011

PRODUCTION

Recording Sound
Most cameras come equipped with a built-in microphone. Many also have the facility
to plug in an extension microphone lead. If possible you should use this as it allows
you to move the camera further from the subject, thereby shooting at the longer end of
the lens, without losing volume.
Most cameras also have an auto audio recording level function which sets a standard
level and suppresses extreme sounds. In most cases this works well and it is
recommended that you use it.

A sound engineer uses a boom pole to get the

microphone close to the talent

However, common sense should also be employed. If your subject is extremely loud
(shouting, machinery etc) move the microphone (or camera) back a little. If the
subject is whispering, move the microphone closer.
Try to choose locations where background sound is minimal and always encourage
your on-screen performers to speak up loudly and clearly.
The camera operator should wear headphones and monitor the incoming sound. If this
is not possible, most cameras allow you to set a visual recording level display through
the menu. Turn this on so that you can see the audio levels bouncing as you film.

Audio levels bouncing in the

camera viewscreen

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Conducting an Interview
Here are some tips on how to conduct a successful interview
Meet with your subject beforehand to establish a comfortable rapport.
Research and prepare your questions. Have them written down on a piece of paper.
Maintain strong eye contact with your subject. Be interested. Nod in response to
their answers.
Do not punctuate the subjects answer with muttered responses (eg. I see or Uhhuh).
Do not overlap question and answer. Ask your subject to wait just a second after the
question is finished before beginning their response. This gives the editor clean audio
in post production.
Ask the subject to respond in complete answers. This is particularly important if
you plan to edit out the interviewers questions in the final movie.
Question: Where were you born?
Incorrect response: In Wagga.
Correct response: I was born in Wagga.
Avoid closed questions that can be answered with a yes or no.
Incorrect: Should the coal-miners be on strike?
Correct: What is your opinion on the coal-miners strike?
Do not ask double-barrelled questions.
Incorrect: What is your role and what sort of people will you deal with?
Normally the subject will only answer the second half of the question.
Avoid using words such as firstly or finally because you may edit your questions
in a different order in the final film.
Avoid using words such as yesterday or last week as they create problems when
your film is viewed at a later date.
Incorrect: Is the extreme heat the past few days evidence of climate change?
Correct: Is the increase in extreme heat evidence of climate change?

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Filming an Interview
Find a spot that is as quiet as possible and light and frame your subject. If you want
to show the interviewer, they can also be framed in the establishing wide shot. If it is a
long interview, tighten your frame progressively to draw the audience closer to the
subject.

Establishing two-shot over

interviewers shoulder

Interviewee close-up

Interviewee extreme c-u

Interviewer close-up should match

interviewee c-u
in frame size

If you want to film the interviewer asking the questions, this is normally done after
the subject leaves, and is then cut into the sequence during the edit (another reason
why your questions should be written down on paper prior to commencing).
Filming cutaway shots that do not include the subject also allows the editor more
freedom to remove unnecessary dialogue from the subjects answers by cutting away
to the interviewers reactions (eg. nodding their head) or other related visual footage.

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PRODUCTION

Filming an Interview (cont)

DO NOT CROSS THE LINE
Whenever you have an interview or scene with more than one person, you must draw
an imaginary line between the two subjects and ensure that your camera stays on the
same side of the line when it switches angles to go from one subject to the other.
Do not put camera on this side of the line
Interviewer

Camera Pos A
filming interviewee

Interviewee

Camera Pos B
filming interviewer

If you cross the line when filming, then when you edit your shots together the subjects
will both appear to be looking in the same direction rather than at each other.
VOX-POPS
A more informal form of interview is the vox-pop (shortened version of voice of the
people) and often comprises brief statements from the man in the street in an instant
survey type style.

Because this is a more casual approach and often both interviewer and subject are
standing next to each other, framing the scene as a front-on two-shot is often a good
way to go (still try to maximise your angle of light).
Vox-pops also work very well with a hand-held camera, as this adds a feeling of
rawness and urgency to the responses.

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HANDY FILM-MAKING TIPS SUMMARY
PRE-PRODUCTION
- Keep all production paperwork, scripts etc. in one single production file.
- Organize location clearances and talent release forms.
- Make a list of contact numbers of cast and crew.
- Take note of the location of nearest hospital and police station in case of emergency.
- Make sure actors/interviewees know times, dates, costume and prop requirements ,
preferably in writing.
- If you plan to use any weapon in public (even a toy replica) you must alert the police.
LOCATION
- Check location for problems such as crowds, traffic, noise, lighting conditions.
- If you need electricity, check for power supply.
- Is there enough space to get the shots you require?
- Are there toilets, food and drink nearby?
- If your location is on private property or in a public building (eg. a shopping centre) you
will need to get permission from the owners.
EQUIPMENT
- Book your camera equipment well in advance.
- Make sure camera is working BEFORE you leave the school.
- Make sure you have your videotape stock with you.
- Handy items to have with you tripod, extension leads, double adaptors, headphones, gaffer
tape, scissors, production file, pen and paper, sunscreen, first aid kit, shortlist, snacks, drinks,
mobile phones.
CAMERA TIPS
- Set your camera to shoot in the 16:9 widescreen frame ratio.
- Check white balance, exposure and focus.
- Check the lens of the camera for cleanliness.
- Be wary you dont film yourself in reflective surfaces such as windows.
- Make sure you dont record the Date and Time.
- Shoot your subject matter from a number of different angles so that you then have a greater
choice of shots when you come to edit.
- Try to have the light source (the sun if youre outside) approximately sideways or just
marginally behind your main subject matter. If the light is directly in front of the subject, the
effect is harsh and talent will be forced to squint.

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PRODUCTION
HANDY FILM-MAKING TIPS SUMMARY
CAMERA TIPS (continued)
- Use a tripod if possible to get much smoother shots.
- Try to avoid zooming in an out during a shot.
- Make sure you roll the camera for a good couple of seconds both before and after your shot.
This will make editing and importing your shots much easier.
- Pay attention to the background of the shot. Often we concentrate so much on the
foreground subject that we miss things in the background which may prove to be an annoying
distraction when our shots are viewed at full size.
SOUND RECORDING
- Make sure you have quiet on the set when recording sound. Try to use quiet locations.
- If in a noisy location, encourage your talent to speak up.
- Be aware of potentially distracting background noises refrigerators, air conditioning,
telephones ringing etc.
- Beware of shooting near power lines these can create interference in sound recording.
- Once finished at a location, record 60 seconds of ambient location sound. This can be very
useful for smoothing sound over cuts in your final edit.
- Wear headphones if possible to monitor sound recording.
EDITING
- Set your editing software to 16:9 widescreen before importing footage.
- Do a rough cut first, simply putting all your shots in their planned order, to check on the
length of your overall film.
- Refine rough cut by smoothing transitions, adding music and mixing soundtrack. Make sure
the voice track is not smothered by background music or sound effects.
- Once edit is complete, export/render your timeline out to a single movie file - .mov file for
Mac users and .avi for PC users. This file should be app. 200mb per minute of movie.
- Burn your movie as a data file onto dvd or save to a USB stick for delivery.

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Logging Sheet
Tape #

Time Code

Content

Useable?

Description

Yes/No/Maybe

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PRODUCTION

Logging Sheet
Tape #

Time Code

Content

Useable?

Description

Yes/No/Maybe

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POST-PRODUCTION

POST-PRODUCTION
Paper Edit

Editing (Rough Cut)

Possible Re-shooting

Titles Creation

Soundtrack Composing

Credits

Editing (Final Cut)

Music Release Forms

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POST-PRODUCTION

Paper Edit basics

Making a transcript
-The transcript is a paper version of what you have shot. It will help you decide what
was shot, as well as what the person said in the interview.
--This will help you decide what cutaways that you may want in your documentary.
-- In professional feature length documentaries, the transcript will list every word
that has been said. Dont worry about doing this.

Steps.
1. Watch your footage.

2. Write down what each of the shots was.

3. Write down what the interviewee had said. (Dont worry about being
too detailed)
4. Use some post it notes., or bits of paper. Draw each of the shots.
5. Sequence them to see if it makes a clean visual sequence.
6. Write down the shots that dont ILLUSTRATE, what they person
had said.
NOTE: This part of the process is not completely necessary but will
help you decide what you may need to make the documentary
coherent.

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POST-PRODUCTION

Edit- Rough cut

When you get into the edit suite. It is important to make sure that you organise all
your different types of media and clips into various categories. The include.
Interviews
Cutaways
B-roll
Music
Sound FX
Graphics
Titles

Steps.
1. Digitize your footage.
2. Log your clips into different categories.
3. Edit the interviews first. This forms the backbone of your
storytelling.
4. Place cutaways to help illustrate your inteview.
5. Different shots can form segues between different
interviews.
6. Think about how to introduce your subject dynamically.
Often films use special effects and a strong music which
creates the feel of your entire story.

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POST-PRODUCTION

Pickups/Re-Shoot Form
Footage
Description

Reason for reshoot

Importance

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POST-PRODUCTION

USING MUSIC IN YOUR MOVIE

One of the areas of greatest concern and questions for student film-makers is the use of
music what am I allowed to use? where can I get it? do I have to pay copyright?
You cannot use commercially recorded music in your film production without paying both
writing and performance copyright fees.
However, there are a still a number of ways to access music
GARAGE BAND
Most students create their own music using the popular and user-friendly Mac Garage
Band software. This is the most recommended method and all music created by you with
this program is copyright free. (Note that most PCs have their own equivalent of Garage
Band).
LOCAL MUSICIANS/BANDS
Employ the talents of friends/musicians and/or a local band. If you do this, the creators of
the music should sign release forms for your movie. Note that this music must be original
you cannot use a cover version of a popular song.
DOWNLOADING FROM THE INTERNET
Music that you download from the internet cannot be used in your film even if you have
paid a download fee. This download fee covers personal listening only and does not
license you to use the music in a film production.
ROYALTY-FREE MUSIC
There are a number of sites on the internet that supply Royalty-Free music . What this
means is that you pay a one-off license fee which then enables you to use that piece of
music as many times as you like in all productions including films. However, there is a
cost involved in this process. Most tracks cost app. $25.
The best of these sites is www.shockwavesound.com

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POST-PRODUCTION

Music License Agreement

This agreement is made on the______
day of_________________2008
BETWEEN:___________________________________________________
____________________________________________________________
____________________________________________________________
And THE COPYRIGHT OWNER
Name:_______________________________________________________
Address:_____________________________________________________
Phone:______________________Mobile:___________________________
Email:_______________________________________________________
The copyright owner is the owner of the material set out in the Schedule to this
agreement (the copyright material).
The copyright owner agrees to grant_______________________________
a non-exclusive license to the copyright material on the terms and conditions set
out in the Schedule.
SCHEDULE
The Copyright Material:
Terms and Conditions:
The copyright owner grants_______________________________________
the right to synchronise the copyright material with vision to be used in
_____________________________________________________________
will provide the copyright owner with on-screen credits__________________
_____________________________________________________________
The copyright owner acknowledges that they have agreed to participate in this
documentary on a voluntary basis, and that the use of their copyright material
does not give them any right to require payment or participation in the proceeds
of this documentary project.
SIGNED, SEALED AND DELIVERED
SIGNED for and on behalf of
______________________by:________________________
in the presence of:
Witness:
SIGNED for and behalf of
The copyright owner by
in the presence of:
Witness:

}
}
}

.
}
}
}

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POST-PRODUCTION

Music Performance Release Form

Name of Performer/Artist__________________________________________
Address________________________________________________________
Phone_____________________________Mobile_______________________
Email__________________________________________________________

Producers______________________________________________________
Program_______________________________________________________
Date of Performance_____________________________________________
Nature of Appearance/Performance_________________________________
BY THIS DEED, I the artist, hereby grants____________________________
the right to make an audio/visual recording of my performance (Recording)
and to use the Recording in any way including but not limited to the following:

Use the Recording or part thereof in association with another soundtrack or with other
visual images.
Use the Recording and Interview or part thereof, in a documentary, which may be
screened at film festivals, on-line World Wide Web, broadcast or sold.
Use the Recording/interview or part thereof for promotional purposes.
Retain the Recording/Interview for the period of time required by the Producer for
archival purpose.
The Artist hereby indemnifies the Producer against any claims for infringement of
copyright in respect of any music or lyrics performed by the Artist within the Program.

I agree to hold the Producer harmless against any claims arising from the use of
the Recording/Interview in accordance with the terms of this Release.
My appearance in this project may be edited at the sole discretion of the
producers and I understand that the Producer/s are under no obligation to
include me in the final product.
SIGNED, SEALED AND DELIVERED
PERFORMER/ARTIST____________________________________________
REPRESENTATIVE______________________________________________
WITNESS_________________________________DATE________________

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