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Directing the Documentary, 6th Edition by Michael Rabiger

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CHAPTER 9

THE CREW

 

 

You “develop” rather than “choose” or “hire” a crew because it is wise to do some exploratory work first. Documentary seldom allows rehearsal or repeats, so everyone has to understand each other’s values, signals, and terminology, especially if doing “run and gun” shooting. One operator’s close-up is another’s medium shot, so they won’t make the subject-selection, framing, composition, speed of camera movements, or microphone positioning you want unless you first discuss your language and values. For your part, you will need to understand their signaled alerts when there are sound problems, or shadow difficulties, say.

From trial footage expect to find wide variance in taste and skill levels. Look, too, for variations in ...

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