Documentary filmmaking is a creative and challenging process that requires a lot of planning, research, and flexibility. One of the most important aspects of making a documentary is having enough footage to tell your story effectively and engagingly. But how do you ensure that you have enough footage for a documentary? Here are some tips to help you achieve this goal.
Before you start filming, you should have a clear idea of what kind of shots you need to capture your subject, theme, and narrative. You can use a shot list, a storyboard, or a script to outline the types of shots you want, such as wide, medium, close-up, or cutaway. A shot list can also help you organize your shooting schedule, locations, equipment, and crew. Planning your shots can save you time, money, and energy, and ensure that you have enough footage to cover your main points and transitions.
In my experience, the more you plan, the smoother your production goes. Documenting someone’s story should be approached with the same intentions as a narrative film script would provide. Doing Pre-interviews with all of your subjects and hearing their hobbies, interests, and emotions are great ways to visualize the end story before entering into the production. I’ve had people tell me we are approaching their project like a wild life doc, and just waiting to see what happens. In my experience this approach has caused more work all around and a weaker product at the end. Planning out your sequences and visuals + getting the planned, in the moment shots, will give a polished and beautiful story that honors the people we are documenting.
As a filmmaker I make no big difference between a fiction and a documentary film. Those differences can be summed up into several alteration on the Mise-en-scene and narrative approach that one or the other genre would allow you to explore. When in fiction actors play characters, in documentaries actual people play themselves. When in fiction we truly invent the story and separate that from reality giving in the universe of the characters by applying its authentic forces, mechanics and physics, in documentaries we identify those forces and document facts we find relevant to tell a story and unfold a conflict. The use of a treatment helps to get shot list and predict a number of plot points (but not everything as in fiction). Open to more
Agreed, as a documentary DOP you’d expect that the most important asset you have is your eyes- however what really gives you the edge is listening: -Making checklists of what needs to be covered post discussion, how to listen for pauses in scene coverage for reframing purposes, getting used to a subject’s specific rhythms in order to predict their natural movement and communication patterns, hearing when someone is saying something important that needs coverage and being prepared to do so when covering multiple subjects, and lastly being on the same page with multiple camera operators and developing the trust needed when doing scene coverage and allowing the organic nature of what’s happening dictate what the camera sees.
Research the subject and scout the location before you begin the shoot. I try to shoot with editing in mind and also pick up additional environmental shots that help set the stage or bridge transitions.
In my experience, the best ways to ensure you have enough footage for a documentary include, of course, more cameras filming on production, and having a strong crew who consistantly discuss and review what shots are still needed, and it also may be most helpful to budget for an emergency post-prinicipal photography pickup day or two.
Even if you have a detailed plan, you should always shoot more footage than you think you need. This will give you more options and flexibility in the editing stage, where you can shape your story and refine your message. Shooting more footage can also help you capture unexpected moments, reactions, and details that can add depth and interest to your documentary. You should aim to shoot at least 10% more footage than your planned duration, and vary your angles, perspectives, and movements.
When shooting b-roll, give yourself a lot of options of different size or speed pans, tilts, etc. Establishing shots - get that massive xws if you want to feel small. Drones, osmo or gimbels provide amazing production value. Atmospherics speak volumes, shoot the feel you're going for. Like with paranormal shows give yourself a little dutch tilt to feel off-kilter, shoot dead leaves blowing in the wind, shoot dirty thru a spider web. With interviews always ask additional questions and ones that aren't just about the facts, ask about how they felt in the moment, what the atmosphere felt like, etc. Those are color questions that give you an insider look at an event whether it's some great historical moment or a haunting. Visuals speak.
In my experience, you can never have too much b roll for a documentary project. B-roll is one of the elements to keep the story moving forward. Viewers may lose interest when watching a talking head for too long. You also dont know if the direction of the story may change in the post-production phase of the project. If you are unable to go back to the location to shoot additional b-roll, shoot as much as you can while there. Remember: wide, medium and close shots to keep it interesting
Beyond meticulous planning, the mantra "shoot more" remains paramount. Exceeding your initial shot list provides a safety net during the editing process, offering room for creative exploration and refining your storytelling. This surplus footage becomes a reservoir of unexpected gems—capturing unscripted moments, genuine reactions, and intricate details that infuse vitality into your documentary, fostering a deeper connection with your audience.
It is incredible how much footage I've used from times I've let the camera roll a bit after I've finished with the main shot. In a documentary you never really know what's going to happen so it's worth keeping the camera running, particularly if you're in an interesting location. The subject also may give you snippets of gold when they think you're not recording.
Cobrir o máximo possível, n?o existe footage a mais, é fundamental garantir o que está planeado e saber "brincar" e improvisar no dia da shooting. A shotlist serve para garantir que n?o faltam pe?as do puzzle na edi??o, n?o significa que n?o possamos ir para além dela ou até saber mudar de dire??o com base no que acontece no dia.
Sound is a crucial element of documentary filmmaking, as it can convey information, emotion, and atmosphere. However, relying on the camera's built-in microphone can result in poor sound quality, especially in noisy or windy environments. Therefore, it is advisable to record sound separately using a dedicated audio recorder and a microphone. This will allow you to capture clearer and richer sound, and sync it with your footage later. Recording sound separately can also help you obtain additional sound elements, such as voice-overs, interviews, or ambient sounds.
Spend time before filming visiting the locations so you can preempt problems and find solutions. Don’t skimp on kit, you need to not be worrying about it failing, and make sure you know all your kit inside out - time menu diving on a shoot is potentially time losing great footage.
Hire a professional audio technician. I’m a video producer, but also a 20 year audio veteran. It’s one of most overlooked positions in our industry. Modern double system sound recording definitely gives more flexibility and options, but a competent sound department can save post production time, which equals money.
-Hire a sound person -Have I mentioned hiring a sound person? -Rely on more than one microphone for all interviews and live action. I.E. a boom&lav combo for an interview or multiple lavs on multiple subjects during live action -Make use of Timecode syncing and use an off camera audio mixer (see points one and two about hiring a sound person) -take time to capture nat. sound. Wildlife, unique environmental sounds, ambience, room tones- build a soundscape
I always plan out sound as part of the location scouting process - especially for interview shoots. Very often a client or creative director will plan a location shoot without thinking this through - and it will literally make or break your day if you're filming scenes with people speaking. When planning your locations, think deeply about how noisy it is or could be, the time of day you're filming and foot traffic play into this as well.
For talking heads interviews, the most important microphone is a close-mic-lav. These can be paired with an overhead boom mic. This provides the best option in post-production for getting the perfect sound from your on-screen talent.
Having enough footage for a documentary is not enough if you lose it due to technical issues, accidents, or theft. Therefore, it is essential to backup your footage regularly and securely. You should have at least two copies of your footage, one on an external hard drive and one on a cloud service or another device. You should also label and organize your footage clearly, so that you can find it easily and avoid duplication or confusion. Backing up your footage can protect your work and save you from frustration and stress.
It is so important to back-up your shot media. Make sure you're sent out with ample stock and drives to make it possible to send a drive back to the office while you're on the road. Great to have an actual DIT person with you to make that happen smoothly, you don't want to overburden the producer when they should be concentrating on story. I cannot stress this enough. We often fed ex drives to the office and carry another set with us. We make sure they've been delivered and digested into the system before shooting again on those cards.
verry Important! Use shooting breaks for backup checks of the files and make at least one additional backup copy. If you have a professional DIT, this is of course an advantage. Keep at least one copy of the data in another location.
My rule of thumb is I never go to sleep without the footage backed up on two seperate drives. The other rule is the media cards never leave contact with me until this happens. They are going straight from the camera into a media pouch in my pocket and staying there. This is the bare minimum on a bare bones shoot with minimal resources. If it is possible to have a DIT on location that is ideal but many times in low budget doc film making you will be filming and handling the footage yourself.
Sound Designer
Igualmente se hace con sonido , me gusta siempre registrar la toma en dos SD-Card simultaneas mientras ruedo y a su vez lo guardo en dos discos externos hasta el final de la postproducción. Así garantizo que no se pierda la información por algún fallo de hardware.
It is extremely important to backup your footage on multiple devices and hardisks as it can be used efficiently while editing the final piece and you don't have to run it again and again in case of any errors.
Finally, you should review your footage periodically and critically, to assess its quality, relevance, and coherence. You should watch your footage with fresh eyes, and take notes on what works and what doesn't, what needs improvement or reshooting, and what gaps or questions you have. Reviewing your footage can help you identify your strengths and weaknesses, refine your vision and focus, and plan your next steps. It can also help you avoid wasting time and resources on unnecessary or redundant footage.
Watching down your footage is the most exciting part. Things that didn't come across in the moment can suddenly pop out, and things that SEEMED important sometimes no longer do. This is when you actually start dreaming about how to shape your movie. Possibly the MOST important part of this is marking your footage while you watch so everything is easy to find once you're editing again. Mark important sound ups, interviews and Broll shots so they can easily be found later and you're not looking for a needle in a haystack.
I like to begin editing early on, once you have a chunk of footage to use. Kind of like using the timeline as a working storyboard. If there is content in the script I have not yet captured I'll put temporary stock content in for timing and feel. This way I can begin to look at audio options and it helps convey general direction to the client.
Hay que revisar casi en el mismo día el metraje. Podrás adelantar sesiones futuras, contratiempos e incluso volver a grabar cosas que se olvidaron. Sin contar las veces que puede haber archivos corruptos y esto hará que puedas volver a repetir o intentar repetir la escena
Schon beim Dreh sorgt der DIT-Mitarbeiter nicht nur für die Festplatten-Sicherung der Aufnahme, sondern überprüft auch die Qualit?t der Aufnahmen.
Reviewing, logging, and sorting footage will make the edit so much easier and ensure an amazing shot doesn’t get overlooked in all the mess. Organizing footage into folders based on their content makes it easier to find those shots again during the edit.
Leave some budget for "pickups" (if the content permits). A day or two of shooting b-roll and/or pickup sound bites after you've mostly finished your edit can transform your project from good to great.
I work with the producer and/or director to provide a ton of supplemental shots and scenes. Nowadays, there is so many ancillary outlets and ways for viewers to deep dive into topics. And take a ton of stills! Very important for the production to market the show or movie
There is no way to ensure we will have enough footage for a documentary. You'll always find discovery and another layer when you put devotion into looking into the subject character or theme's footage for the documentary and feel like you need to do pick up shoots. Still, most of the time, you don't have time and budget. so instead of looking for more footage, you may also work on how to make next-level documentaries with what you have now. Some time-limited environments allow you to find a great expression or way to tell a story. Not telling or not showing is also an excellent tool for creating a documentary; the filmmaker's mission is to evoke viewers to think about the matter, not make them satisfied and turn off the screen and leave.
The observational shooting style really helps here - really watch what’s happening, roam and take in your surroundings. Let your camera be a human witness/character in the space, and worry just as much about missing the reaction as you are the initial action. The best documentaries explore, and not just present.
My biggest piece of advice when producing documentary content is to be open-minded. The art in making these films is to be led by your subjects and your surroundings, not necessarily by your own vision. If you are rigid, uncompromising and unwilling to explore other avenues, you may miss the golden story lurking just behind the horizon. Sure, have an idea and a vision of roughly where you want the film to go but remember, this is a documentary - allow yourself to be moved and inspired.