I need more knowledge how to do a documentary, with a camera. So "techniques" how to make the protagonists Sun so that coordinated the film gives the appearance with multiple cameras have been rotated.
To say these people then, "Can the same movement again please do it again," "may wait until the camera man goes there and start running on our sign," "Come here I want to ask the Page up interview short." -> You know, after a while it is always accompanied by an interview situation with all parties involved.
Should we really act so much interest with the subject?
I somehow can not imagine fully pointed at the television is made. Will it learn, however.
Antwort von WoWu:
You speak of documentation ...? You want to give the impression of multiple cameras? .... Then you will have to work with multiple cameras. Why not synonymous? In the documentation you have usually no second chance. This is different documentary work of scenic work.
Antwort von aight8:
What is your picture with others from around the score? I am interested in almost everything. So with all this coordination.
Antwort von B.DeKid:
The sticking points on the floor and the actor always moves in the same field until the scene is in the box
Through various settings and the interface looks just not you.
With the documentation you take the field with what one sees now and just used it.
Since then nothing is with ... "Do that again, I put the camera to" ;-)
MfG B. DeKid
Antwort von Axel:
I would like the art of filming a documentary - Learn with a camera so that later added dynamic images and even the feeling that with multiple rotated camera gets added - so no actors or scenic shots.
We are not talking only of a way to turn, but to cut a kind of synonymous. The parallel perspectives of multiple cameras to cut s.besten with a nonlinear editing, the Multicam editing controls.
However, there is a blatant misconception. Strongly emphasized continuity indicates "real time", "Live", as in a Fußballübetragung or a live concert. Efforts are made to frequent change of setting something like Dynamics hineinzuprügeln through, but if not from the self-filmed show, which is completely hopeless. A television report relating to section was not for nothing that cuts through space and time. Dynamic effect, which is accentuated, see eg here .
Are you all about present s.einen scene as homogeneous as possible, you can introduce it as standard textbook on the long shot and eighth synonymous next that the viewer can be oriented in space to avoid adding usAchsensprünge. Direction and quality of light should remain the same (White Balance, Exposure / Lighting). And finally, should the sound on and moisten the same space. For example, in a setting you can hear traffic outside of a relatively unobtrusive, because now was the window, the next time it had been made to someone. This is an acoustic Jump Cut, which is noticeable more than a visual one.
Antwort von Bernd E.:
... To these people then say "Can you please do it again the same movement again," "Can not you wait until the camera man goes there and start running on our sign" ... I have to act real interest so strongly with the subject? .. .
can "document" is a very next section, which can not be lumped together. One form of interaction with your protagonist is of course the idea, but how exactly what happens depends, of always starting from the specific circumstances. Are you turning, for example, with a boxer, then you can not ask him right in the struggle to make a break until you went to another page from the ring, and then the chin of it all over again to repeat the same. In training, however, would be no problem - just as if you film a china painter, who painted dozens of pieces each day. Turn it the painting of three identical cups from three perspectives, and you can cut together behind the very beautiful so that after a multi-camera rotation looks like.
... There for readings as you deal with such a situation? ...
If you want to really go into the matter, I recommend the book "Directing the Documentary" of Michael Rabiger which covers over 600 pages of pretty much all facets of such productions. If you are at war with English: As far as I know, there is now synonymous like a German translation.
Antwort von nicecam:
As grad said - Doku is a broad field.
@ Aight8: You seem to want to create it on it, only to shoot with a camera, but it should look for more! sure to practice purposes quite well. Since you have already cut the shoot s.den think and outsmart the section.
On the Page you are always safe with multiple cameras. With HDV, almost compulsory (if no picture may be lost) - just simply because the risk of drop-outs is always given.
You've got the XH-A1. Why not a HV-20/30/40 use the mark.
(...) To these people then say "Can please do it again the same movement again," "may wait until the camera man goes there and start running on our sign," "Come here I want to ask the Page up interview shortly . -> You know, after a while it is always accompanied by an interview situation with all parties involved. (...)
Yes, what now then? Nicht-szenisch/-inszeniert work or coaching your documentary is not acting but because of the scenes?
Documented in the true sense, the companion of one you can not be influenced / affected sequence (invisible) with the camera. That's what you want, according to your entry post. If you want to achieve a "real" multi-camera look, then you work just staged according to your next post and I'll answer the fact questions with a global "Yes", what you though would have a little common sense also can supply.
Actually, that's obvious: You could with a camera filming now not even a non-repeatable, real documentary sequence from several perspectives, you get - except of pan & scan or cropping in the mail - no way synonymous multi-camera Look! Want this yet, you turn only to a limited extent-documented and do not therefore just what you asked us!
Antwort von Axel:
I think aight8 confused with reportage and documentary reportage with recording. I've been to so far two plays of a three camera types cut, I did not. But that the cut always stayed on the connections, everything had to look like filmed theater, two hours of theater without threatening atmosphere, a skip-base. But with only a camera is not something natural.
To documentation there were already incredibly long threads. Conclusion: A Documentary, which devotes itself to realism (including real-time) is not authentic. It is a position that condemns a perspective and thus s.Manipulation to some extent.
Antwort von nicecam:
I think aight8 looks more like a technical handle.
... A documentary, which devotes itself to realism (including real-time) is not authentic. It is a position that condemns a perspective and thus s.Manipulation to some extent.
Axel likes to philosophize :-)
We do not manipulate the time? In the video - and even more pictures?
Bursts but perhaps the scope of this thread.
Antwort von DWUA:
... A documentary that devotes itself to realism (including real-time) is not authentic. It is a position that condemns a perspective and thus to a certain extent s.Manipulation ...
Was yesterday: www.3sat.de/page/?source=/specials/thementage/ard/150448/index.html (Delivery of 6 clock in the morning almost around the clock.) Not only the "what" was interesting, especially the "how" and "of whom".
"Damn," a perspective or a point of view are just speed traps or permanently installed surveillance cameras. "Manipulation", however, is always in play when it comes to the computer-animated fleet of the chief eunuch Zheng He's or the niceties that the great-great-great niece of Humboldt be met with in Mexico.
The very first place anyway manipulation of the "negotiation" of the Budget instead. This applies to the universe as well as for the Kaulquappentümpel.
Look at times but the approach and the style of professional in (on) made documentaries. There are more "theme days"!