Documentary in Africa...

H

hraheem72

Active member
I will be travelling to Malawi to do a documentary and I was wondering if I could get some advice on equipment to take, etc. I'm certain that I will be doing alot of shooting during the day, and some at night. I have concerns about how to use lighting in Africa because of the massive energy that some light kits utilize. Are there any good battery powered kits available? As far as camera maintenance, what you I plan on? This will be my first trip to Africa, so I'm trying to gather as much information as I can to make sure I'm as prepared as possible.

If anyone knows any sites or books that I can read on travel documentaries, I would be much appreciative. If anyone has travelled abroad and done documentaries your assistance and comments will be greatly appreciated. Thanks.
 
I shot a couple docs in Africa. Here's what I took:

PRE PRODUCTION

Forms: Location and Appearance release forms.

Research: Know your location, what the weather's like, terrain, is it a malaria infested country? Have you had all of your shots?

Equipment Insurance: I worked that into the project itself.

Production:

DVX100
Tripod
Two shotgun mics. (Only used my Sanken CS1)
Windjammer
Boom pole
Minidisc MDP500 recorder. (Didn't end up using it because the DVX audio was really good. Don't bother with an external second sound recorder, overkill)
MQ tapes: 40 tapes. I was overseas for about four months on my first trip. Take lots of tape.

If I had to do it again I would've taken along a wireless lav mic. You really need that for interviews in tough shooting conditions, especially if you're outside and it's windy.

I didn't take a lighting kit, I shot with available light, even with my interviews. I did use a reflector. I wish I had an onboard cam light, I didn't need it, but it's useful to have for night situations. I'm not sure what you're outside shooting needs are, but I didn't need a lighting kit. If I had to do it again I would probably pack a lowel light or two. Try and put together a small portable kit. Even one light and a reflector will go a long way.

Extension cords: I bought locally. I knew I could do that. If you don't think you can do that pack some cords.

Oh yeah, take along a hat, something to keep the sun out of your face and to to also block the wind. I got a nice fedora that really helped.

POST PRODUCTION

Editing Laptop:

DVDS: I was delivering the project on minidv and DVD. Make sure you take DVDs along. I ran out of DVDs my second trip and had to buy some dvds locally. The ones I bought locally had playback issues.

Minidv deck: For capturing. Make sure your deck is universal. (110-220)

Software: Make sure you have copies of your software with you. Things happen, your computer can sometimes crap out on you. Make sure that you can totally replace all your software if you hit a snag.

External Drives: I took three along with me. Two USB and one Firewire. While working on a project make sure you make copies of it on the other drives. Backupbackupbackup.

Cables: Bring along RCA, Firewire, USB, and everything else. I had to drop a few news pieces off at a news station and the station had very poor equipment and cables in pretty bad condition. I had to dub to their decks with my equipment and I felt a lot more confident using my stuff instead of theirs.


Don't check your camera, laptop, or drives. Carry both on the plane with you. Check your clothes but carry on your equipment.

Those are the basics off the top of my head. Ask a lot of questions about the project and adjust your equipment to meet any unforeseen circumstances.

Maybe other people can chime in with other things I've forgotten.

And you can PM me personally if you have specific questions.
 
Isaac, that's a lot of stuff. How did you carry everything around with you?

hraheem, what kind of shooting will you be doing at night? If it's just interviews, a lot of times an on-camera light would be sufficient, and it's a lot easier to carry than a light kit.
 
Thank you so much for the first reply.

Who should I consult about obtaining equipment insurance for an overseas project such as the one I'm undertaking?

What equipment bags are compact/secure enough to hold my camera, laptop, and drives that are small enough to carry on the plane?

As far as documentary books, which do you recommend? I currently am reading "Making Documentary Films and Reality Videos by Barry Hampe. Maybe there are others specifically suited for travelling documentarians. Thanks
 
The night shooting I plan to do will be interviews, so I probably can get by with an on-camera light. Any suggestions about brands that are dependable and effective.
 
Isaac knows what he's talking about. The guy has shot a lot of stuff in Africa.

Do you mind if I ask what your documentary is about?

Good luck and have a great experience!
pk
 
PK Gillock said:
Isaac knows what he's talking about. The guy has shot a lot of stuff in Africa.

Do you mind if I ask what your documentary is about?

Good luck and have a great experience!
pk
Click to expand...

It will be a documentary covering AIDS and starvation in Malawi.
 
I gambled and didn't get insurance. I did work in a ten percent contingency fund into the budget in case I had problems. It was definitely a lot of equipment to take, but I was out of the country for four months and didn't want to feel like I forgot anything. Oh yeah, I didn't really pack any clothes, so that helped.

I read some doc books a few years ago, notably, Documentary Dillemnas which covers the struggles Frederick Wiseman encountered when shooting Titticut Follies.

I think it's actually more useful to watch documentaries related to the film you're going to shoot. My docs were about HIV and AIDS and AIDS orphans so I watched more humanitarian docs. I analyzed what I watched, decided what I liked and didn't like and set out to do things my own way. I really don't like a lot of the humanitarian docs out there that show kids with distended stomachs and looking pitiful and very early on I decided not to go in that direction.

Again, just expose yourself to a lot of documentaries on the topic of AIDS and starvation and also off topic as well. Get a sense of what's being down and how and in what style and try and decide what your goals will be with your film and what angle to pursue. I had a bunch of different ideas about how to approach the topic, and the best thing you can do is narrow things down. Pretend like you're writing a thesis. AIDS and starvation are both very big topics and you'll have to focus your lens to find connections between those two topics to explore.

I didn't mention this for Post Production, but take very detailed notes of all your footage. Best thing to do is after shooting for a day, watch your footage and take timecode notes of every image. I had very detailed notes for a longer doc where I knew every piece of footage on a tape and where to find a cute girl or despondent boy very quickly. I had to do this because I was a one man team. (There's no I in team? :))

Good luck.
 
hraheem - A noble cause. Who is funding the documentary and will you be going alone? Do you need any help? I've been thinking about going to Africa.
 
PK Gillock said:
hraheem - A noble cause. Who is funding the documentary and will you be going alone? Do you need any help? I've been thinking about going to Africa.
Click to expand...
I will be funding it myself as of now. Definitetly would be nice to have other investors.
 
Insurance and kit...

Insurance and kit...

hraheem72,

We use TravelGuard for our expedition insurance. You can insure your equipment and personal travel kit for any amount you want on short-duration projects. We tie our policy coverages to our travel days on either end of the show. Domestic film and media insurance interests almost never extend foreign coverages or offer riders for same, so travel insurance is a great way to achieve this.

Also be certain to purchase the evacuation and medical coverages - your own domestic medical insurance will not cover you on foreign soil. Between $25k and $50k here is a good start.

Our kit (with lots left out to be sure):
  • DVX100a
  • 6 Batteries
  • 2 Chargers
  • Cavision 4x4 Mattebox, Rods, Grips, French Flag
  • Filter Set (Linear Pol., Sunset / Blue Grads, ND.6, ND.6 Grad)
  • Sachtler 18+
  • Hi-Hat 100mm Bowl / Board
  • Cine-Saddle or Yak-Pak Messenger Bag (with loosely filled packing foam inside)
  • Camera Support Kit (lens cloths, solution, canned air, hotel washcloths et-cetera)
  • 400w 12v Inverter
  • 1k Quiet Generator
  • Toshiba Laptop w/ Delorme Datasets on Topo5
  • 8041 or 1354q Sony Monitor
  • Log Sheets (2 Per Day)
  • Releases
  • Travel Insurance Declarations Page
  • 2 2'x3' Foamcore Reflector White / Silver Foil
  • 2 1'x1' Foamcore Whitecard
  • 2 40/40" Century Stand
  • Lowel DP Kit
  • 2 Cardellini Clamps
  • 2 Foam Clamps
  • 3'x3' Custom-built Butterfly Kit w/ Goods (Poly-silk / Single Net)
  • 8'x8' Overhead Kit w/ Goods (Poly-Silk, Grid Cloth, Single Net)
  • Asst Gel (pre-cut CTB / CTO, Frost, Spun)
  • 3-Channel Battery Operated Mixer or Pre-Amp
  • Lectro or Sennheiser Wireless Combo
  • Sonic 312 Boom
  • Rycote and Windjammer (we use this standalone more than on the pole)
  • 416
  • AT897
  • Sony Headphones
  • XLR / Adapter Kit (4 ea. 6' XLRs / 25' XLRs)
  • Video Cable / Adapter Kit (3 ea. BNC, 4pin 1394)
  • Expendables (AA / AAA / 9V Batts for two sets a day, Raw Stock, 2" Gray / Black Gaffers, 3/4" Board Tape, 100' Trickline)
  • Toolkit (don't forget the tweakers!)
e
 
Overland,

That is quite an impressive assortment.

Like hraheem, I am also headed to that corner of the world in the coming weeks.

However, I'm flying pretty solo and am looking for a good handheld sungun that I can bounce onto the principal.

I don't mind buying a few batt packs to switch in and out throughout the day, but I was just wondering if you had a suggestion, as I'm not sure a full Lowel DP kit is practical on a run n' gun assignment.

The onboard Frezzi (even with a softbox), is not as nice as a bounced light.
Does anyone know of a good handheld light?
 
overlandfilms said:
hraheem72,

We use TravelGuard for our expedition insurance. You can insure your equipment and personal travel kit for any amount you want on short-duration projects. We tie our policy coverages to our travel days on either end of the show. Domestic film and media insurance interests almost never extend foreign coverages or offer riders for same, so travel insurance is a great way to achieve this.

Also be certain to purchase the evacuation and medical coverages - your own domestic medical insurance will not cover you on foreign soil. Between $25k and $50k here is a good start.

Our kit (with lots left out to be sure):
  • DVX100a
  • 6 Batteries
  • 2 Chargers
  • Cavision 4x4 Mattebox, Rods, Grips, French Flag
  • Filter Set (Linear Pol., Sunset / Blue Grads, ND.6, ND.6 Grad)
  • Sachtler 18+
  • Hi-Hat 100mm Bowl / Board
  • Cine-Saddle or Yak-Pak Messenger Bag (with loosely filled packing foam inside)
  • Camera Support Kit (lens cloths, solution, canned air, hotel washcloths et-cetera)
  • 400w 12v Inverter
  • 1k Quiet Generator
  • Toshiba Laptop w/ Delorme Datasets on Topo5
  • 8041 or 1354q Sony Monitor
  • Log Sheets (2 Per Day)
  • Releases
  • Travel Insurance Declarations Page
  • 2 2'x3' Foamcore Reflector White / Silver Foil
  • 2 1'x1' Foamcore Whitecard
  • 2 40/40" Century Stand
  • Lowel DP Kit
  • 2 Cardellini Clamps
  • 2 Foam Clamps
  • 3'x3' Custom-built Butterfly Kit w/ Goods (Poly-silk / Single Net)
  • 8'x8' Overhead Kit w/ Goods (Poly-Silk, Grid Cloth, Single Net)
  • Asst Gel (pre-cut CTB / CTO, Frost, Spun)
  • 3-Channel Battery Operated Mixer or Pre-Amp
  • Lectro or Sennheiser Wireless Combo
  • Sonic 312 Boom
  • Rycote and Windjammer (we use this standalone more than on the pole)
  • 416
  • AT897
  • Sony Headphones
  • XLR / Adapter Kit (4 ea. 6' XLRs / 25' XLRs)
  • Video Cable / Adapter Kit (3 ea. BNC, 4pin 1394)
  • Expendables (AA / AAA / 9V Batts for two sets a day, Raw Stock, 2" Gray / Black Gaffers, 3/4" Board Tape, 100' Trickline)
  • Toolkit (don't forget the tweakers!)
e
Click to expand...
I liked to express my gratitude for the information that you have given me. It is truly invaluable. Thanks for sharing.
 
No sweat, please add your manifest to this thread when you finalize it?

On the lighting question, we're using the new Lite Panels LED spot and flood kits on Racer X in addition to a typical HMI and tungsten kit. These are much heralded for their size and relative efficiency, but they aren't at the point where they can replace even small conventional fixtures in real-world lighting applications.

In my opinion, they're good for nothing more than an eyelight or nooklight for very small objects. We have made use of them for walk-and-talk fills, but the overall effect is very subtle. Our gaffer has used them to some effect for a quick, very close proximity rim light or kicker, but I don't know if it'll be enough for your needs. I certainly would not take them in a key light role.

The pros are that the Lite Panels can run on batteries, are color stable when dimmed, run very cool at the fixture and are small and well-accessorized. There are cooling fins (pegs really) on the back of the heads, but those are really there to keep the batteries, which do get quite hot, away from the fixture itself.

I don't have technical specs in front of me, but I would think Dedo might be an option - though they don't seem much brighter than the Lite Panels?

e
 
Overland, that info was so essential.

I called Dedo and they were really cool. I was trying to snatch that new DLOBA2 on-board, but it's not out yet. So I'm getting the DLH4 and going with a 24V belt. That is the closest to a handheld key I could find.

Those Lite Panels, btw, have a beautiful design.
 
i'm not sure if your location will be wet or dry, but if it's humid or rainy, you'll definitely want to bring some silica packets with you. shot a doc recently in uganda, and every night i put my camera in a dry bag with some silica to absorb the moisture.

and don't underestimate the importance of the flexfill- that will be by far your most important light.
 
I shot a doc in Freetown West Africa in january, and all i brought was the DVX, Monopod, Sen. G2 wireless lavs, 3 dvxuser batteries, a small fold out reflector, 2 boxes of tape and a charger.

Granted, it was only for 10 days with 3 actual shooting days, but i didnt miss anything. If your not used to that kinda heat get some chamoise for your eyepiece, cause you will sweat so much holding that camera that it will blind you.
 
Jarred, you didn't take headphones? Was someone else monitoring the audio? Or were you in a setting that made you confident that you were getting good sound?

thnx,
 
Humidity...

Humidity...

I have to argue that the silica gel might not be the solution in a humid environment.

We tried to fight moisture for the first part of our tropical trek with waterproof cases and silica gel and enjoyed little success. Bringing your gear into air-conditioned hotel rooms at night and then going out to shoot in the morning will bring on a condensation nightmare.

It isn't that your gear is getting wet - it's that it is getting cold. When the chilled camera components are introduced to a hot, humid location subsequent to a night in A/C, the moisture is drawn to metal and glass surfaces like a sponge.

We had better luck leaving the cameras out of their cases in a room with only fans and no A/C - they were already at ambient temperature and humidity by the time we started shooting.

Just today, one of the Driver X CineAlta 900s dumped into DEW lock-up for three hours after being left in the heavily air-conditioned production office instead of the warehouse where it is usually kept. This is the first instance of DEW we've had during this humid North Carolina summer show of ten weeks.

e
 
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