# 12973 Writings and Reflections from Prison
Experiential interviews feel much more authentic and are simply more engaging for the viewer. Hunter: Chris, how did you get these shots? Did you ask him to go look around while you shot? It seemed a little unnatural, and I wanted to know if this was the case. CW: We did an experiential interview with him and throughout, we had issues with the camera.
Therefore, the questions came out disjointed and we kept having to apologize. However, whenever we got the camera rolling we sometimes caught him in these awkward moments. We just got what we could get and I think it captured his essence a little bit. Marina: Was it handheld? CW: No, this was on a crappy tripod. If you noticed, Bee Downtown also included slideshow images.
I used slides because of two reasons 1 they fit with the story; 2 I had little usable footage. CW: We had a great interview from another neighbor but the audio was so bad it was rendered useless. I preferred the Pompieri Pizza one I made because it felt more complete and the cinematography was way better. I was surprised to see that many of you enjoyed the shots. If I were to film this now, I would do more straight pans, no zooms, and more static shots. Key elements of storytelling in relation to their pieces JL: There is storytelling and news reporting.
Storytelling and fact-chucking. You can list headlines, and you can share them with your audience. When appropriate you can also tell stories, which are a different being. Artist, journalist, all different. Depends on who the audience is and where you want to go with it.
Who am I talking to? Why am I doing this? What am I trying to accomplish? How much do I care? Do I give a damn about this piece? What am I willing to do to feel something from this? In the end, it comes down to how committed am I? Is it just wallpaper, filling in the blank? Am I moving people emotionally, intellectually? Best stories are a combination of both. Getting people to care, and knowing that I care. The degree to which I can care is often the degree to which the people watching will care.
Next is finding the angle. You get better and better the more you practice. It also refers to a specific moment. The author caught this oddity in the moment of searching for an answer.
Sorry everybody, audio is hard to follow. Every sentence raises one, if not two or three better questions. At the beginning of a story, you want to give the people something. Creates its own momentum, like a river does. What you might do in your own particular stories is pay attention to those first two or three sentences.
If you can remember a point at which your subject really caught your attention or made you lean in, and you can come back and capture that, see what happens if you can move it up. If it captured you, it will capture your audience in the same way. These moments have their special places.
I want to talk about a couple of truths about video storytelling. Different than radio, print, other mediums. How well can you make choices to limit storyline to accomplish something well. Did a feature in Eastern Washington about a little town. Visual storytelling is experiential. During any story, there are reveals that allow the audience to participate. When you boil down to it, I think there are three reveals. These three engines drive the fun story. There is a bunch of other stuff. Free Download Mechano Technology N3 Memordums Printable and More than 10 million titles covering every imaginable genre at your fingertips.
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Apache Solr Release Notes
He was hired as an MC for events. Interviewed him and got B-roll of him on stage. He could potentially be a subject to get more in depth with. Carson went over three-point lighting in class. A: Definitely.
Get her on the phone for 10 minutes. When Michael Langan visited Duke last year, he talked about an experience in which a filmmaker used these fantastic camera techniques in his story, but the movements made no sense. He was borrowing from other filmmakers, which is a great practice, but he was doing it for the effect rather than how it helped move the story along. Think about the movements you are making and what they contribute to your story, what they reveal.
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Lauren: Do you need to have a second camera to do cutaways or can you do them with one? Is there a special technique to maintain the integrity of the original shot prior to and after the cut-away? Carson: Always better to have a second camera especially if you have four people in your group. You can always stage follow-up questions and ask him to repeat some things.
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Will: My question is how would I change the mic settings to reduce background noise if need be? Carson: Make sure to record ambient noise so that you can go into Adobe Audition and select that portion to reduce noise in postproduction. Or are there some shots that will simply be unsalvageable? And what does that look like? Will go over next week in editing lab. Traditional stand up or sit down interviews are on the way out. Experiential interviews feel much more authentic and are simply more engaging for the viewer. Hunter: Chris, how did you get these shots?
Did you ask him to go look around while you shot? It seemed a little unnatural, and I wanted to know if this was the case. CW: We did an experiential interview with him and throughout, we had issues with the camera.
Therefore, the questions came out disjointed and we kept having to apologize. However, whenever we got the camera rolling we sometimes caught him in these awkward moments.