Documentary Cinematography

[EDDUS RAY]

The modern era of documentary filmmaking is producing some truly inspiring work. I'm a big fan of David Bolen's imagery, his work is moody and natural. I'm wondering what some techniques are for controlling lighting in spaces where you seemingly have no control. I've done quite a bit of documentary work for TV, especially talking head type stuff, where we have time to control the interview frames, but what about verite moments? Is it just a matter of controlling the timing that you shoot in said spaces? I often wonder how much lighting is actually going on behind the scenes in films where it feels more follow style but maintains the moody/contrasty look.

[Johanan Pandone]

It depends on the subject, if it's a scheduled interview you can always make time for lighting and design, if it's an ambush you can get to the location early and swap out some practicals. You should have someone else ask the questions and make a plan for what angle you will approach the subject at exactly what time. The interviewer has some influence on the situation but no control, the only thing you can control is the interviewer. So it's important for you and the interviewer to make a plan together.  to  If you're shooting b-roll like landscapes and extablishing shots you should take time to visit the locations at different hours of the day and schedule around the weather to capture these shots in the best natural light God can provide. If you're  trying to capture subjects of the documentary in their natural environment with the highest degree of realism all you really have it focal length and framing to play with, once you break out the lights it's no longer reality and eveyone is acting as a charicature of themselves, this may or may not serve your story. If you want people to act natural the best approach is to spend a lot of time with them so they get used to your presence, and use longer lenses so you can keep your distance. Eventually you become a fly on the wall and they almost forget you are there. This is when their true character and the natural dynamic between documentary subjects comes out.

[Tyler Purcell]

I've done a lot of documentary work over the years and I generally get an opportunity to light the locations. Sometimes it's as easy as sticking a light in the corner of the room pointing up, sometimes it's more difficult. I generally carry my entire lighting kit with me when I'm going to doc shoots, because I don't know where I'm gonna be or what I'm gonna be up against. 

Obviously for interviews, lighting is a must. 

I generally like shooting outdoors for doc's but again, sometimes its not in the cards. I'll shoot outdoors #1 with interviews indoors and then if there is any indoor B-Roll, I'll just plan it around lighting. Either big windows with daylight and bounce cards or perhaps something more intense. 

Here is an example of single "hard" lighting on a doc shoot about a luthier. 
 

 

[Daniel D. Teoli Jr.]

OP...the late Robby Müller would tell you something along the lines of being careful the art does not overpower the message. Especially for doc work!

 

In the Mosh Pit 2014

D.D.Teoli Jr.

[EDDUS RAY]

Hey guys these are all great tips. I appreciate you taking the time to reply. 

I also very much appreciate the sentiment that its more important to keep the feeling on authenticity and intimacy over the shape of the images.