1. The Mechanics of Documentary Storytelling

2. What We’re Gonna Talk About Story structure Story structure Video technique Video technique Scripting technique Scripting technique Editing technique Editing technique

3. Story Structure: 3 Parts The Tease The Tease The Body The Body The Conclusion The Conclusion

4. The Tease Allows viewer to focus on what the film is about Allows viewer to focus on what the film is about Introduces one or more principal characters Introduces one or more principal characters Establishes setting/location critical to the story Establishes setting/location critical to the story Presents a conflict/set up a problem/asks a question Presents a conflict/set up a problem/asks a question Sets the tone for the film Sets the tone for the film Sucks in the audience - hopefully Sucks in the audience - hopefully

5. The Body The main plot; the meat of the story The main plot; the meat of the story Get to know the characters, what they're doing and why they’re doing it Get to know the characters, what they're doing and why they’re doing it See the action unfold See the action unfold The body usually makes up 80% of a documentary The body usually makes up 80% of a documentary

6. The Conclusion Wrapping up, giving closure Wrapping up, giving closure Recaps point of story Recaps point of story Whatever you promised or asked in your tease needs to have been delivered Whatever you promised or asked in your tease needs to have been delivered

7. Example 1: The Soccer Match Tease: Meet Sarah, the team captain; Former county champs, going through a rough patch About to compete against current champions Body: Get to know the team; what are their strengths? What challenges do they face? Experience leadership of coach, individual members Climax: Match vs the champs. What happens? Who wins? Conclusion: Reactions of the captain and team mates How did the experience change them?

8. Example 2: The Boardwalk Tease: Establishing shot of boardwalk, montage of activity; ask what the boardwalk means to Atlantic City Body: History of the boardwalk; archival footage from library, old postcards; interviews with community members, parents, grandparents; today’s boardwalk Conclusion: Summarize its history; next generation of kids growing up here; continuity of boardwalk in the life of the city; end with grandfather and grandkid strolling into sunset

9. Video Technique Footage must always serve the story Footage must always serve the story Establishing shot: wide view providing context Establishing shot: wide view providing context (think sitcoms: Outdoor shot of Cheers, Seinfeld restaurant, Friends apartment in NYC) Interviews: typically head and shoulder shot - close, but not too close. Interviews: typically head and shoulder shot - close, but not too close. Zooming in for intimacy, intensity Zooming in for intimacy, intensity Zoom forces viewer to focus on something Zoom forces viewer to focus on something

10. Video Technique, Continued Wider shots to see interview subject in context of a particular situation Wider shots to see interview subject in context of a particular situation Odd angles add intensity ("God shot," MTV shot) Odd angles add intensity ("God shot," MTV shot) Action style, keeping things moving: either characters move or the camera moves Action style, keeping things moving: either characters move or the camera moves Lots of “talking heads” feels like TV journalism Lots of “talking heads” feels like TV journalism Shooting same thing from as many angles as possible - creates more editing options Shooting same thing from as many angles as possible - creates more editing options

11. Scripting Technique Script follows your story structure: Script follows your story structure: Beginning, middle, end (Sounds obvious but not always easy) Uses at least one of two elements: Uses at least one of two elements: Narrator voice and character voice Most documentaries use both Most documentaries use both

12. Script Narration and POV Narration always has a point of view Narration always has a point of view Third-Person Narrator Third-Person Narrator (narrator never seen, just heard; disinterested) Self-injected narrator (seen, but not in plot - 60 Minutes, TV journalism, Michael Moore) Self-injected narrator (seen, but not in plot - 60 Minutes, TV journalism, Michael Moore) Character narrator (”I’m Priscilla Presley, and this is our family’s story...") Character narrator (”I’m Priscilla Presley, and this is our family’s story...") No narration: characters speak for themselves No narration: characters speak for themselves Example: Riding the Rails

13. Scripts are heard, not read Narration isn't literature - it's oral, conversational Narration isn't literature - it's oral, conversational "If a three-syllable word can be said in a one- syllable word, change it!" "If a three-syllable word can be said in a one- syllable word, change it!" - Nat Geo scriptwriter John Goodman Tone of narration shouldn't vary during the documentary Tone of narration shouldn't vary during the documentary Multiple narrators don’t always work Multiple narrators don’t always work Use lots of action verbs - avoid overuse of descriptive adjectives and adverbs. Use lots of action verbs - avoid overuse of descriptive adjectives and adverbs. Let the visuals be your adjectives

14. Editing Technique: Music Music can be a powerful element Music can be a powerful element It’s often a character in its own right It’s often a character in its own right Example: Beach Clip Example: Beach ClipBeach ClipBeach Clip

15. Editing Technique: Pacing Pacing of edits affects the tone Pacing of edits affects the tone Faster edits picks up the pace, but requires more footage! Faster edits picks up the pace, but requires more footage! Slower edits means slower pace, but you get to milk your footage Slower edits means slower pace, but you get to milk your footage Example: Parade Clip Example: Parade ClipParade ClipParade Clip

16. Editing Technique: A-Roll vs. B-Roll A-Roll: your primary footage (interview subjects in particular) A-Roll: your primary footage (interview subjects in particular) B-Roll: secondary footage used to support interview or narration, also used to cover errors like “jump cuts” B-Roll: secondary footage used to support interview or narration, also used to cover errors like “jump cuts” A-Roll is melody, B-Roll harmony A-Roll is melody, B-Roll harmony When editing, you generally go back and forth When editing, you generally go back and forth A-Roll of soccer match - B-Roll of fans - A-Roll of soccer match Interview subject - B-Roll of what they're talking about - Interview subject Example: The Guitarist The GuitaristThe Guitarist

17. Editing Technique: The Four Transitions Cut: simplest transition from one shot to the next, usually in same location and time frame Cut: simplest transition from one shot to the next, usually in same location and time frame Dissolve: graduate transition where shots overlap; often used to show change in location/time Dissolve: graduate transition where shots overlap; often used to show change in location/time Wipe: special effect transition where one scene seems to "wipe away" the other scene Wipe: special effect transition where one scene seems to "wipe away" the other scene Fade to Black: Scene literally goes black; Fade to Black: Scene literally goes black; end of chapter or story Example of transitions: India footage Example of transitions: India footageIndia footageIndia footage

18. Remember: Always Serve the Story! All of your tools should be used to contribute to telling your story: Video footage Video footage Characters Characters Narration Narration Music Music Edits Edits It’s like composing a symphony: Each instrument contributes to the whole package!

19. Project #4