DOCUMENTARIES ON VIDEO

With documentaries originating on video, the numbers on a production crew can be even more modest. Production is normally carried out with one camera recording a single scene at a time as in film and the schedule arranged similarly (for multi-camera TV see Chapter 6 on Television).

Documentary video production crew

The unit will consist normally of a director who may not have the luxury of an assistant director. If the director has moved from television, he may have a PA (personal assistant) who acts more as a secretary, the director doing the administrative chores himself both during reconnaissance and during the actual shooting.

The video cameraman is responsible for all jobs concerned with the camera including the lighting unless this is very elaborate. The technical line-up of the equipment is however in the hands of an engineer who may also record the sound, although with other than very simple shooting, a sound recordist is still advisable. An additional job of the engineer is to note the time codes on the videotape of each shot which is the equivalent of the clapper/loader and script supervisor recording scenes and footages in film. The PA or director will also keep a log of all scenes recorded (see Figure 21 page 114). And, as budgets get tighter, the one person crew who does everything, can now be seen!

Video editing

The editing of videotape starts with making a copy of the master tape, incorporating the time code for identification and carrying out the initial editing on to a third tape ‘off line’.

Many film editors have learned to operate off line equipment for creatively they are doing precisely the same job, the difference being that film is physically cut and joined to the next scene and you can see the actual images in the hand whereas on tape the editing is electronic and the tape is never actually cut but transferred to another piece of tape and can only be viewed on a monitor.

Non-linear editing

To speed up and achieve great accuracy and flexibility, offline editing can be carried out on computers which transfer the master (film or tape) to computer hard discs. The big advantage of this system is that you have instant

access to any section of the captured material and can review different takes or edits side by side. When the offline edit is completed, the final EDL (Edit Decision List) which includes all the time codes is used in the on-line edit to auto assemble both picture and audio cuts; this greatly reduces the time and thus the cost of the on-line stage of post-production.

Off-line editing

Off-line editing which is the equivalent on film of editing to rough cut stage, is carried out by off-line editors who develop tremendous dexterity operating the equipment and making up the equivalent of a cutting copy (see Chapter 2 on Feature films). This initial edit from the different tapes or discs can be done faster than film editing.

Adding this to the cheaper cost of the master tape and the elimination of developing and printing means that overall costs up to this stage of production can be considerably less than film. But there is still the matter of size of screen and the numbers in the audience for showings of the finished production to bear in mind when considering the pros and cons of film and video.

Video editing – the final stages

It is the next stage of video production where costs can run away most alarmingly. Having convinced everybody - producer, director, commissioning editor in the case of TV programmes produced by independents, sponsor in corporate videos – that the off-line version is satisfactory, the final tidying up and precision editing, together with the insertion of titles and any special visual effects are done in the on-line suite which may, in some cases, be merely a sophisticated extension of the off-line equipment.

On-line editing

This operation which in film terms is a combination of fine cutting, making and cutting in of opticals and titles, some sound mixing and negative cutting to production of an answer print (see Chapter 2 on Feature films, post-production) is all being done electronically and instantaneously (see Figure 15 page 57).

By instantaneously is meant a matter of hours rather than the weeks it might take on film. The effectiveness of this operation is in the hands of the on-line editor. This job not only demands extensive knowledge of the equipment’s capabilities, which may be constantly modified and updated to provide extra facilities, but also dexterity in ‘hands on’ operation and creative instincts for the general tempo and effectiveness of the programme.

Of course, just as in film dubbing, the director and off-line editor will have their own ideas as to what they want to achieve; but there can still be a considerable additional creative input from the on-line editor.

It is this skill and experience, combined with the enormous cost of the equipment, housed usually in a fairly luxurious and conveniently placed location, that makes the rental cost so high for these on-line suites and where every unscheduled hour can play havoc with the budget.

As well as carrying out the final editing, what is also being done is going back to the original master tape and transferring to a new master, incorporating all the details for the finished production. It is from this master that further copies will be made for transmission on television, for showing in non-theatrical situations or for bulk release on video or DVD including rental or sale.

Other jobs in an on-line edit suite

The production staff in an on-line edit suite can be quite extensive. The on-line editor may have one assistant who is responsible for title and caption generation. Other video assistants provide back up with operating tape machines and subsequently making copies and filing and recording material.

Here, once again, are all the administrative jobs which include that of handling the bookings of the editing suite (often a great juggle to keep impatient clients happy), secretarial, bookkeeping and the ubiquitous runner, gofer or tea person.

The stress that can build up sometimes during long editing sessions which stretch on into the night, means that whoever is responsible for providing liquid refreshment of any sort is a very welcome member of the company. And as always with this starting point, a chance for any newcomer to see precisely what the technical jobs entail and to get to know people in production.

STARTING POINTS IN DOCUMENTARIES

If you are keen to get into the production of documentaries gon film or video, the same advice applies in the different departments as with feature films (Chapter 2) and commercials (Chapter 3).

Obviously, in the case of video, some knowledge of video equipment either through training or hands on experience even as an amateur with cameras and editing will help to prove to any potential employer your dedication and keenness to be involved in professional production.

So it is a question of research in directories and concentrating on companies that make documentaries or post-production companies that provide editing facilities in film or video to documentary companies.

Getting started in the BBC or ITV companies is another matter and will be dealt with in Chapter 7 on training.

SUMMING UP

Working in documentaries covers a very wide range of subject and production techniques.

• Those made on film have many similarities, as far as jobs are concerned, with features and commercials although with smaller crews.
• Those made on video have many similarities to both film and video techniques, so it is hopefully becoming clear that there is a deal of cross-fertilization possible both in production and in technique.

What this means is that people starting in film documentaries may move in some cases to feature films or commercials and back again. Less likely, but still theoretically possible, is to move from television documentaries to television drama.