Making Documentary Films and Reality Videos: A Practical Guide to Planning, Filming, and Editing Documentaries of Real Events

by Hampe

• ISBN13: 9780805044515
• ISBN10: 0805044515
• Format: Paperback
• Copyright: 1997-01-15
• Publisher: Holt Paperbacks
• More Book Details
• Purchase Benefits

Summary

Making Documentary Films and Reality Videosis the perfect text for students of filmmaking who would like to make a documentary. Barry Hampe, who has made more than 150 documentary films and videos, traces the two main approaches to documentary--recording behavior and re-creating past eventsand shows students how to do both effectively. Covering all the steps, from conceptualization to completion, the book includes chapters on visual evidence; documentary ethics; why reality is not enough; budgeting; and casting, crew, and equipment selection. Barry Hampeis a writer-director and film/video teacher who has made more than 150 documentaries and information videos. He has also owned production companies in Philadelphia, Honolulu, and Las Vegas. Hampe, a longtime veteran of the business of documentary film and video production, here traces the two main approaches to documentaryrecording behavior and re-creating past eventsand shows students how to do both effectively. Covering all the steps, from conceptualization to completion, the book includes chapters on visual evidence; documentary ethics; why reality is not enough; budgeting; and casting, crew, and equipment selection. "Clear, informative, and a valuable resource that combines professional expertise with personal experience."Betsy McLane, Ph.D., Executive Director, International Documentary Association "A thoroughly researched and informative guide for new documentary makers."Pat Mitchell, President, Turner Original Productions "Barry Hampe'sMaking Documentary Films and Reality Videosis a road map for all those wanting to make a documentary. Such a book has been needed for so long . . . There is information here that cannot be found anywhere elseparticularly the section on visual evidence."Jeannette Paulson, Creative Director, Hawaii International Film Festival "This is one of the stronger documentary texts I've ever read (and I've read them all). Well constructed and easy to follow, while providing strong information. I look forward to using it in my Field Documentary class."Frank Barnas, Director of Student Productions, Greenspun School of Communication, University of Nevada Las Vegas "I thoroughly enjoyed the book. Hampe's narrative style is clear and concise with just the right amount of humor. While acknowledging the importance of technical expertise, he focuses on those aspects of filmmaking craft that create compelling stories. Careful reading by first-time filmmakers will allow them to avoid pitfalls many of us have made. Investing a few hours of time will pay many dividends to Mr. Hampe's readers."Clark Bunting, Senior Vice President/General Manager, Animal Planet, Discovery Networks "Fascinating and very thoroughcovers everything one needs to know to make a documentary."Linda Seger, author ofCreating Unforgetable Characters "Barry Hampe has written the definitive guide-map through the documentary production 'minefield.' His step-by-step simplicity makes the book must-reading for not only novice practitioners but for reality storytellers of every experience level."Stanley H. Moger, President, SFM Entertainment

Author Biography

Barry Hampe, writer-director and film/video teacher has made more than 150 documentaries and information videos and has owned production companies in Philadelphia, Honolulu, and Las Vegas.

Table of Contents

PART I: MAKING ANALOGS OF REALITY	1	(90)
1. It Looks So Easy	3	(12)
It Takes More	4	(1)
The Camera Won't Do It for You	5	(1)
Good Images Don't Just Happen	6	(2)
A New Interest in Documentaries	8	(1)
Documentary Genres	9	(3)
About This Book	12	(3)
2. How Things Got This Way	15	(15)
The Hollywood Model	16	(4)
Breaking the Rules	20	(2)
Cinema Verite Changed the World	22	(1)
The Reality Problem	23	(4)
Two Major Approaches to Documentary	27	(3)
3. Reality Is Not Enough	30	(6)
The Form of Reality	32	(1)
High Degree of Abstraction of Film and Video	33	(1)
Digitally Enhanced Images	34	(1)
Every Frame Requires a Decision	35	(1)
4. Recording Human Behavior	36	(13)
What It Takes	37	(1)
How Not to Record Behavior	38	(3)
A Set of Ideas about Documenting Behavior	41	(8)
5. Visual Evidence	49	(20)
Miss Darling and the Scene That Wasn't There	50	(2)
Keep It Visual	52	(1)
When Is a Film Not a Film?	53	(2)
Gathering Evidence	55	(2)
Behavior as Visual Evidence	57	(1)
Recording Visual Evidence	58	(3)
Editing Visual Evidence	61	(2)
Interviews as Visual Evidence	63	(1)
When Pictures Contradict What Is Said	64	(2)
Unreal Images	66	(1)
Visuals, Empty Shots, and Visual Evidence	67	(2)
6. Verisimilitude in Documentary	69	(8)
Verisimilitude in The War Game	70	(1)
Verisimilitude in a Documentary	71	(5)
Verisimilitude and Editing	76	(1)
7. Ethics in Making a Documentary	77	(14)
The Question of Releases	78	(1)
The Need for a Documentary Ethic	79	(4)
Informed Consent	83	(1)
The Eye of the Beholder	84	(2)
Areas of Confusion	86	(2)
Making Our Own Ethical Judgments	88	(3)
PART II: PREPRODUCTION	91	(106)
8. Steps in Producing a Documentary	93	(10)
Preproduction	93	(4)
Production	97	(1)
Postproduction	98	(5)
9. The Documentary Idea	103	(16)
What Is the Concept?	103	(6)
Conventional Concepts	109	(3)
Planning	112	(3)
Documenting Behavior or a Unique Event	115	(4)
10. Writing a Documentary	119	(23)
What Does the Writer Do?	119	(1)
The Writer's Gifts to the Production	120	(6)
Proposal Writing	126	(1)
Treatment	127	(1)
Film Treatment: A Young Child Is...	128	(5)
The Script	133	(3)
Writing the Words That Are Said	136	(3)
Suggestions for Documentary Scriptwriters	139	(3)
11. Scouting	142	(9)
Lighting	143	(3)
Sound	146	(1)
People and Things	146	(1)
Fees, Permits, and Minders	147	(1)
Convenience	147	(1)
Crew Comfort	147	(1)
Out-of-Town Locations	148	(1)
Location Costs	148	(1)
General Considerations	149	(1)
Planning for Spontaneity	150	(1)
12. The Documentary Crew	151	(13)
Who Does What on a Production	152	(7)
Who Will Do What on Your Production?	159	(2)
Finding and Choosing a Production Crew	161	(3)
13. Equipment	164	(9)
Film or Video?	164	(2)
Camera Equipment	166	(1)
Sound Equipment	167	(2)
Lighting and Grip Equipment	169	(1)
Miscellaneous	170	(1)
Should You Rent or Buy Equipment?	171	(1)
Be Sure You Have an Equipment Meister	172	(1)
14. Scheduling	173	(12)
Preproduction	174	(1)
Production	175	(2)
Location Shooting	177	(1)
One Day in a Hospital	178	(5)
Then There Are Those Other Days	183	(1)
Scheduling Postproduction	183	(2)
15. How Much Will It Cost?	185	(12)
Factors Affecting the Budget	186	(2)
Above- and Below-the-Line Costs	188	(1)
A Budgeting Checklist	188	(9)
PART III: PRODUCTION	197	(80)
16. Recording Picture and Sound	199	(19)
Zero-Level Knowledge	199	(3)
Recording for Editing	202	(1)
A Documentary Is Made with Light	203	(4)
Camera Work	207	(6)
Documentary Sound	213	(5)
17. Working on Location	218	(4)
Preparation	218	(1)
Be a Good Visitor	219	(1)
Time Off While on Location	220	(1)
Clients, Friends, and Family	220	(2)
18. Building an Invisible Wall	222	(13)
Documentary Situations	223	(3)
Temptations	226	(4)
What about a Hidden Camera?	230	(5)
19. Directing People Who Are Not Actors	235	(12)
Hold Auditions	236	(1)
You Have to Be the Professional	237	(3)
Acting Natural	240	(2)
Seven Deadly Sins	242	(3)
Learn from Working with Children	245	(2)
20. When You Must Work with Actors	247	(16)
Casting	247	(2)
Auditions	249	(3)
What Does a Documentarian Know about Actors?	252	(1)
Costume and Makeup	253	(1)
Directing Actors	254	(3)
One-on-One	257	(4)
Film and Video Acting vs. Stage Acting	261	(2)
21. The Documentary Interview	263	(9)
What Is an Interview?	264	(1)
Preparation	265	(1)
On Location	266	(2)
Shooting Options	268	(2)
Ask the Right Questions	270	(1)
Practice	271	(1)
22. Some Other Production Considerations	272	(5)
It's Hard, Physical Work	272	(2)
Your Hotel or Motel	274	(1)
Be Truthful and Be Punctual	274	(1)
Write Thank-you Letters	275	(2)
PART IV: POSTPRODUCTION	277	(38)
23. Preparation for Post	279	(8)
Protect Your Original Footage	279	(1)
Get Organized	280	(1)
Logging Footage	280	(4)
Narration, Graphics, Animation	284	(1)
Doing a Paper Edit	285	(1)
How Long to Allow for Edit Prep	286	(1)
24. Editing the Documentary	287	(22)
Transcript Editing	290	(1)
Using an Editor	291	(1)
Editing from the Script	292	(1)
Work on the Whole Documentary	293	(3)
The Importance of a Good Opening	296	(4)
Middles	300	(4)
The Ending	304	(1)
Seven Sins of Editing	304	(2)
Fine Cut	306	(1)
Getting Feedback	307	(2)
25. Finishing the Production	309	(6)
Approval Showing	309	(1)
Final Elements	310	(1)
The Video On-line	311	(2)
Finishing on Film	313	(1)
Going to Distribution	313	(1)
Enjoy It--and Move On	313	(2)
Appendix	315	(4)
Filmography	319	(7)
Bibliography	326	(3)
Index	329