one cam documentary tips??

iFILM

iFILM

Active member
tomorrow im planing on shooting a documentary with my DVX about this artist ive known for a while who does his work outside on the corner of spring street in NYC
i talked to him about the idea of a "day in the life idea" being that he is the most out-there and enthusiastic person i have ever met and gladly he agreed

this is not my first documentary being as im currently in post-production for a documentary i shot about the poverty that consumes nicaragua but i still have alot to learn about documentary shooting

I was wondering if you guys have any tips on shooting this kind of documentary and also how i should go about the story too

the artist name is matt and if given the chance... will talk to you till you pass out
he does a lot of abstract eye drawings and such

my original plan was really to shoot how he works and really the character that he is. how he gets by as an artist working on pieces of scrap wood and cardboard to conserve resources as well. is this a good idea or could there be a different, more interesting approach to this kind of story
 
i do those one day docs for fun sometimes.

my biggest tip is - shoot tons of cutaways!

Tight shots of his work. Close ups. Cutaways. All of them longer than you think you need. And a variety. I go out with this objective every time, and still see where i could have used more.

I did something similar with an artist recently.

You may be tempted to cover him in a wide at all times to see him in his element, but get (long) tight shots.

Also, one thing I learned on the last one, don't interview an artist in front of the piece he is working on when you are shooting. It becomes to distracting to see the same piece in the background that is less done (or more done) than the footage you are about to cut to.

I also use a monopod or a tripod on the cutaways (even if the rest is handheld). You dont want to cut into a zoomed-in shakey shot for 10 seconds, believe me.

Hope that makes sense.

Good luck.
 
wow oynk that was perfect
yeah im going to shoot ALOT of cutaways, and then when i think i have enough ill shoot some more!
i will be sure to use my monopod as well which ive had great experiences with while using it in nicaragua

the only thing im worried about is when im shooting the cutaways... ill miss something he does. and in that case id shoot them at the end but won't it look off if the shots are dusk and then it cuts to the artist in broad daylight?
 
Sorry for the dumb question. But what is a "cutaway". I assume it is shot to help in making a smooth cut in editing. Like the guy walking down the street while his voice from the sit down interview plays. Or a shot of him painting the painting so the edit in the middle of a sentence of the sit down interview will not be noticed in the video.

Thanks.
 
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Pretty much, a cutaway is a shot filmmakers or producers/directors use to cut up the monotony of a shot-If you have a shot of me speaking, and speaking, and why continually show me while speaking? A shot of my hands in my lap may work, or a shot of someone listening to what I say, then back to me speaking again....It breaks up your shots and gives you some variety, without boring the viewer to tears.....
 
Thanks aticHEROKEE. In my little bit of experience most of my problem has been in cutting the sentences in edit. I use the HVX in high def and when I need to cut I use the inlarge feature in FCP to up a clip 30% or so so the jump is not noticable. Does cut the resolution down though/ It also helps to jump to interviews with other people as you said such as the interviewer.
 
iFILM said:
the only thing im worried about is when im shooting the cutaways... ill miss something he does. and in that case id shoot them at the end but won't it look off if the shots are dusk and then it cuts to the artist in broad daylight?
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That's where years of editing help. I am not trying to be funny. It's just such a common concern.

If there is a great moment and you miss part of it. The thing that will save you is good audio. You can start a moment with a nice sound up and then cut in when you catch up with your camera.

Whenever I edit I always end up fast forwarding through my wide shots (which I shoot way too much of), to get to my close ups/faces/reactions. More than anybody, I need to take my own advice.

Good luck!
 
Oynk said:
You can start a moment with a nice sound up and then cut in when you catch up with your camera.
Click to expand...

bit confused on what you mean here...

but i too have a bit of a problem with wide shots and will really work on getting in tight for some nice close ups
 
Set up a nice interview first and foremost. Ask tons of questions. This will provide the basis of what to shoot for cutaways. Follow the other posters on the types. I like very long distance shots of the subject as well as very tight shots of the artist painting. Like a tight shot of the paint brush tip on the canvas, and variations of that theme.

When you edit try to follow what I call a three point edit:
1. Establishing shot - this is a set up that places the subject in the enviroment in which he works, plays, etc.
2. Medium shot - a closer version of the E.S.
3. Tight shots - variations of the extreme tight and not so extreme tight shot.

These will help you avoid jump cuts, and vary the edits so we dont see the same angles everytime.
Play around with it. Have fun. Shoot anything that comes to mind, even if it seems hokey. Ya never know. Try to shoot any onlookers that might be interested in your subject working.

Hope this helps
JD
 
I do some one-man band interviews, and sometimes I'll change up the camera mid-interview. It can be disruptive, so I try to do it at a natural break, like rest room break or taking a water break. I might move the tripod a little (staying on same side of line of course), and zoom it in (or out). It helps vary the footage a little even though I'm by myself.
 
All great advice so far. I second (third or fourth) the idea that you can never have too much b-roll. I'm working on a doc and I know I don't have nearly enough b-roll right now. And yes, stay static on your shots twice as long as you think. I can't tell you how many shots I took early on which were way too short.

For the interview - I always prepare and print out lots of questions to ask. Try to figure out what really makes this guy interesting and ask questions that really get to the heart of that. sometimes asking those silly open-ended Barbara Walters questions offer the best responses (but not "If you were a tree, what kind of tree would you be?") Maybe ask him the first time he knew he had a talent for art. how does he define success? what was his worst failure, if any? How would his art change if he were making his stuff in Dubuque, Iowa rather than in NYC? If he's really fearlessly outgoing ask him what makes him clam up and become shy. What does he think the role of the visual artist is in contemporary culture? how is that different than making art in Renaissance, Florence like Michelangelo or in the days of early cave paintings? It really helps to have questions written down but don't get so consumed in making sure you get to all of your questions that you fail to listen to his responses and ask spontaneous questions, too.

I always recompose a new shot with each new question - some medium shots, some more close up and some super tight where part of the head is cropped out of the frame. I also vary the position of the subject's head in the frame and make sure it's not always centered in the frame.

Good luck!
 
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