Directing the Documentary

Half Title
Title Page
Copyright Page
Dedication
Table of Contents
Preface to the seventh edition
Contents of companion website
BOOK I: GETTING STARTED
	PART 1: YOU AND YOUR IDEAS
		1 You and film authorship
			Start making films now
			Artistic identity
			Unfinished business: how we are marked by life
				Discovering for oneself
					Project AP-1 self-inventory (marks and themes)
				The work we must do
					Project AP-2 authorial identity
					Project AP-3 what is the family drama?
			The work of the director
				Witnessing with the future box
				Ethnography
				Working for social change
				A rewarding way of life
				Learning from what you shoot
				Satisfying an audience
				Universal versus parochial
				Importance of creativity
			A prelude to directing fiction
			Getting an education
				Film school
				Teaching yourself
				Planning your future
				Journals
				Internships
			Hands-on learning
		2 The nature of documentary
			Origins
				Grierson’s definition
				Documentary as art
				An oral tale with a purpose
				Art finds order
				Characters with goals
			Philosophies of approach
				Observational mode
				Participatory mode
				The risk of incursion
				Giving, not just taking
				A workhorse genre
			Testing for documentary values
			Learning from your work
				The artistic process and your individual voice
				When you lose your way
				Privacy and competition issues
				Hostile environments
			Hands-on learning
	PART 2: DOCUMENTARIES AND FILM LANGUAGE
		3 How the documentary developed
			Technology and screen language
			Birth of the cinema
			How documentary emerged from nonfiction cinema
			Documentary paradoxes
			The cinematic eye
			Sound comes to the documentary
				Essay films and travelogues
			Shooting goes mobile
				Direct cinema (observational documentary)
				Participatory documentary
				Patience and privileged moments
				Documentary and fiction
			The ascendency of editing
			Objectivity or subjectivity?
			Which approach is best?
			Video and digital technology
			Modern equivalencies
				Flaherty docudrama
				Expository or essay mode
				Observational mode
				Participatory mode
				Reflexive mode
				Poetic mode
				Performative mode
			Docuseries
				True crime
				Unscripted
				History investigated
			Hands-on learning
		4 Constructing reality
			The “Contract” and exposition
			Actuality and evidence
				Documentary is not reality, but a construct
				Types of actuality
				Objectivity, balanced reporting, and propaganda
				Fairness
				Evidence then and now
			Dramatic terms and principles
				Active characters in conflict
				Dramaturgy
				Authored constructs
				Convictions and a working hypothesis
				Finding conflict in real life
					AP-16: Conflict and sub-conflict
				Character-driven and plot-driven stories
				Dramatic tension
				The need for development
			Film discourse
			Form and style
			The three-act story structure
			Hands-on learning
		5 Story elements and film grammar
			Perception and making stories
				AP-15: Profiling a location
			Screen language mimics consciousness
			Documentary ingredients and human awareness
				Shots are like the human gaze
				Cuts
				Camera movement
					SP-18: Live camerawork
				Motivated camera movements and cuts
				Denotation and connotation
			The camera in relation to action
				The actor and the acted-upon
				Observing a conversation
				Hunting subtexts
					SP-19: Covering a discussion
				Hidden agendas and subtexts
				Attention and focus
				Eye contact and eyelines
				Looking at and looking through
			Scene geography and axes
				Subject-to-subject or scene axis
				Camera-to-subject or camera axis
				Panning and cutting
				Screen direction
				Changing screen direction
			Shot duration, rhythm, and demand on the audience
				Generating options
				Shot duration
				Visual rhythm
				Rhythms help us concentrate
				Using speech rhythms
			Sequences as building blocks
				Elision
			Transitions and transitional devices
				Picture transitions
				Sound transitions
				Lap cuts
			Dual roles: observer and storyteller
				The observer
				The storyteller
				Conflicts between the two
			Hands-on learning
	PART 3: PREPRODUCTION
		6 Developing story ideas
			Ideation
				Beginning the writing process
			Story sources
				Making an idea database
				Keeping a journal
				Newspapers
				Websites
				History
				Legends
				Myths
				Family stories
				Childhood stories
				Social science and social history
				Fiction
			Selecting a subject
			Testing a subject
				Don’t bite off more than you can chew
				Narrow the frame
			Choosing a central character
				Character is destiny
			Locating and raising the stakes
				Manipulation dangers
			Using the medium to stir feelings
				Shock value
				Primary evidence
				Testing for cinematic qualities
				Mood matters
				Local can be large
			Telling the story
				Characters
				Internal struggles
				External pressures
				What to avoid
				Displace and transform
			Hands-on learning
		7 Hypothesis, research and plan
			Choosing a story
				Cover your back
				Don’t commit without planning
				Making a plan
				A note on film writing
			Outlining a working hypothesis
				Project DP-12 developing a short working hypothesis (Book I)
			Researching
				Decide research methods according to subject
				Gaining access
				Taking notes
				Seeking cooperation
				Open and leading questions
				When research is mission impossible
				Inviting trust
				Defining the paradigm
				Filming organizations or institutions
				Documentaries evolve from relationships
				Minefield subjects
			Types of research
				Quantitative research
				Qualitative research
				Archival material
				Fair use and best practices
			Choosing important characters
				Character types
				Central characters
			Consolidating research into a plan
				Shootable evidence
				Making a content inventory
			Accentuating style and content
			Project DP-1 dramatic content helper
			Hands-on learning
		8 Developing ideas for a short documentary
			Pitching
				Who/what/when/where/why
				A typical pitch
				Critiquing a pitch
				Post-filming pitches
				Pitching forums
			Writing a treatment
				The Smallest in the Litter
				Bobcat
			Scheduling
			Signed agreements
				Location agreement
				Personal release
			Budget
			Hands-on learning
		9 Partnership
			Documentary roles and responsibilities
				Director
				Director of photography (DP), and/or camera operator
				Sound recordist
			Deciding on partners
				Why temperaments matter
				Put commitments in writing
	PART 4: PRODUCTION
		Workflow
		10 Capturing sound
			Sound design and soundscapes
			Sound terms and procedures
				Acoustics and the hand-clap test
				Headphones to monitor your work
				Signal, noise and signal-to-noise ratio
				Ambience
			How sound behaves
				Signal decay over distance
				Resonance and echo
			Microphones
				Transducers
				Microphone axis and directionality
				Sound perspective
				Defensive measures
			Sound environments and signal-to-noise ratio
				Why sound consistency matters
			Sound recording
				Using multiple inputs
				Balanced and unbalanced inputs
				Strain relief
				Digital peak meters
				Automatic sound level
				Setting sound levels manually
				Monitoring
			Microphone types and pickup patterns
				Power supplies
				Pickup patterns
					Omnidirectional mics
					Cardioid mics
					Shotgun mics
				Lavalier, lapel, or body mics
				Body mic precautions
				Roll-off
				Wireless mics
				Wired mics
				Spares, accessories and first aid
			Microphone handling
				Holding the boom pole
				Windscreens and shock mounts
				When sound and picture subjects diverge
				The recordist in contact with the camera operator
				Safety cover
				Virtuoso performances
			Shooting
				Location spotting and ambient noise
				Sounds on the set
				Reference track
				Shooting interiors
				Presence track recording
			Sound to help the editor
				How the editor uses presence tracks
				Ambience inconsistencies
				Wild tracks
				Sound effects
				Soundscape construction
			Hands-on learning
		11 Lighting
			Light quality
				Hard or specular light
				Soft light
			Lighting instruments
				Light quality and lighting instruments
				Open-face quartz lamps
				Safety
				Light emitting diodes (LEDs)
				Color temperature
			Power supplies
				Power requirements vary by instrument
				Calculating consumption
			Lighting
				Why you may need lighting
				Curing contrast problems
				Exposure and depth of field
				Avoiding the over-bright background
			Lighting methodology
				Backgrounds
				Key light direction
				Fill light
				Backlight
				Practical
				Cheating
			Two basic lighting methods
				Adding to a base
					Baselight
					Key light
				Three point lighting
			Hands-on learning
		12 Camera
			Camera basics
				DSLR cameras and timecode
				Body design
				Viewfinder
				Camera controls
				Professional options
			Equipment checkout
				Golden rule #1, test it first
			Golden rule #2: prepare for the worst
			Color balancing the camera
				White balance options
					Automatic
					Manual
					Preset
					Manually set or customized
					White balance memory
				Shooting under mixed color temperatures
				Can’t I fix color in postproduction?
			Exposure
				Automatic exposure
				Manual exposure
				Aperture
				Shutter speed
				Backlight control
				Picture gain
				ISO
			Filtering
				Neutral density
				What other filters do
			Lenses
				Interchangeable lenses
				Prime lenses
				Normal lenses
				The telephoto
				The wide-angle
				The zoom
				Lenses and perspective
			Aspect ratio
				Focus and depth of field (DOF)
				Automatic focusing (AF)
				Manual focusing
				Macro focusing
				Lens protection
				Focus and depth of field (DOF)
			Power supplies
			Camera support systems
				Tripod and accessories
				Pan/tilt head setup
				Quick release plate
				Mobile support systems
			Monitors and viewfinders
			Coverage and composing the shot
				Rule of thirds
				Matching shots
				Lead space
				Handheld composing
				Covering two people standing in conversation
			Shooting with safety coverage in mind
			Camera operating
				Tripod or handheld?
				Check and recheck composition
				Camera operator’s interior monologue
				Operator’s body mechanics
				Refocusing during a shot
				Handheld shots
				Walking a handheld camera
				Test your handheld tracking skills
				Tripod preparation and use
				Error recovery
				Operating with editing in mind
				Inserts and cutaways
				Establishing shots
				Camera operator’s checklist
			Hands-on learning
		13 Directing and interviewing
			Directing participants
				Briefing participants
				Blocking
				In search of naturalness
				Background music
			Directing the crew
				Communication
				Who is responsible for what
				Hospitality
				Working atmosphere
				Crew unity
				Crew etiquette
				Check the shot
				Preparing the crew
				Run-up
				Positioning yourself
				Communicating with the crew
					Camera operator
					Sound recordist
				Sensory overload
				Breaks
				Who else can call “Cut!”
				Capturing sound presence
				Securing the personal release
				“It’s a Wrap”
			Interviewing overview
			Sound and camera for interviewing
				Sound coverage
				Camera coverage
				Interviewee eyelines
			The interview process
				Avoiding voice overlaps
				Silence is golden
				Full responses
				Valid and invalid questioning
				Press for detail, follow up leads
				Multi-person coverage
				Ending gracefully
			Hands-on learning
	PART 5: POSTPRODUCTION
		14 Creating the first assembly
			Setting up for editing
				Computer storage
				Windows 10 PC set up
				Apple macOS set up
				Forestalling workflow problems
				Editing equipment
				Media vs. data
			Who edits
				Doing your own editing
				Working with an editor
			Transcripts
				Making them
				A workaround solution to transcribing
				Transcripts can be misleading
			Postproduction overview
			Beginning the editing process
				Editing with proxies
				Organizing source material
				Double system synchronizing
				Logging
			Before the assembly
				Initial viewing sessions
				Editor and director’s viewing session
				Dailies notebook
				Gut feelings matter
			Finding a structure
				The contract
				Why structure matters
				Time and structural alternatives
				Stories need dramatic tension
				Finding an action-determined structure
				Perils of speech-based narrative structures
				Stories need development
				Make use of classical tales
				Microcosm and macrocosm
			The assembly
				The only film is in the dailies
				A subtractive process
				Seeking a visually-driven film
				Relying on transcripts
				Beginning to assemble
				Rendering
				Saving each stage
				Don’t micromanage
			Facing the first assembly
				Return to innocence
				Recognizing your film’s ideal length
			Diagnostic questioning
				What works and what doesn’t
			The documentarian as dramatist
				Pleasing your audience
				What next, when the dust settles?
			Hands-on learning
		15 Developing the edit
			Compressing and juxtaposing
				Elision and visual rhythm
				Cutting between sequences
				Cutting within a sequence
				Action-match cutting
				Cutting on action
				Jump cutting
				Using fast or slow motion
				Parallel storytelling
				Cutting to a rhythm
			Unifying material into a flow
				The audience as active participants
			The lap cut
				Mono- and bi-directional attention
				Dialogue sequences
				Using lap cuts
				Subtexts
				Transitions between sequences
				Anticipatory or holdover sound
			Editing pitfalls
			Regaining perspective
				Making a diagnostic flow chart
				A trial showing
				Surviving your critics and using what they say
			Participant viewings
				Caveats before participant viewings
				The uses of procrastination
				Try, try again
			Hands-on learning
		16 Fine cut, music, audio and color correction
			Approaching a fine cut
				Check source material
				Looking ahead to the sound mix
			Sound design
				Sound composition
				Psychoacoustics and functions of sound
				Sound clichés
				Post-synchronizing dialogue (aka “automatic dialogue replacement” or ADR)
				Recreating sound effects (SFX)
				Sound effects libraries
			Considering music
				Revealing hidden dimensions
				Helping narrative structure
				Indicating emotional depths
				Music misused
			Finding ready-recorded music
				Copyrighted music
				Stock music
			Integrating music
				Starting and stopping music sections
				Editing
					Within a composition
					In and out points
					Attack-sustain-decay cutting
			Other sound components
				Narration or voice-over
				Hard sound effects
				Using atmospheres
			Sound mix
				Organize your tracks
				Checkerboarding
				Cross-dissolves
				Noise reduction
				Equalization
				Compression
				Adjusting levels
				Watch your meters
				Monitors and testing
			Color correction and grading
				Waveform monitor
				RGB Parade
				Vectorscope
				LUTs
				Vignette
			Titles
				Naming your film
				Font, layout, and size
				Overladen titles
				Spelling
				Title durations
				Copyright mark
				Transcript and subtitling
			Closed captions and audio descriptions
			Acknowledgments
			Legal omissions
			Website press and kit
			Competitions and festivals
BOOK II: ADVANCED CONCEPTS
	PART 6: DOCUMENTARY AESTHETICS
		Storytelling
			Enter the storyteller
			Give yourself a storytelling role to play
		17 Point of view and storytelling
			Monological versus dialogical films
			Point of view
				Film, literature, and graphic art
				Will and empathy
				Using your emotional self
				POV in screen drama
				Observational or participatory approach
				Overview of generating POVs
			Range of POV on the screen
				Single POV (character in the film)
				Multiple characters’ POVs within the film
				Omniscient POV
				Personal POV
				Reflexivity and representation
				Self-reflexivity
			Film language and the authorial voice
				Finding fresh language
				Storyteller and POV question checklist
			Hands-on learning
		18 Dramatic development, time and story structure
			Plots and their central characters
				Plot and the rules of the universe
				“Character is fate”
				Active and passive
				Heroes and heroines
				The antihero
				Character development
			Drama divided into acts
				The three-act structure
				Four- and five-act structures
				The dramatic arc
				Begin analysis by pinpointing the crisis
				Applying dramatic analysis to directing documentary
				Scenes are dramas in microcosm
				The director as catalyst
				Beats and dramatic units
				Identifying conflicts
				A scene may contain one dramatic unit or several
				Inhalation and exhalation
			The director as dramatist
			Time and structure
				Preparing for the predictable
				Stories need development
			Drama, chronology, and the documentary
				The event-centered film
				Multi-faceted events
				The process film
				The journey film
				The historical film
				The biographical film
			Non-chronological time
				Time reordered
				Poetic time
				The journey of inquiry
				The walled-city film
				The thesis film
			When time is unimportant
				The catalogue film
				When no time-structure predominates
			Structure questionnaire
			Hands-on learning
		19 Form, style and creativity
			Documentary aesthetics
				Form and style in documentary
				Style you can choose
				Style you can’t choose
				Stylizing actuality and stylized actuality
				Aesthetic categories
			Creative dissatisfaction
				Setting creative limits
			Project DP-14 form and style worksheet
			Hands-on learning
		20 Reconstruction, reenactment and docudrama
			Documentary reconstruction
				Subjective reconstruction
				Historical reconstruction
			Reenactment
				Truthful labeling
				Using actors
				Wholesale reconstruction
				Budgetary constraints
			Docudrama
			Fake documentaries and mockumentaries
			Documentary and its fiction counterparts
			Hands-on learning
		21 Values and ethics
			Power
			Informed consent
			Responsibilities
				Moral obligations
				Evidence and ethics
				Behalfers speaking for others
			Embedded values
				Participants
				Environment
				Family dynamics
				Authority
				In total
			Ethical conflicts in the field
				Film is collaborative, so is responsibility
				Art as displaced autobiography
				Giving, not just taking
			Hands-on learning
	PART 7: ADVANCED PRODUCTION ISSUES
	PART 7A: ADVANCED PREPRODUCTION
		22 Handling larger projects
			Production department
				Producer
				Unit production manager (UPM)
			Sound and camera assistants
				Sound assistants
				Camera assistants
				Grips
				Gaffer
				Interns
			Administering the crew
				Communication
				Who is responsible for what
				Working atmosphere
				Crew etiquette
			Procedures for larger units
				Sync using a clapperboard
				Shot identification
					Single system
					Double system
				Alternative numbering systems
					Scene/setup/take system
					Cumulative setup/take system
				Keeping logs
					Camera log
					Sound log
				File naming and metadata editing
					In the camera
					In the audio recorder
				The countdown to shooting
				Starting without a clapper
					Mic taps
					Board on end (BOE)
				Syncing up dailies
			Hands-on learning
		23 Relations with participants, story development and funding proposals
			Relations with participants
			Professional standards
				Guiding principles
				Ethical documentary
				Relations with sources
				Accuracy and verification
				Do no harm
				Resisting pressures
			Documentary dilemmas
				Compromising yourself
				When deception is justified
				Informed consent
				Project DP-13 using the full working hypothesis (Book II)
			Exposition, evidence and dramatic tension
				Exposition
				Volition
				Framing the ‘Problem’
				Challenging the audience to make judgments
				Credibility of witnesses and testimony
				Credibility of evidence
				Making a database and marshaling evidence
			Deciding central characters
				Defer choosing participants
				When in doubt, decide from a recording
			Story development
				List your action material
				Develop each scene’s dramatic content
				Alternative structures from a card game
				Try your materials against the dramatic curve
			Developing a proposal
				Be specific to the fund
				Covering all your bases
				Writing quality
				Categorized information
				The demo reel
				Treatment
				Model application
			Hands-on learning
		24 Advanced technology, budgeting, scheduling
			Workflow and equipment
				Digital acquisition
			Resolutions, frame rates and formats
				Aspect ratio
				Frame rates and scanning
				Resolution
				Picture compression
				Sensor size
				Professional cameras
				Consumer cameras
				Digital sound
				Double-system sync
			Postproduction
			Budgeting
				Above and below the line
				Insurances
				Budgeting and scheduling software
			Drawing up an equipment list
				Keep it simple
				Over-elaborate equipment
			Scheduling the shoot
				Locations and shooting order
				Shooting in chronological order
				Scheduling for key scenes
				Emotional demand order
				Weather and other contingency coverage
				Allocation of shooting time per scene
				Under- or over-scheduling
				The call sheet
			Hands-on learning
		25 Preparations before directing
			The directing plan
				Casting
				Reminders for each sequence
					Drama and dialectics
					Imagery
					Point of view
					Development
					Thematic or other goals
					Aesthetic concerns
					Genre
					Storyteller POV
			Test your assumptions
			Obtaining permissions
				People
				Places
				Copyright
				Crew
				Insurance
			Trial shooting
			Scouting locations
				Camera
				Sound
			Logistics and scheduling
			Longitudinal development
			Location permits
				Permission
				On private property
				Handheld cameras
				Tripod or other camera support systems
				Guerillas in the mist
			The personal release form
			Crowd scene releases
			Legal issues
			Paying participants
				Celebrities
				People in dire need
			Hands-on learning
	PART 7B: ADVANCED PRODUCTION
		26 optics and perception
			Spatial perception
				Camera eye and human eye
				Cheating space
			Lens characteristics
				How we use perspective
				Varying apparent separation
				Manipulating perspective
				Focal length
				Perspective changes when camera-to-subject distance changes
				Lenses and image texture
				Lens speed
			Depth
				Zooming versus dollying
				Getting a film look
				Depth of field
				DOF practicalities
				Split-field diopters and tilt-shift lenses
			Composition
				Static composition
				Aspects of visual design
				Images in succession and visual rhythm
				Dynamic composition
				Internal and external composition
			Hands-on learning
		27 Advanced cameras and support equipment
			Preliminaries
				Archiving issues
				Compatibility
				Hiring equipment
				Shooting abroad
			Camera examples
				Canon
				Sony
				Choosing a camera and comparing criteria
			Camera support equipment
				Monopod
				Tripod and pan/tilt head
				Sliders
				Shoulder rigs
				Stabilizers
				Motorized stabilizers
				Dollies
				Drones
			Settings and options
				Aspect ratio
				Shutter speed and motion
				Timecode
			Shooting formats and the ‘Look’
				The final look starts in pre-production
				Shooting format and visual flexibility
				Standard HD and cine gamma
				Log profile and LUTs
				Look-up tables (LUTs)
				Planning a film’s ‘Look’
				RAW video
			Camera accessories
				Matte box and filters
				Lens hood
			Camera aesthetics
				Camera height
				Adapting to location exigencies
				Backgrounds
				Revealing subtexts
				Compromises for the camera
				Strobing
			Care of people and equipment
				Travel in wild or hazardous areas
				Emergencies
		28 Advanced location sound
			Sound monitoring
			Single or double system recording
				Smart slates
				Creeping sync
				Using the camera to record sound
			Sound recorders
				Location recorders
				Three backup measures
				Sound codecs
				EQ and roll-off
				Digital peak meters
				Volume unit (VU) meters
				Peak tests
				Multiple mic inputs
				Phasing
				Recording spatial audio
				Phantom power
			Sound mixers
			Microphone types and placement tips
				Cardioid
				Hyper-cardioid or shotgun
				Lavalier
				Wireless mikes
				Using the boompole
			What to rent and what to own
		29 Advanced directing: participants
			What makes us feel normal
				The mind-body connection
				Doing what comes naturally
				Self-image and self-consciousness
				“Doesn’t the camera change people?”
				Habits of being
			Keys to directing people
				When making an observational film
				When making a “transparent” film
				When making a reflexive film
			Social and formal issues
				Advantages of the small crew
				Having or losing authority
				Using social times and breaks
				Sharing in all things
			Hands-on learning
		30 Advanced directing: camera
			Camera issues and point of view
				Camera as passport
				Compromises for the camera
			Point of view and motivating the camera’s movements
				Handheld or tripod mounted camera?
				Why you shoot multiple angles on the same action
				Abstraction and symbolism
				Serendipity
				Subjectivity versus objectivity
				Special meaning through framing
				Using context
			Preparing sensitive coverage
				Scene breakdown and crib notes
				Eyeline shifts, motivation, inserts and cutaways
				Reaction shots and eyeline changes
				Cover alternative versions of important issues
			Production stills and behind the scenes photos
			Hands-on learning
		31 Advanced interviewing
			Preparing the camera operator
				Touch-directions
				Match-shot compositions
				Agreeing image sizes
				Two camera set-ups
			Lighting the interview
				Lighting on the upstage side
				Using daylight
				Using a diffused key
				Lighting the background
				Managing exteriors
			Preparing the interviewee
				Say what you need
				Establish that you may interrupt
				Put the interviewee at ease
			Camera and editing considerations
				Interviewer and camera placement
					On-axis interview
					Off-axis interview
				When the interviewer should be on-camera
			Preparations so you can edit out the interviewer
				“Please incorporate the question in the answer”
				Voice overlaps
			Vox populi street interviews
			Solving the need for ellipsis
				Jump cuts
				Cutaways
				Parallel storytelling
				Varying shot sizes
			The formal interview
				Interviewing and directing
				Lead by example
				Open questions and leading questions
				Focused questioning
				The right order for your questions
				Eye contact and behavioral feedback
				Aim to elicit feelings
				Going where angels fear to tread
				Temptations when interviewing
				Using power ethically
				Witnessing
				The interviewer’s nightmare
				Dummy run
			Interviewing in depth
				Crossing thresholds
				Silence is your most persuasive instrument
				Don’t catch them when they fall
				Privileged moments and beats
			Being adversarial without giving offense
				The devil’s advocate approach
				Starting from generalized comment
			Seeking brevity
			Triggering unfinished business
			Concluding the interview
				The release
			Sizing up the interview
			Going further: ‘Inward Journey’ monologues
			Hands-on learning
	PART 7C: ADVANCED POSTPRODUCTION
		32 From transcript to assembly
			What you need for transcripts
				Accuracy
				Time code (TC)
				Line numbering
				Transcription software and hardware
				Transcription services for hire
				Using a database
			Selecting and assembling transcript materials
				Stage 1: make an action assembly
				Stage 2: mark up the interview transcripts
			From paper edit to first assembly
				Literal and non-literal comments
				Treating your audience as equals
				Give action preference over words
			Hands-on learning
		33 Creating narration
			Pros and cons of narration
				Narrative voice
				Drawbacks
				Problems narration can solve
				Conversing and reading aloud are different
			Method A: creating the scripted narration
				Reading from a script
				Writing
				Timing and syntax
				Accommodating sound features
				Complement, don’t duplicate
				Trying it out with a scratch recording
				A script for the narrator
				Voice auditions
				Recording and directing the narrator
				Acoustic setting
				Reading
			Method B: creating the improvised narration
				Simple interview
				Improvising from a rough script
				Improvising from an assumed identity
			Remember to record presence track
			Fitting narration to picture
				Using the first word’s power on a new image
				Operative words
				Composing meaning
			Hands-on learning
		34 Original music
			Preparing to work with a composer
				Spotting for music
				Choosing who’s right
			Working with the composer
				When there is a temp track
				Discussing a music cue list
				Keys in diegetic and nondiegetic music
				Compiling music cues
				Unifying through time
				Conflicts and composing to sync points
				How long does it take?
				Budgeting
			Live recording session
				Conductor needs
				Live music session
			Music in postproduction
				Fitting music
				The sound mix
		35 Editing refinements and structural solutions
			Editing rhythms: an analogy in music
				Harmony
				Counterpoint
				Dissonance
			Using your instincts while editing
			Using trial audiences
				Subtexts and making the visible significant
				When instincts aren’t sufficient
			Diagnostics
				Diagnostic log
				Turning your film into playing cards
				Dealing with multiple endings
				More trial audiences
				Length
			Fear of failure
		36 The final sound mix
			Preparation
				Checklist
				Tailoring
				What to expect
				Priorities
				File preparation
			Principles
				EQ principles
				EQ uses
				Dialogue tracks and inconsistency problems
				Be cautious with comparative levels
			Beginning the process
				Premixing
				Rehearse, then record
				Stems
			Archiving
				Safety copies
				Music and effects (M&E) tracks
	PART 8: WORK
		37 Developing a career
			Dirk Matthews on finding work after school
			Will I find work to pay my bills?
				On graduating
				Networking
				Craftsperson
				Your demo reel
				Video hosting
				Web-building platforms
				You, on the web
			Seeking job information
				Informational interviews
				Cold-calling
				Using narrative in the job search
				Making a job for yourself
			The importance of short films
			The search for subjects
				Study the competition
				Practice your pitch
				Sizzle reel
				Documentary proposals
				Using festivals
		38 Starting up on your own
			Starting a business
				Incorporating
				For profit or nonprofit?
				Fiscal sponsorship
			Seeking funds
				Current information
				Crowdfunding
				Kickstarter
				Caveats
				Funds and foundations
				Public funds
				Broadcast organizations
				Survey organizations
				Film commissions
			Tod Lending on proposals
			Marketing and distribution
				Resources
				Television
				Video on-demand
				Do it yourself (DIY)
				Film festivals
				Educational distribution
			A personal message
		Index