Deenan Kathiravan

Deenan,

I don’t think I’m wise enough to give you words of wisdom, however I could share some advice based on my experience shooting documentary footage or “on the fly” or “no time for take two” footage. For the sake of this example [although you emailed me your subjects, I haven’t got a chance to reply…sorry love] let’s take a street cobbler yeah​?

i. Make a shot list for the narrative in the present tense.

Establishing shots. Close ups. Wides. Mediums. Details.​ Inserts. ​

ii. Make a shot list for the narrative ​if the cobbler talks about the past.

Photographs if he has any. Documented photos of the era. Sounds. Sound effects.  

iii. Try to get clean audio. The audience will forgive a terrible image, but not terrible sound.

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iv. Try not to “spray and pray”. Try to avoid shooting 20 cards worth of material and then attempting to mentally suicide in edit sessions.

If the cobbler is emphasizing on “something” important then that “something” important gets a close up because you are visually telling the audience to pay attention to the close up because that “something” is important. I mean, it’s the principal. You can break it if you know your shit.

In that same branch of visually showing importance, a close up, a wide, and maybe couple of angles in profile would do the trick. Flip to page 19 on this book. Those angles should do the trick.

v. Again, in that same branch of visually showing importance - always keep in mind that it’s a “visual” medium. You can engage with the audience with a locked tripod and one lens. No need for fancy camera work and one takes.

vi. Try to fill the frame with a balance but try to also avoid framing it too busy to the point where we lose the subject.

vii. Use the on display grids. No shame in it.

viii. When switching focal length try to frame the EYES of the subject on/around the leading line of your master shot. For instance, if you are on a 35mm and let’s say you framed the eyes of the subject on the top leading line of the grid [hence use the damn grid display], then that principal should follow when you are on a 50, 85 or whatever.

It’s pleasing to the eyes and not jarring to follow around when cutting from close to wide or wide to close. Take a look at Thalapathi’s collector office scene [or any dialogue scenes involving wide/closeups]. From wide to close, the focal length changes but the eye line remains the same.

ix. If you are asking questions, then hit on the personal ones. The intimate ones. The tough ones. Be a Howard Stern. Be brave. Be Bold.

Nobody cares about the cobbler’s accolades or the pedigree information. That shit is boring.

Instead, feed YOUR curiosity. What would YOU like to know about the cobbler? Don’t make it sappy. Respect the cobbler as a Human being first. He/She carries the same emotions as you. So, start from there.

Lastly, rather than educating the audience about your subject - try to educate YOURSELF during the filming of this documentary and trust me, it will shine in the final output.

Because, if you are learning something, then we are learning with you.

And finally, unlearn whatever you just read above and try to have fun and when in doubt - underexpose.

Good luck Deenan and if you wish, share with me your first cut/draft. I would love to take a look.

Man….now I’m excited to watch what you are about to cook!

Love,