FTP3
Formative Assessment 1
Documentary Profile with Advanced Interview and Observational
Sequences
Find an individual with a strong passion or hobby OR interesting role in life or work.
In a single person interview, produce a seamless, questionless flow of on-screen
narrative by eliminating all trace of the interviewer’s voice.
Conduct a formal interview considering eye-line, background, headroom, looking
space and depth of field. Use different sized shots whose composition will cut well
together (at least three shot choices).
Shoot 2-3 observational sequences to be used in the final edit. You may become
aware of these sequences on the day of the interview but do research possible
sequences within your preparation for the shoot.
Much of the success of this type of filmmaking lies in finding an appropriate subject.
People busily in action are better than those immobile and aware of the camera.
Someone focusing on a passion, a test or competition, say, will be too occupied to
care about your presence.
Though not a pure observational technique you may direct some of the action in a way
that this process is invisible (for example setting up the camera to capture your
subject unlocking a shop/garage (anything with a door really in this example) at the
beginning of a day. If you are going to take advantage of this make sure the subject is
aware before hand and kept at ease and in their natural state.)
Pay attention to camera movement, varying camera heights, frame sizes and
placement.
Shoot for the edit. Vary your angles and frame sizes in anticipation of the future
sequence. A shot will no doubt be useless and disruptive to the flow of the edit if it is
less than two seconds in duration. Consider the future rhythm. Any movement should
be predetermined – know where your pans/tilts/tracks begin and end.
If, within your edit, you find that only two sequences fit effectively and naturally
within your film please simply include the third sequence as a separate file for the
hand-in.
You may also include archive footage, stills, etc if they too will add to the visual
narrative. If this is the case do also consider if the variety of cutaways do work
together within this short documentary.
Research your questions and practice your delivery – know your subject.
Consider – Interview:
Where to shoot the interview and what effect you want from lighting (natural or
artificial).
How you will make the interviewee at ease as set up is taking place.
Using a wider shot for a new subject matter and covering moments of intensity in
close-up.
Camera-person should be aware of the questions so as to reframe during a question –
being aware of a more personal question or intuitively recognizing the arc the
interview is taking. Can also choose to change frame during an answer IF you are
aware of cutaways that would cover the shot change.
Consider – Observational sequences
Define the films likely crescendo so you know what you are shooting towards – the
end of a day, activity, social event.
Though you may be working hand-held a lot for this film still consider tripod shot
establishing shots and wider frames.
In the edit – Interview:
 Restructure the interview to make it develop logically and meaningfully.
 Edit to maintain natural speech rhythms of interviewee – you can cut out
`umms` or sections of an answer if you can still follow the natural pace.
 Always use observational sequences, archive, etc to cover any edit from the
interview. Ie: The edit should be invisible – do not settle for dissolves or jump
cuts. You may also cut between the different interview shot sizes when
possible.
 Always consider the rule of 3.
 Include titles and brief credits.
In the edit – Observational sequences:
 Cut out all zooms unless they have been designed and controlled.
 Edit out any footage that shows your participants are aware of the camera.
Limitations:
Duration – 3:00 - 3:30
Each answer must work on its own without the question.
Any music used must be cleared or copyright free. (Would the use of music
compliment the film?)
Each group member must take on specific roles including the following:
Producer – scheduling, correspondence, release forms, paperwork.
Interviewer – research, questions, correspondence.
Director/Camera person
Sound
Editor
Make sure to share the workload appropriately for each assignment.
Hand-in requirements
Relevant paperwork:
Treatment, Research portfolio, Questions, Release Forms, Shoot and edit preparation
– shot lists, edit logs, Schedule.
500 word individual reports on your roles within the production, team working
dynamic, pros & cons of final piece.
Final film to be delivered as .mov or mpeg4. Must be full quality.
The strong final films may become screened on the upcoming UWS TV.
Preliminary Screening: 12th October
Deadline: 19th October