framing Interviews

About framing interviews.
Here are some examples:



Here is a small piece about Errol Morris' Thin Blue Line, (1988). This is a fascinating story and very successful as a film. There are a number of formal interviews used in the film- this piece below has clips from the film, as well as a number of filmmakers commenting on it.. each of them framed in various shot compositions. Some are closeup and filling half the frame, others are way in the corner, and balanced by a light source. LOOK ESPECIALLY AT WHERE THEY ARE LOOKING-- they are looking at a position near the camera's lens.


this is about a documentary called the Thin Blue Line


A professional cameraman Simon Wyndham gives tips on framing for interviews: "1. Try to vary your interview composition. In 16:9 don't be afraid to go in closer and crop the head of the interview subject. It is part and parcel of using that frame shape. Try slight angles. You don't have to perform a full dutch tilt, but sometimes a subtle angle can make a dull looking shot look a bit more dynamic. Try having your interview subject standing somewhere instead of sitting down..... more

PRODUCTION BINDER (BOOK) - for the PSA

For this project, we will ask you to hand in your production books- the same day as the final screening.

What do you need in your Production Book by the end of your PSA project?

A labelled tabbed PSA SECTION - Ideally with a LABELLED TAB on the edge (I will bring some into class)- You can also put a piece of tape on the edge and mark it with a pen or marker. There is tape available in the New Media Center.

The tab should say "PSA"- and NAME OF YOUR PSA

A) If you are working in a group- you hand in your books together. Please coordinate on this.
YOu do not need to repeat all the same information as we will evaluate your books them together.

INDIVIDUALS WHO ARE IN GROUPS SHOULD each HAVE THE FOLLOWING:

1. A page with the names of all members of your group, with phone numbers, emails and contact information such as available times- in the each of your books. 
2. Your role (generally or specifically). What special role did each person in the production. List all the things that you did for the production. If you shot the camera for a particular shoot, list that. If you drew the storyboard, list that.
3. Your Original treatment- (this can be copied- can be the same as what your group mates have)
4. Rewritten treatment, typed and written according to what you actually did. Include the POV of your project in this treatment (this can be copied- can be the same as what your group mates have). What is your audience? What is your final duration?
5. Notes from discussions with other people who have watched your shots, your drafts and your own notes after looking at your shots.  Notes on changes to make after rough cut/class screening or after critique session or meeting with classmates, teacher or TA Ellen. (might be several pages).
6. Your research- this could be several/ many pages printed off the internet with information you have read and used in your piece. 

GROUPS: between all the group members production books you should have the following. You will hand in your books together, so we will evaluate across the books. 

1. Your shot list (if you have made one- a good idea)
2. Your script- if you have one, and any revisions. Include anything people in your video say, working off your storyboard. Include any text you will use in titles. 
3. Your equipment list/needs and reservation records. What did you check out? When did you check it out?
4. Any equipment problems you had during your shoot. Note this on a page.
5. Your shooting location- where are you shooting? What is good about this location? What time/day? What is the light like there? What is the sound like there? Will you record sound?
6. Include a photograph of the location or a mockup of the shot if you can. 
7. Who is helping you? How will or did they help? Contact information: Phone numbers, emails and available hours. Include anyone who helped you including your children (you don't need to give their numbers.
8. Who is your talent, actors, models or subjects? What roles are they playing? Include their contact information: Phone numbers, emails and available hours. Include anyone who helped you including your children (you don't need to give their numbers.
9. Titles  you will be using (any text that will be used in post production. Make sure you spell check these and check them again.)
10. Any sources of music. Artist and recording should be noted. Please use music that is produced locally or by a friend so you can obtain permission, or use copyright free music (check archive.org)

B)  PEOPLE PRODUCING ALONE: Your PSA section should include:
ALL of the above in one binder.

Lighting ANALYSIS Assignment

RTD 365A  Lighting Exercise                                                

Assigned 9/14/15             

Due 9/23/15 and 9/24/15

This assignment gives practice in seeing light as an intentional manipulation of the space inside the frame. It will give you practice in describing what you see and the accompanying reading will introduce you to some terms that are used to describe lighting.

The reading you need for this is online: Millerson“Practical Lighting”

Lighting Analysis assignment:

Select two scenes from a day or nighttime serial tv/cable drama or sitcom. Or from a movie.

The scenes you select MUST be interiors because we want to look at how light is artificially manipulated to create a natural looking space as you will do in some of your work.  

You can use the same series, but you will need to select two different scenes- in different locations.  You will need to get still images from this- so it is easier to use online sources of the series. You don’t need to watch the whole thing though- so even if you find a clip online, that will work.

While watching, stop the player and select a still from this scene.  Below are instructions for making a screenshot. 

Look carefully at the lighting in this scene.  I want you to describe what you see.

You do not need to guess at what kind of lighting instrument they have used. 

Describe the visual components – the way space, shapes, lines, colors, and tone is constructing the space because of the lighting.

How is depth constructed or ignored- because of the lighting?

You can use words to describe lighting characteristics drawn from the Millerson reading. 

These are intensity, quality, contrast, direction and temperature.

Video Formats Explained

Video Formats Explained

THE PRODUCTION BOOK.

Keeping a Production Notebook 

excerpted from Occidental College Media Arts and Culture

A binder with plastic tabs is recommended.

The production notebook is also called the production bible because it is so essential. It organizes preproduction info, it is vital during the production, and it serves as a crucial archive after the production is complete. The production notebook resides with the project’s producer. It is his/her responsibility to assemble it, but it is the responsibility of all crew personnel to provide the materials they are charged with generating, in a timely and professional manner.

The production notebook will be turned in at the end of the semester for evaluation and grading.

Below is an example of the information a professional production will collect. While you are not expected to gather everything on this list, you will be tested on it. The essential items for your book are boldface- as applicable for the productions you are doing.

Production Notebook Materials

The production notebook is crucial to all projects, be they narrative, experimental, or documentary based, though some of the listed components below will need to be adjusted slightly depending on the form of the project. 

• Continually updated crew list with contact information for all personnel. 
• Equipment rental requests- with dates, updated as changes occur. 
• Locked shooting script or treatment. 
• Principal Crew Responsibilities Breakdown. 
• Aesthetic Plan and Reference Materials. 
• Script breakdowns—aesthetics; locations; props/costumes, equipment. 
• Casting Listing, signed approval by professor before posting. 
• Actor Headshots and Audition Information. 
• Documentary Subject Leads, Contact Information, and Notes. 
• Human Subjects Research and Review Approval (for all 300+ level documentaries). 
• Documentary Interview Questions and Shooting Plans for a Location. 
• Location Scouting Stills. 
• Shooting Schedule. 
• Emergency medical forms for ALL cast and crew. 
• Assumption of Risk Forms for ALL cast and crew. (Note that there is a separate version of thisform for minors.) 
• Actor or Documentary Subject release forms for all cast, subjects, and extras. 
• Certificate of Insurance Requests. 
• Location Release Forms. 
• Permit Request Forms. 
• SAG Agreement Correspondence and Confirmation. 
• Proof of Worker’s Comp Insurance (if working with SAG, must purchase this). 
• Location overheads and lighting setups. 
• Shotlists and storyboards. 
• Written Proposal and Plan for any questionable activity or content (stunts, weapons, minors, vehicles, water, pyrotechnics, rented equipment or any other normally forbidden activity) signed off on by professor. Failure to do so will result in immediate failure and disciplinary action at the highest college levels. 
• Permits. 
• Call sheets signed off by professor BEFORE shoot. 
• Camera Reports/ Logs. 
• Daily Production Report. 
• Documentary Tape Logs/Footage Transcripts. 
• Directory of Archival Footage, Stills, or Other Supplemental Material. 
• Director’s Footage Logs. 
• Revised Script for Editor. 
• Editor’s Footage Log. 
• Editor’s Notes. 
• Notes and samples for composer. 
• Composer Release Form. 
• Opening Title and Closing Credits Copy Signed off on by professor before picture lock. 
• Rights and Clearances Log and any necessary proof of rights/clearances. 
• Postal Receipts/Evidence that copies of completed project have been mailed to all cast, participants, and crew.

SOUND PRODUCTION

Readings: Designing Sound

• Designing for Sound by Randy Thom
• "Walter Murch: Searching for the sound of the God Particle" 
• More about sound design  by Walter Murch
• Michael Chion, "Projections of Sound on Image"

Readings: Technical Sound Production

•  "Audio" by Herbert Zettl
• Audio Basics for Documentary

Observing: Clips and examples

• "Letter from Siberia"clip
• "Sound and Time" short documentary

The Jazz Singer, 1927  First talkie film

Singing in the Rain- mic problems
- Concealing a mic stand

Windscreen and correct way to hold boom pole- all accessories

Dead cat (windscreen)


INteractive Frequency chart

TASCAM HD P2