After a recent meeting with Simon, it became apparent that it would help the whole team if I went through my script and highlighted the key areas, parts that we absolutely could not miss. Doing this will enable George and Cailan to plan accordingly and ensure we capture these vital sequences. As I am continually evolving the script, I decided it was best to go through it in its current state and find the sections that will be key to our story. These golden moments are now highlighted throughout the script as seen below.
This subtle change has allowed the team to understand the importance of each scene. This means that, going forward, Cailan should have at least storyboarded these key sequences and George must have a detailed schedule of when and how these key shots will be taken. It is my job to direct these scenes by providing key source material and give as much information about how I want these shot, as I will mostly be in front of the camera.
I have put together a list of reference material and what I am taking inspiration from. These have been sent to George and Cailan which allows them to understand my creative vision. It is very hard for me to lose
This is the source material I have sent to the group. This should be shown to any further camera operators to ensure we have a consistent visual style throughout:
Road Driving sequences: https://www.youtube.com/watch?v=S97vorMfyDo 30:15.
This sequence allows the viewer to see the presenter in a raw and personal environment. We should stick to this shot when the presenter is speaking. However, it would be useful to have someone in the rear seat capturing cutaways such as gear changes, wheel movements etc. They may be useful or not, but it gives us an option in the edit. It is important we keep a M/CU (at widest) at all times. But if there is a moment of a particular emotion, I want the camera operator to zoom in and capture that emotion. We ought not to worry about the camera being shaky so much in these scenes as it will never be perfectly smooth.
Drone shots following car https://www.youtube.com/watch?v=uSW5Up5V6Vg 9.07.These shots will allow us to have an instant impact on the viewer. We need to find an area that makes driving a car look more interesting from above. We could use trees or buildings as something to add to the depth of the scene. Or we could do completely the opposite and have a very quiet road with me driving along. These drone shots should be accompanied by some movement towards the subject. Repeat from various angles and closer if possible. We can then use the aforementioned road driving sequences as cutaways to inside the car.
Diary Room https://www.youtube.com/watch?v=cDMVac2nuAo 14:27 These will be highly cinematic, we need to capture that. We need one camera on a dolly capturing a wide shot and one capturing an M/CU where the presenter is looking slightly off camera. This mixed with a handheld camera that will be getting close-ups of hands, face etc. The focus of the handheld is to evoke the emotion in the viewer that the presenter is feeling.
Karting sequences https://www.youtube.com/watch?v=Rf6aNsSWpCQ 3.50.The presenter will be speaking off camera, but the camera is tight C/U. The background will be filled with the go-kart track. [We have the opportunity to walk around the track, so this will give us the chance to get some unique shots] While the C/U will be the main shot, I want to get cutaways like this of me walking around the track: https://www.youtube.com/watch?v=hJzX-Ibg_HI This will accompany the slick Karting shots Cailan has planned.
Team meeting segment: https://www.bbc.co.uk/iplayer/episode/b0107zhy/louis-theroux-americas-most-hated-family-in-crisis 45:30.There seem to be two cameras present, but one is certainly acting as the primary. The main camera focuses on whoever is speaking and gets a M/CU. If something special happens and they want to capture more emotion, they tighten that to an E/CU. This obvious movement on the screen allows this scene to feel very natural. The secondary camera is there to focus on the person oppositetothe one speaking to get the reaction shot. Both are handheld, enabling this to feel honest and real.
Entering race track: https://www.youtube.com/watch?v=YLcjfALaQh0 0.09.I know it’s a game, but we can create some really interesting shots using the architecture at Brands Hatch. We want subtle movement [while AT a C/U,M/S] of some distinguishing areas of the track. Brands Hatch sign, road signs etc. These are key in transitioning scenes.
Alex in actuality sequences: https://www.youtube.com/watch?v=PNuQMmnTpoo 0.21.The key in these sequences is to move with the presenter and keep the frame size at an M/S. Of course, we want to vary the shot and get cutaways, but the M/S will be the typical shot when walking in sequences. This allows these sequences to feel really honest and real. [This will be different for test/race day as they will be more intense]
Fitness sequences: https://www.youtube.com/watch?v=dVCquV3FriA 1:47.The main camera will act in a similar way to the “team meeting” segment, switching between the two main people. This camera will stay at an M/S throughout. A secondary camera will be capturing close-ups of Alex ONLY. This will get speaking, reactions and exercises. https://www.youtube.com/watch?v=24fdcMw0Bj0 2.47. Is a good example of these close-ups. Shows the intensity.
Alex in his room speaking about the finances “off camera to George”:https://www.netflix.com/watch/80168079?source=35 1:10.45.C/U Handheld focusing on Alex. Stays at this even when George speaks. TO INCLUDE: Close ups of typing on keyboard & Alex looking at the screen
Race License Day: https://www.netflix.com/watch/80168079?source=35 2.00.Follow Alex as he prepares to get ready for the license test. The main camera focuses on capturing an M/S. Get C/U when stationary. Secondary Camera to get a tighter shot than the main camera [GOOD COMMUNICATION VERY IMPORTANT HERE]
When on track, focus on getting intense shots: 1.06 https://www.youtube.com/watch?v=__-SYft5Edc some on tripod and some a handheld camera moving with the car. The focus is on the speed and making it feel fast & dangerous [this will be mixed with go pros]
A golden moment is capturing the point where I pass/fail the test. You NEED to roll at the right time. Get a M/S and go to a C/U after a few seconds to capture the emotion.
This is my reference material for now, but I am continually evolving this to ensure that my visual style is captured throughout our documentary, not just in specific scenes. It is very important that as director, I give clear instructions to the team of what I want, but I will also want everyone to showcase their skills. There will be situations where we go "off-script" and something happens that we didn't plan for. In this scenario it would be very important for the camera operator to know how best to frame and shoot that sequence. This is where my role as a director will be vital, as I will keep communications clear throughout the team, with ideas on how we deal with this kind of situation.
Going forward, I am going to produce individual camera position cards, which will be important especially when we have a large number of cameras, as in the license and race day. These camera position cards will give clear instructions of what I want each camera position to capture. As we are a team with finite resources, I will be asking for the film crew to change positions on 2 or 3 occasions to film a different angle on the same camera. This will increase the amount of coverage we have for the race, test and license days. This will be great for the edit as we will have a lot of choices when crafting a sequence that engages the viewer with our story.
In the next few weeks, I will be holding a consistent and strong communication line between myself, Cailan and George. The priority is sorting out the contributors and locations which I will assist with when needed. We have a big sequence coming up soon, where I will be taking my race license. I am somewhat worried as we have the dissertation hand in on the day before and I feel a little overwhelmed with the pressure of the dissertation alongside planning for this sequence and then actually practising for the test. It's a big challenge but thanks to an upcoming location scout, I know we will be in a good position for the shoot day. We need to remain vigilant with our preparation, however, otherwise, we could have issues in one of our major shoot dates.
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