Factual planning pro forma
- 1. Factual: Idea Development and Planning Jake Whattam-Smith
- 3. Different styles/genres List Of Styles/Genres: . Observational - Observational documentary attempts to provide a faithful record of some activity, as a fly-on-the-wall, with little or no narration or music. Where the poetic genre is organized to express a poetic vision, observational documentary attempts to show the thing-as-it-is. . Essayistic - Essayistic documentary features an essay-like narration by the filmmaker. The films will often have a poetic quality, but rely on narration supported by the images to convey a message. . Participatory - Participatory documentary can be considered the opposite of observational — the filmmaker appears as an obviously active participant in the film, appearing on camera and interacting with the subject matter. . Dramatization - Dramatization recreates an event or person using actors in an attempt to enable to viewer to be “on the scene” of the event or present with the historical figure. One could debate whether this is properly a “documentary”, although the technique has been used effectively within documentaries that might fall in another genre. . Mixed - Documentaries that use a combination of modes or genres fall into a mixed genre. . Animation - Since this is a more distinctive element in some documentaries more than others, it seems necessary to involve it as its own genre, especially given that some are all in animation. . Poetic - The film relies on the images, with little or no narration. If any narration is present, it too can be characterized as poetry. The filmmaker is actively organizing the material to create a poetic statement. . Interview - The Interview film is a record of a conversation, discussion or interview of one or more subjects. While this could be considered a type of performance film, the content is delivered directly to the interviewer through the speech of the interviewer, and not through the medium of music or drama or dance.
- 5. Choice of style/genre, and why? I intend on creating a unique documentary, different from others, that would evidently stand out and grab the attention of my consumers, whilst seemingly being informative, visually attentive, impactful, inspiring, and audibly alluring through a variety of techniques, methods, and style/genres; therefore the ‘mixed’ style/genre of choice will be used indefinitely throughout the course of my short factual project (spanning approximately 5 minutes). The ‘mixed’ style/genre undergoes covering ‘Documentaries that use a combination of modes or genres fall into a mixed genre’ (as stated for its definition from a sourced website), evidently pronouncing that this style/genre is used in a documentary that covers a variety of other styles/genres in the one video.; this can be an large or short range dependant on what the documentary may be about, or what the intentions are behind its creation. With this in mind, i must have more than one style/genre for this choice to be applicable, therefore i will also be using the ‘observational’, ‘essayistic’, ‘dramatization’, ‘poetic’, and ‘interview’ styles/genres at different given times in the course of the short documentary im creating, as discovered and mentioned amongst the ‘different style/genres’ powerpoint slide previously displayed. By demonstrating a range of documentary genres, i hope in achieving a unique perspective amidst the other documentaries that may be similar, creating what should be a very well structured and perceived video to my viewers as its both informative and engaging (being two extremely important factors to consider); additionally, this will push the expectations and skills from myself, hopefully improving my ability and management, whilst also improving the impressions given from my peers, as i've challenged myself to the ambitious task of a factual source with a plentiful amount of techniques, processes and intentions to involve.
- 7. Potential techniques – Camera Movements Technique Name Description Of Use Level Of Difficulty Equipment Needed Time Allowance Close Up (Shot Type) When objects or details on a character need emphasising, this will be the most effective and sufficient of time method. Low - Camera - Tripod (optional) N/A Medium (Shot Type) Particularly when body language is key to showing emotion, alongside with recognising how it portrays a whole character, it will be used. Low - Camera - Tripod (optional) N/A Long (Shot Type) To represent a whole character, and emphasise the dress codes, whilst also reflecting the scenario partially, this will be used more the less. Low - Camera - Tripod (optional) N/A Extreme Close Up (Shot Type) Generally focussing on particular objects and emphasising them, this will convey emotion in my audience and transition into memories. Low - Camera - Tripod (optional) N/A Extreme Long (Shot Type) With mainly portraying the mise-en-scene, the extreme long shot will be used frequently to reflect the isolation genre in my present timings. Low - Camera - Tripod (optional) N/A Pan (Special Shot) This will be used to illustrate both the character and surrounding environment in a single strand, which may also provoke an emotion/connection. Medium - Camera - Tripod - Slider (in expense/optional) N/A Whip Transition (Special Shot) During the more dramatic scenes, such as with the key moments in the downfall of his life, this can emphasise a reaction in the character. Medium - Camera - Tripod N/A Tracking Pan (Special Shot) When a character or object is moving, this can follow to make it more personal and emotionally effective whilst also driving the narrative onward. High - Camera - Tripod N/A
- 8. Potential techniques – Editing Technique Name Description Of Use Level Of Difficulty Equipment Needed Time Allowance Text Reveal (Effect) Whenever an object or thing passes in front of the shot, and where visible you can see the front and back, this may be used as a subject to uncover, appear, or reappear some text. Low – Medium - Footage - Editing Software (DaVinci) 10:00 – 60:00 mins Speed Ramping (Effect) In any shot this may be used, but is most effect when something is visibly moving at some given point, then the effect will be much more obvious; additionally, I can be used with a shift in music. Low - Footage - Editing Software (DaVinci) 5:00 – 15:00 mins Slow Motion (Effect) Most effect when something is visibly moving, otherwise this can be used whenever and can be most suiting to slower paced music, or to create an effect or feeling to who sees it. Low - Footage - Editing Software (DaVinci) 3:00 – 7:00 mins
- 9. Potential techniques – Transitions/Software Technique Name Description Of Use Level Of Difficulty Equipment Needed Time Allowance Dark To Dark (Transition) When transitioning from a dark shot to another dark scenario that’s adjacent to each other, this can be effective and create what's know as a ‘seamless transition, which can be very satisfying to the viewer; also, it can set a darker mood to suit a style/genre. Low - Footage - Editing software (DaVinci) 0:00 – 01:00 mins White To White/Flash (Transition) Setting much more positive connotations, this transition would be set against two shots that have some bright lighting, colours or contrast in the shots, and I more suiting to happy and joyful styles or genres, conveying these intentions strongly. Low - Footage - Editing software (DaVinci) 0:00 – 01:00 mins Masking (Transition) When something swipes from one direction to the other, completing the shot, this can make text appear or a transition between shots/scenes, a good effect at progressing a narrative onwards yet keeping it suttle enough to not be too obvious. High - Footage - Editing software (DaVinci) 10:00 – 15:00 mins Glitch (Transition) For either a transition, overlay, to make text appear, or as an additional visual implementation, this gives off a lot of modern and technology vibes in the atmosphere, something that may link or hint to a specific genre/style, or as something negative. Low - Footage - Editing software (DaVinci) 00:00 – 1:00 mins Colour Grading (Software Effect) Taking different shots at a professional level can be effective, but by adding some colour grading this can make and emphasise on certain things, up the contrast, shadows, and colour accuracy, along with many other attributes to make it more cinematic and real. Medium – High - Footage - Editing software (DaVinci) 05:00 – 15:00 mins Stabilization (Software Effect) Without a tripod at hand, or in the case of moving the camera in a pan, zoom, or tracking shot, you will indefinitely get some camera shaking, therefore a stabilisation feature on your software counters this, making it seamless, more engaging and professional. Low - Footage - Editing software (DaVinci) 00:00 – 1:00 mins
- 11. Potential Methods – Interviews Definition: 'The interview is a common documentary technique. It allows people being filmed to speak directly about events, prompted by the questions asked by the filmmaker. An interview may take place on screen, or off screen, on a different set. Interviews in a documentary give the viewer a sense of realism, that the documentary maker’s views are mutually shared by another person or source, and thus more valid. To achieve this much detail from what may be a one-hour interview, clips of only a few minutes are shown. Interviews on opposing sides of an issue may be shown to give the viewer comprehensive information about a topic.'
- 12. Potential Methods – Voice Overs Definition: 'The voice-over in a documentary is a commentary by the filmmaker, spoken while the camera is filming, or added to the soundtrack during the production. Through this the filmmaker can speak directly to the viewer, offering information, explanations and opinions. A voice-over does not directly relate to any text that appears on the screen. The narrator does not usually read the text on the screen, however, it is the job of the narration to support what is being viewed.'
- 13. Potential Methods – Archival Footage Definition: 'Archival, or stock footage, is material obtained from a film library or archive and inserted into a documentary to show historical events or to add detail without the need for additional filming.'
- 14. Potential Methods – Reenactment Definition: 'Reconstructions are also often used in documentaries. They are artificial scenes of an event which has been reconstructed and acted out on film based on information of the event. Reconstructions generally provide factual information, and give the viewer a sense of realism, as if the event really happened in front of them live. They often indicate that the footage is not real by using techniques such as blurring, distortion, lighting effects, changes in camera level, and colour enhancement within the footage.'
- 15. Potential Methods – Montage Definition: 'A montage sequence conveys ideas visually by putting them in a specific order in the film. Narrative montages involve the planning of sequence of shots used to indicate changes in time and place within a film. Ideational montages link actions with words, and are often used in documentaries. A different positioning of shots conveys different ideas to the viewer. For example, a montage containing a negative theme followed by a positive theme may give the viewer the idea that the positive theme is the main theme of the montage. Montages in documentaries are usually linked with words that characters say. This visual representation of the characters thoughts helps position the viewer in the story, and helps the viewer better understand what the character is saying. It visually presents a progression of ideas on a screen. A photo montage is used in the same fashion and conveys the same ideas using still photographs inserted into the video. A voice-over supports a montage.'
- 16. Potential Methods – Exposition Definition: 'In a documentary, the exposition occurs at the beginning and introduces the important themes of the film. It is important because it creates the viewer's first impression and introduces the viewer to the content. Dramatic segments of the documentary are specially chosen in order to catch the viewer’s attention. These shots are specifically positioned, such that the montage positions us to believe a certain theme presented by the documentary and this the documentary presents its view much more persuasively to the viewer. This acts as a pre-view to the rest of the documentary.'
- 17. Potential Methods – Wallpaper Technique Definition: 'Documentaries often need to convey abstract information – usually by voice-over narration. Since abstract concepts have no physical existence, they are impossible to record visually. But because the screen cannot be blank, the film maker and script writer must invent visuals that appear plausibly connected to the narration, even if they do not show what is actually being talked about on the sound track narration. This type of related visual is called wallpaper. An example of the wallpaper technique could be: A documentary about a particular county that does not have natural resources or a manufacturing industry, but has a water transportation and shipping industry, can discuss how they rely, as a nation, on boats for income. This is a topic that cannot be filmed, but clips and/or stills of their boats in action and in port can be used to fill the time slot while the narration takes place.'
- 18. Potential Methods – Actuality Definition: 'Actuality is the term for raw film footage of real life events (reality), places and people as opposed to fictional films which use actors, scripted stories and artificial sets. Documentaries are not pure actuality films - rather they combine actuality with explanation, commentary, and perhaps even dramatization.'
- 19. Colour Schemes
- 20. (Analogous) (Monochromatic) (Traid) (Complementary) (Compound) (Shades) Colour Schemes – Yellow Predominant
- 21. Colour Schemes – Blue Predominant (Monochromatic) (Traid) (Complementary) (Compound) (Shades) (Analogous)
- 22. Colour Schemes – Green Predominant (Analogous) (Monochromatic) (Traid) (Complementary) (Compound) (Shades)
- 23. (Shades) - Black (Shades) - White (Shades) - Grey (Complementary) - Black (Complementary) - White (Complementary) - Grey Colour Schemes – Black, White and Grey
- 24. Colour Schemes – Different Connotations Yellow: Freshness, Happiness, Positivity, Clarity, Energy, Optimism, Enlightenment, Remembrance, Intellect, Honour, Loyalty, Joy, Cowardice, Deceit, Caution, Sickness, Jealousy. Blue: Faith, Trust, Loyalty, Wisdom, Confidence, Intelligence, Truth, Heaven, Contentment, Peace, Tranquillity, Calm, Stability, Harmony, Unity, Security, Cleanliness, Order, Sky, Water, Cold, Technology. Green: Life, Renewal, Nature, Energy, Growth, Harmony, Freshness, Safety, Fertility, Environment, Money, Finances, Banking, Ambition, Greed, Jealousy, Wall Street. White: Neutral, Hygienic, Cleanness, Refreshing, clarity, Sophistication, Purity, Simplicity, Innocence, Efficiency, Hope, Individualism, Idealism, Optimism, Coldness, Barriers, Unfriendliness, Chillness, Emptiness, Indecision. Black: Power, Elegance, Formality, Death, Evil, Mystery, Fear, Anger, Depression, Unlucky, Sexuality, Anonymity, Depth, Style, Remorse.
- 26. Intentions Summary Of Intension: - I would like to introduce the documentary with how covid has evolved amongst the world, starting from its first cases to being a global emergency and lockdown; here I shall have no narration, but a multitude of sourced news reports and clips to tell the story in what should hopefully be abouts 45 – 60 seconds. This would be a great example of the use of the 'montage' and 'exposition' method, along with following the 'mixed' genre choice as this also covers the 'observational' style that I plan to involve. - Aa a very common aspect across most, if not all documentary's, including 'interviews' is a very stereotypical feature that can be the breaking point between a good or bad factual video; therefore I will try to use this method multiple times, for having different perspectives, opinions, or general judgements can make it very trustworthy and more engaging. - I would like to use as many different techniques and methods as possible throughout my documentary, this not only would help develop new strategies, skills, and knowledge is this part of the media industry, but would also show a distinctive unique factor against other products in this branch. - I would like to include some dramatization in relation to my topic being on education, more specifically some footage of pupils/students working, this would work effectively with the 'essayistic' style/genre I desire to also use in my documentry as they hold simular traits when being performed – the only difference being some narration ontop. - When wanting to separate the structural pieces that make up the documentry, whether it be the beginning from the middle or middle from the end etc, using the 'poetic' style could be implimented to show this transition; this additionally slows down the pace of the video and makes it more emotionally compelling and engaging, as this gives some thinking time for my viewers to take in the extensive statisticks, facts, and information being given out. - As my theme partially targets a very sensative topic at the time of creation, covid 19, it seems possible that the inclusion of some emotionally alluring techniques or process could be used to make it more impacting on my auidence; as such with cinematic/dramatic shots, mellow/uplifting soundtracks, a yellow color scheme and etc more.
- 27. Structural Breakdown (0:00 – 5:00) Section 1 (30 – 45 seconds) - A series of news clips that develop a timeline on covids initial history untill lockdown in the UK, archieval footage Section 2 (10 – 20 seconds) - A very brief range of cinematic shots of isolation portraying what lockdown in the cities/towns was like, a montage Section 3 (15 – 30 seconds) - Numerous statisticks against education and covid, developing into first introduction of interviewer
- 28. Shot List
- 29. Shot List Interviews: Shot No. Interview No. Description Of Shot Framing Of The Shot Action Included Other Subjects (Props/Actors) Shot #1 Int. #1 The typical positioning and angle of an interview; eye level, in the third slot of rule of thirds, and alittle head room. Medium Close Up Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #1 Shot #2 Int. #1 Possibly at a different angle, as such with focussing on hand gestures, this can be decided upon shooting Close Up – Long Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #1 Shot #3 Int. #2 The typical positioning and angle of an interview; eye level, in the third slot of rule of thirds, and alittle head room. Medium Close Up Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #2 Shot #4 Int. #2 Possibly at a different angle, as such with focussing on hand gestures, this can be decided upon shooting Close Up – Long Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #2 Shot #5 Int. #3 The typical positioning and angle of an interview; eye level, in the third slot of rule of thirds, and alittle head room. Medium Close Up Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #3 Shot #6 Int. #3 Possibly at a different angle, as such with focussing on hand gestures, this can be decided upon shooting Close Up – Long Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #3 Shot #7 Int. #4 The typical positioning and angle of an interview; eye level, in the third slot of rule of thirds, and alittle head room. Medium Close Up Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #4 Shot #8 Int. #4 Possibly at a different angle, as such with focussing on hand gestures, this can be decided upon shooting Close Up – Long Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #4 Shot #9 Int. #5 The typical positioning and angle of an interview; eye level, in the third slot of rule of thirds, and alittle head room. Medium Close Up Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #5 Shot #10 Int. #5 Possibly at a different angle, as such with focussing on hand gestures, this can be decided upon shooting Close Up – Long Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #5 Shot #11 Int. #6 The typical positioning and angle of an interview; eye level, in the third slot of rule of thirds, and alittle head room. Medium Close Up Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #6 Shot #12 Int. #6 Possibly at a different angle, as such with focussing on hand gestures, this can be decided upon shooting Close Up – Long Shot Non-verbal codes, hand gestures, and whole-body movement Interviewee #6
- 30. Shot List - Continued Dramatization: Shot No. Interview No. Description Of Shot Framing Of The Shot Action Included Other Subjects (Props/Actors) Shot #1 Scene 1 An student/pupil working in a classroom, denoting more the whole classroom than just particularly this person Long/Extreme Long Shot Pupil/s working in a classroom Paper, Computer, Pencil case with additionals, Interviewee Shot #2 Scene 1 An student/pupil working in a classroom, focussing more on the student with a closer shot of them learning/working Medium Shot Pupil/s working in a classroom Paper, Computer, Pencil case with additionals, Interviewee Shot #3 Scene 1 An student/pupil working in a classroom, now focussing a lot closer on the student themselves Close Up Shot Pupil/s working in a classroom Paper, Computer, Pencil case with additionals, Interviewee Shot #4 Scene 1 An student/pupil working in a classroom, now focussing more on either their typing/writing, actual actions Close Up Shot Pupil/s working in a classroom Paper, Computer, Pencil case with additionals, Interviewee Shot #5 Scene 2 An student/pupil working from home on desk/table, scene shot emphasising the location and person themslelves Long Shot Shot #6 Scene 2 An student/pupil working from home on desk/table, over the shoulder of interviewee on zoom call Over The Shoulder Shot Shot #7 Scene 2 An student/pupil working from home on desk/table, close up shot of interviewee working in location Extreme/Close Up Shot Shot #8 Scene Shot #9 Shot #10 Shot #11 Shot #12
- 32. Resources Equipment Needed Possible Equipment Needed Camera Exterior microphone Tripod Props Lighting Memory Stick/Card Editing Software YouTube
- 33. Contingency Planning Potential Problem Effect On Production Solution/Control Person Responsible Person/s cant access location due transport, timing, placement, or etc. Cant follow through with filming there, or delayed timings, or re-schedule on location accessibility. Pre-plan a location brief to each filming spot with regards to the crew and their availability, keep in contact. Jake Whattam-Smith and the Crew/Cast Cant access the desired location due to privacy reasons or permissions. Can’t film which may lead to a re-scheduled date or re-think locations. Plan ahead of use, observe the location ibefore hand, and ask for permission. Jake Whattam-Smith The camera/phone may run out of charge/battery. Can’t film which may lead to a re-scheduled date or delay the timings. Bring spare batteries or bring a charger if electricity is accessible. Jake Whattam-Smith Camera source runs out of storage, or the storage becomes corrupt. Can’t film or edit as unable to shoot the required footage, or gather pre-recorded scenes on corrupt storage. Bring a spare storage source, frequently save the footage, and check before its use. Jake Whattam-Smith Could encounter defective equipment/kit if it has broken. Can’t film if the equipment is essential to the scene, such as with the camera. Check the equipment before use, or have other options in case. Jake Whattam-Smith Could lose some equipment if travelling between sparse locations. If its essential, then it may delay or extend the shooting allowance. Check the area before moving onwards and refer to the call sheets regularly. Jake Whattam-Smith Incidents in correlation to my personnel's, such as with being ill. Unable to film if they’re specifically required for a role in filming or acting. Plan with spare days in case, otherwise have other sources/people/methods. Jake Whattam-Smith Haven’t organised personnel’s in time for filming/photo taking, or etc. If they’re needed, then it would impact the whole schedule and couldn’t film. Ensure it is all planned during pre-production if its crucial, before filming. Jake Whattam-Smith The location’s/filming may be interrupted by people passing. It would evidently slow down the filming processes meaning a delay or re-schedule. Have crew prevent interruption, or time the filming between. Jake Whattam-Smith and the Crew/Cast Unintentional weather implications, such as with rain, or sun, of lighting. Dependant on the weather, delays or re-scheduled shootings may be required. Either shoot what is required to the current weather, or wait until suitable. Jake Whattam-Smith
- 34. Health and Safety - List Hazard Present? Severity Likelihood Risk Factor #1 - Alcohol/Drugs N N/A N/A N/A #2 - Animals/Insects N N/A N/A N/A #3 – Audiences N N/A N/A N/A #4 - Camera cable/grip equipment Y Low Likely 1 #5 - Confined spaces N N/A N/A N/A #6 - Derelict buildings/dangerous structures N N/A N/A N/A #7 - Electricity/gas (other than normal supplies) N N/A N/A N/A #8 - Fatigue/long hours N N/A N/A N/A #9 - Fire/flammable materials N N/A N/A N/A #10 - Hazardous substances N N/A N/A N/A #11 - Heat/cold/extreme weather N N/A N/A N/A #12 - Laser/strobe effects N N/A N/A N/A #13 - Machinery/industrial/crane/hoist N N/A N/A N/A #14 - Materials (glass, non-fire retardant set materials) N N/A N/A N/A #15 - Night Operation N N/A N/A N/A #16 - Noise (High sound levels) N N/A N/A N/A #17 - Manual handling N N/A N/A N/A #18 - Public/crowds N N/A N/A N/A
- 35. Health and Safety – List (continued) Hazard Present? Severity Likelihood Risk Factor #19 – Radiation N N/A N/A N/A #20 - Scaffold/rostra N N/A N/A N/A #21 - Smoking on set N N/A N/A N/A #22 - Special effects/explosives N N/A N/A N/A #23 - Special needs (elderly, disabled, inexperienced) Y Low Very Unlikely 1 #24 - Specialised rescue/first aid N N/A N/A N/A #25 - Stunts, dangerous activities N N/A N/A N/A #26 - Tall scenery/suspended ceilings N N/A N/A N/A #27 - Vehicles/speed N N/A N/A N/A #28 - Water/proximity to water N N/A N/A N/A #29 – Weapons N N/A N/A N/A #30 - Working at heights N N/A N/A N/A #31 – Covid 19 Precautions Y High Definite 3
- 36. Health and Safety - Assessments Hazard No. #4 Risk Factor (1-3): 1 Description Camera cable/grip equipment Person(s) exposed - (detail if cast/crew (C), outside of company (O), or nearby public (P) C Action to take Manage all cables together using cable ties or velcro cable straps, additionally use of cable mat covering cable running on ground could be used. For tripod, ensure placement isn't blocking pathways. Could use signage Person/company responsible for action Jake Whattam-Smith To be completed at agreed later date Exposed person(s) informed? (y/n) Agreed action taken? (y/n) Risk removed? (y/n) Hazard No. #23 Risk Factor (1-3): 1 Description Special needs (elderly, disabled, inexperienced) Person(s) exposed - (detail if cast/crew (C), outside of company (O), or nearby public (P) C Action to take Ensure any hazards nearby are eliminated. Could have additional support of person if special needs is a requirement. Inexperienced to be monitored. Everyone is told to be wary of risk beforehand. Person/company responsible for action Jake Whattam-Smith To be completed at agreed later date Exposed person(s) informed? (y/n) Agreed action taken? (y/n) Risk removed? (y/n)
- 37. Hazard No. #31 Risk Factor (1-3): 3 Description Covid 19 Precautions Person(s) exposed - (detail if cast/crew (C), outside of company (O), or nearby public (P) C, O, and P Action to take Ensure social distancing is present at all times. Have hand sanitiser around for constant use. Ensure face coverings are worn, other than interviews so keep distance at all times. Keep hands to yourself. Person/company responsible for action Everyone To be completed at agreed later date Exposed person(s) informed? (y/n) Agreed action taken? (y/n) Risk removed? (y/n) Health and Safety – Assessments (continued)
- 38. Audio - Extras
- 39. List Of Possible Audio Implementations Possible Diegetic Sounds Movements of people Movement of objects Dialogue between people Paper ruffling Breathing Footsteps Zip of a pencil case Possible Ambient Sounds Outdoor Ambiance (Birds, Insects, Wind Gusts) Street Ambiance (Cars Driving Past, Ambulance Siren) City Ambiance (People walking/Talking, Industrial Machines) Room Ambiance (Slight Echo, Silent Predominant, Creaking Possible) Possible Non-Diegetic Sounds Music Soundtrack Click to add text
- 40. Bibliography
- 41. Bibliography . WordPress and Ascetica (2020) Docuseek2 https://docuseek2.com/wp/documentary-genres/ (accessed 29/09/2020) . Sven E Carlsson (2020) FilmSound.orghttps://filmsound.org/terminology/diegetic.htm#:~:text=Diegetic%20sound%20is%20any%20sound,Greek%20word%20for%20%22recounted%20story%22 (accessed 29/09/2020) . Masterclass (2020) Masterclass.com https://www.masterclass.com/articles/diegetic-sound-and-non-diegetic-sound-whats-the-difference#3-examples-of-diegetic-sound (accessed 29/09/2020) . N/A (N/A) Documentary Film Techniques http://www.whsd.net/userfiles/1441/Classes/54973/DOCUMENTARY%20FILM%20TECHNIQUESx.pdf (accessed 29/09/2020)