Putting down some learnings from my (now decent) experience doing factuals, all the way from my Vh1 and MTV times to the Jawa and Instagram projects.
This is part one of two: in the second post I'll talk specifically about the production side of things for non-fiction content.
1. Narrative - This might seem counterintuitive considering a scripted narrative would defeat the purpose of the format. But in this context, a narrative is more of an arc, an ebb and flow of emotion, a build-up and release of tension that augments the story and keeps it engaging. Music work helps tremendously in getting a better understanding of this device.
2. Ethos - Brand values, ideals, ethics... a marketing guide. Often filmmakers don't know what creative direction to take with a story that is compelling but will need a certain kind of treatment before a brand wants to associate with it. I like to present a breakdown of all the potential routes and discuss what kinds of reactions each might elicit. Then it's about drawing a middle-ground between what's best and what sells.
3. Referencing - Take time out and do this right. Find a balance between what works and what looks cool. Go to obscure sites, watch old films and new, and find frames that tell stories by themselves. Vimeo will help you, but half the world's filmmakers also use it, so your deck won't be any different (unless that is what the client is looking for). I like to go for frames that will be a challenge to shoot. It's fun to push yourself.
4. Recce - Extremely critical, though not always possible. But whenever it is, insist on doing one. It'll help the DPs and the sound unit in determining interview angles, the path of the sun, ambient sound levels, etc. Make copious notes, and try and make mental images of what your scenes will look like. This will save you a lot of time and energy on shoot day.
5. Vibe - In fiction, the director tells the actor how to become the character. In non-fic, the director creates an atmosphere that turns the subject into the most authentic version of themselves. This is important, especially in projects that explore deeply personal stories and experiences, and a certain vulnerability is paramount.
6. Moments - All filmmaking is about moments. In fiction, you'll do retakes until you get your actors to deliver those moments as beautifully as possible. In non-fiction you don't have as much liberty with retakes, so don't hesitate to keep your cameras and audio rolling until the full story is out. Intuit when the subject has more of substance to say, and when they're done.
7. Triggers - Sharing experiences is triggering. If you sense that your subject is having a hard time speaking about something, don't be afraid to cut. Remember - humanity first. Walk up to them, break up the unit for a bit, and go for short walk. Talk about something else or hold space to listen. Lightening up the mood might not be easy, but take it one moment at a time and ease them back in, only if you sense it okay to do so.
8. Flexibility - A run & gun unit should function as one. If you're not wrapped and ready to bolt for another location within 10 minutes tops of finishing one location, you've got too much equipment at hand or a slow crew. Two cameras, a portable gimbal, tripod, monopod, boom mic, portable mixer and a couple of LEDs & reflectors are all I like to carry. Eight times out of 10 it's more than I need.
9. Endgame - Having a mental image of the final product during shoot is helpful, but might pigeonhole you into shooting only what the brand wants. I find that with profiles, crisscrossing a bit and shaking up the vibe every now and then makes things interesting. Also, do long interviews instead of short ones, and do multiple takes of important call-outs because later takes are always way better than first ones.
10. Point - A majority of people not used to being interviewed on camera will be hesitant to speak at first, then overshare when they find their footing. Ensure that it's neither of these extremes, and that the storytelling - however grave the story - is balanced. Every now and then, at the risk of breaking their flow, chime in with a very gentle: "okay, so coming back to the point..."
11. Style - Also known as mood/ vibe shots/ cutaways. Footage that provides a visual break from piece-to-camera. You'll have the interview and prep time to figure out the emotional arc of the story, and consequently your b-roll. Nine times out of 10, let the b-roll complement the talkie. But every once in a while go experimental. Play around with shot design - composition, frame rate, exposure, technique - and find a style.
12. Audio - Music selection takes time and effort. I let the platform and brand ethos dictate my musical choices. I've worked with music libraries and composers, and both work out depending on what you're looking for. What indubitable is that re-recording, design & foley, and mix can really help lift the mood of the soundtrack.
13. Deliveries - Make edits crisp, because keeping your audience engaged is a big challenge. As much as factuals are about information, no one sticks around long enough to watch a boring film. Make it entertaining, and use build up and release smartly. Needless to say, make hi-res deliveries. If re-framing vertically for IG, make sure the essence of the frame is not lost. A good grade and mastering artist will make or break your film.
The beauty of non-fic is its unpredictability - you go in wanting a certain story, you come out with 2 or 3 (sometimes better ones). Sometimes you discover a new way of telling the same story on edit. You might have to shoot patchwork sequences to bring a proper closure to certain arcs. You might have to fit something in a day prior or later than scheduled if a subject is delayed.
From harsh weather and bad health to transport issues and scheduling conflicts, be prepared for anything. If on a tight budget or on an outdoor schedule, it might be unfeasible to do a second round of interviews, but definitely consider it if you have the opportunity. This adds layers to what might otherwise potentially remain a thin narrative.
Most important - have fun! Not everyone gets the chance to travel, speak to people and shoot beautiful scenes while getting paid for it. It's a big privilege, so use it wisely.
No comments:
Post a Comment