Damn, forget about boom in frame - we've got something new happening in this doco.. it's called.. DEDO IN FRAME!
Okay, alright, so the dedo was not switched on, but it's there alright. And it's right in the background of a shot we plan to use with its synched dialogue.
I realise now just how crucial seeing Week 7's lecture was... We were given the chance to visualise just how we would need to set our own lights up to create the desired effect... I mean, it might seem pretty straight forward to outsiders but there is actually a shitload of thought that goes into each and every shot, and even though you can't properly storyboard/map out a documentary from shot to shot, you do wield a great degree of influence over the aesthetic feel. Fortunately, the dedo being in the shot does not affect the overall look of our rough cut too badly... could have been a completely different story if this were drama, though.
I guess the idea is, no matter what genre you're working with, you HAVE to walk onto that set as prepared as you possibly can be - i.e. with the right tools, the right crew, if you want to create the perfect project.
About Me
- Ariel
- Melbourne, Australia
- I'm a fourth-year (Honours) Professional Commie.. err.. Communication student at RMIT. I'm pretty well obsessed with any form of media you can throw at me, and have massive interests in politics, public relations, philosophy and basically anything artsy/wanky. I have an unnatural love of theorising things, so most of what you read is likely to consist of heavied doses of inane drivel. BUT! Look on the bright side - at least most of it's humourous, and has a point hidden in there somewhere (though don't ask me to explain what it is, most who read this know me and are thusly mindful of my soapbox tendencies!).
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