13: Filming Coverage
- Page ID
- 364155
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)An interview is a talking head. Once we see what the speaker looks like, hear their speech patterns, understand the idioms that shape their personality, and use a graphic overlay to identify them, we might not need to see much more of them on camera. The on-camera interview, added with video coverage, is a key element of documentaries. This additional footage, also called B-roll, helps the audience better understand what the main speakers are sharing.
B-roll is essential in visual storytelling, adding energy and authenticity to the narrative. While words express emotions and convey details, combining B-roll with thoughtful editing creates texture that words alone can't achieve. Capturing B-roll involves many techniques borrowed from narrative filmmaking, including framing long, medium, and close-up shots.
- 13.1: Types of Coverage Shots
- Keep in mind, shooting more footage than you think you'll need gives you the flexibility to shape your story during editing. You will also want to vary your shots so you will have greater flexibility in editing sequences and to support the story you are telling.
- 13.2: Sequencing
- A typical shot sequence goes from an establishing shot, to long shot, to medium shot, to close-up. To keep things interesting and to support your interviews and story, this order can vary as needed to progress the action. There is no rigid format or order of shots. It is up to the filmmaker to tell the story clearly, though.
- 13.3: Using the Deductive and Inductive Approach to Coverage Shots
- As we discussed in Chapter 7, understanding the difference between deductive and inductive approaches applies to shooting coverage as well.
- 13.4: Alternatives to Deductive and Inductive Coverage Shots
- There are alternative strategies to the inductive / deductive techniques of shooting, especially in the styles of participatory, reflexive, poetic, and performance documentaries. These modes often require a combination of methods that suit the situation.
- 13.5: Archival and Copyright-Safe Video Sources
- Not everything online is free to use in your video. Much of it is copyright or at least needs to be cited if used. Research carefully any footage not created by you. Make sure you have the copyright before you include it, even if it's just on YouTube. This goes for music and sound effects as well.
- 13.6: The McGuffin Idea
- The term McGuffin was created by British screenwriter Angus MacPhail, who wrote several scripts for director Alfred Hitchcock. Adapting the concept to documentary is a bit of a flight of fancy. When you are stumped for what b-roll to shoot to cover your interview, the McGuffin Idea will give you more options.
- 13.7: Student Exercises
- This page outlines diverse exercises for improving shooting coverage skills in filmmaking, including a Coverage Sequence Drill, Inductive Coverage Exercise, and sound-driven visual capture. These activities promote creative observation, recording, and reflection, emphasizing immersive experience and comparing inductive and deductive methods.