Shooting took place on February 15th, three weeks before the deadline so we had plenty of time to perfect our documentary.
We started early, setting up the equipment straight away. As this was a new setting for myself and two other group members we had to work as quickly and efficiently as we could to set up a visually pleasing setting and really work on the ambience. We managed, unfortunately it meant the subject waiting round longer than he’d have liked, which could have been overcome if we had visited the setting earlier and planned the set up then. We distinguished roles quickly and got straight into filming.
Unfortunately when playing back our audio for the interview we came across a layer of noise, a constant static playing from a faulty microphone. Luckily we had brought back-up equipment and connected a boom microphone into the Edirol to be synced in editing later – this came out clear, and filming the subject the second time round also led to a more fluent and relaxed interview.
We used two halogen lights and flooded the room with a warm, bright yellow colour, to create a homely, relaxed ambience. We used static shots of the subject for the main body of the interview, and included lots of other footage including images of photographs, religious symbols and Gods, cutaway exterior shots to add realism, and a tracking shot in the kitchen of the whole family, which was also a problem – though it’s a nice looking shot, the dolly got caught in the floor tiles, we used a carpet to smooth the movement, and it helped but was not perfect.
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