Documentary film

A documentary film is a nonfictional motion picture intended to document some aspect of reality,
primarily for the purposes of instruction, education, or maintaining a historical record.
"Documentary" has been described as a "filmmaking practice, a cinematic tradition, and mode of
audience reception" that is continually evolving and is without clear boundaries.[2] Documentary
films were originally called 'actuality' films and were only a minute or less in length. Over time
documentaries have evolved to be longer in length and to include more categories, such as
educational, observational, and even 'docufiction'. Documentaries are also educational and often
used in schools to teach various principles. Social media platforms such as YouTube, have
allowed documentary films to improve the ways the films are distributed and able to educate and
broaden the reach of people who receive the information.

What Makes a Good Documentary Film?

What makes a good documentary film? The essential element of a good documentary is simply,
the story. The audience must have an intellectual and emotional tie to the film. The audience
must have a “pull” to get to the end of the film, not an excuse to get away from it.

The story must be found and that is not always easy. It’s the single component that the film
hinges upon. Once the story is identified, the filmmaker has to compose it accurately. It’s not as
easy as it sounds.

Here are some components of a good documentary film.

 The people who wield the power, influence and information are identified and become a
part of the film. The filmmaker must remain impartial and be open minded enough to
present all sides of the story.
 A well edited film allows for a more unprejudiced approach. Each person or subject that
is identified brings a unique focus to the film and requires a voice that is impartially
heard.
 A good documentary raises more questions than answers. There is a myth that a good
documentary film serves as proof or the ultimate explanation of something. Even if
audience members are left pondering at the end of the film credits, that can be an
excellent outcome.
 Film tells the truth even though the people in documentaries do not always do so. It is not
necessary that they are publically called out during the film. Good documentaries can
contrast content from many sources. The viewer serves as the juror. In well made
documentaries the camera is the great truth teller. The viewer is able to easily figure out
 who is telling the truth. And in serving as a juror the viewer is often spellbound to the
screen.

Once the story, structure and interviews are set the filmmaking process must be considered. The
technical qualities of a film can move it from the great to the forgettable ranks.

There are a variety of elements which are required among the documentaries of greatness.

 The filmmaker will need to have high quality technical equipment which includes
microphones, video camera, and editing equipment. Professional technicians are the best
bet if a true film of quality is the desired outcome.
 Live action shots are imperative to a good documentary. It shows scenes as they are
actually happening in real time. These shots will serve as evidence of truth or deceit for
the film’s viewers.
 Still shots serve as filler between scenes. They are important to good documentaries
because they do serve as credible transitions between live action and interviews. They are
never to be considered “fluff” filler but should be relevant people, information or places.
 The soundtrack or music is very important. It sets the tone for a good documentary. The
right music must be chosen and then edited by musical editor. This moves the
documentary film one step closer to greatness.

Finding the story, assembling the team, filming and editing are all part of the process that makes
a documentary successful. The devil can be in the details, so along the way these questions
should always be asked, “Are we still pulling on the viewer?” “Are they still sitting in their seats
spellbound?” If the questions can be answered with a yes; the documentary film is well on its
way to excellence.

What’s the Difference between Documentary and Feature Film

Feature films and documentaries are part of the living history of filmmaking; they grow, mature
and change with time. The difference between documentary and feature film can be giant or
small.

Both bring forth unique visions of our world, our cultures, our lives and loves. There’s more than
one difference between documentary and feature film. They each have distinct differences in
style, content and audience, even as the lines between them often blur.

1. Escape vs. Reality

In general, the main reason feature films get made is to entertain the audience; to give people an
escape. Documentaries are meant to inform; to confront people with reality: and sometimes to
promote a point of view.
Documentary makers certainly want to engage and captivate their audience, and some feature
films can be very informative, but a key difference between the documentary and feature film is
in the filmmaker’s motivation.

2. Fact or Fiction

Feature films are mostly fiction, sometimes total fantasy. Some may be based on real events or
people, but the director and screenwriter will be adding drama and impact with their creative
license. Genres include comedy and musical, action and western, romance, crime, horror and
science fiction, among others.

Documentaries are non-fiction films. Directors and writers help structure the film, rather than
creating characters or taking liberties with the facts of the story. Documentaries can take on
social, political and economic issues, or profile a person, place or thing.

3. Format

Feature films take care in introducing complex characters and spinning an intricate storyline over
a running time up to three hours. There’s an ebb and flow to the action, with carefully timed and
structured mini-climaxes and dramatic highlights. The scripted story, characters and actions all
are pointed in the same direction, leading the viewer through events with a sense of beginning,
middle, dramatic climax and end.

In documentaries, often the action leads the way. People don’t have scripted words to say or
scenes to enact; handheld cameras might be the only way to follow the story. Even the director
doesn’t always know what happens next. Documentary makers often say that discovery and
surprise is a big part of their job.

4. Production Costs

Documentaries are usually less expensive to make than feature films, with less elaborate
production frills. Documentaries can cost only a few thousand dollars, with small crews, single
camera set-ups and few if any paid talent. The result is often raw, unpolished but effective
nevertheless.

Feature films can cost millions, even hundreds of millions of dollars, thanks to top stars with top
salaries, directors and scriptwriters, music scores, exotic locations and costumes. A top feature
film often has its “money on the screen” with lush cinematography, gorgeous actors and
actresses, big bang special effects with large and talented production teams in the background.

Of course, big-name actors sometimes do participate in documentary-making, often with a

reduced fee and a strong belief in the project. And some low budget or “indie” feature films turn
out to be huge successes.
In fact, documentaries have become big box office, with serious Academy Award weight sitting
with them. Often very entertaining, they can be as controversial nowadays as the subjects they
cover.

And some feature films today are taking on very serious topics, with some post-911 war-themed
movies seeming more real than the stories they relate. The difference between documentary and
feature film can be obvious or subtle.

Quality Traits of a Good Television Broadcaster (Anchor)

1. Communication Skills: naturally any quality broadcaster is going to have excellent
communication skills. This includes the ability to speak on-camera, write, and
communicate in a team environment. Communication skills are also key in creating a
newscast as a television broadcast requires a great deal of teamwork both in front of and
behind the camera.
2. Passion: the modern viewing public can spot “fakeness” very easily. Anyone viewed as
insincere will not be successful on TV. This is where passion comes in. Being earnest and
truly involved in what you’re doing not only helps you in your work; it also allows you to
form a connection with your audience.
3. Investigative Skills: as broadcaster you need solid investigative skills. The ability to get
to the bottom of a story, get relevant information, and ask the right questions to get the
answers you need from the people you’re interviewing are all part of being a good
broadcaster.
4. Ability to Handle Pressure: the news media, by its very nature, is driven by deadlines
and things are always due. In such an environment, you will often have a very small
window of time in which to accomplish your goals. Being able to meet deadlines and
handle the pressure such an environment brings is an essential personality trait to have in
broadcasting.
5. Using Social Media: news doesn’t take time off and social media allows people to be
engaged with current events 24/7. Because of this, social media skills and being able to
navigate social media sites such as Twitter and Facebook are key skills to have. You
shouldn’t have to be reminded to engage with social media, it should come naturally.
6. Leadership Skills: as you move up in the industry leadership skills are key. A lead TV
anchor or show host is a prestigious position and with that comes responsibility. As you
gain experience, you’ll help guide and shape the broadcast as well as mentor younger
reporters and producers behind the scenes.
7. Humanity: lastly, don’t forget your integrity or your humanity. Remember, as a
television broadcaster you’re not just reporting on events, you’re telling the stories of
people in your community and beyond. Even in the age of the 24 hour news cycle, being
a good person is still of utmost importance as it comes across onscreen.
8. Mastery of multitasking: The ability to simultaneously: take in a producer’s instructions
via an earpiece while scanning new information from computer messages, texts or
Twitter; listen to what other reporters on the team are sharing and interviewees are adding;
monitor incoming video — and yes, live-tweet info to people who have come to expect
information in multiple formats.
 9. Knowledge base: An understanding of issues, names, geography, history and the ability
to put all of these in perspective for viewers. It comes from the journalist’s commitment
to being a student of the news.
10. Ability to process new information: Sorting, organizing, prioritizing and retaining
massive amounts of incoming data.
11. Ethical compass: Sensitivity to ethical land mines that often litter the field of live
breaking news — unconfirmed information, graphic video, words that potentially panic,
endanger public safety or security or words that add pain to already traumatized victims
and those who care about them.

Screenplay (Scripting)
A screenplay, or script, is a written work by screenwriters for a film, television program or
video game. These screenplays can be original works or adaptations from existing pieces of
writing. In them, the movement, actions, expression and dialogues of the characters are also
narrated. A screenplay written for television is also known as a teleplay.

How to Write a Screenplay: Script Writing Example & Screenwriting Tips

What is a Screenplay?

In the most basic terms, a screenplay is a 90-120 page document written in Courier 12pt font on
8 1/2" x 11" bright white three-hole punched paper. Wondering why Courier font is used? It's a
timing issue. One formatted script page in Courier font equals roughly one minute of screen time.
That's why the average page count of a screenplay should come in between 90 and 120 pages.
Comedies tend to be on the shorter side (90 pages, or 1 ½ hours) while Dramas run longer (120
pages, or 2 hours).

A screenplay can be an original piece, or based on a true story or previously written piece, like a
novel, stage play or newspaper article. At its heart, a screenplay is a blueprint for the film it will
one day become. Professionals on the set including the producer, director, set designer and actors
all translate the screenwriter's vision using their individual talents. Since the creation of a film is
ultimately a collaborative art, the screenwriter must be aware of each person's role and as such,
the script should reflect the writer's knowledge.

For example, it's crucial to remember that film is primarily a visual medium. As a screenwriter,
you must show what's happening in a story, rather than tell. A 2-page inner monologue may
work well for a novel, but is the kiss of death in a script. The very nature of screenwriting is
based on how to show a story on a screen, and pivotal moments can be conveyed through
something as simple as a look on an actor's face. Let's take a look at what a screenplay's structure
looks like.
The First Page of a Screenplay

While screenplay formatting software such as Final Draft, Movie Magic Screenwriter, Movie
Outline and Montage frees you from having to learn the nitty-gritty of margins and indents, it's
good to have a grasp of the general spacing standards.

The top, bottom and right margins of a screenplay are 1". The left margin is 1.5". The extra half-
inch of white space to the left of a script page allows for binding with brads, yet still imparts a
feeling of vertical balance of the text on the page. The entire document should be single-spaced.

The very first item on the first page should be the words FADE IN:. Note: the first page is never
numbered. Subsequent page numbers appear in the upper right hand corner, 0.5" from the top of
the page, flush right to the margin.

Screenplay Elements

Below is a list of items (with definitions) that make up the screenplay format, along with
indenting information. Again, screenplay software will automatically format all these elements,
but a screenwriter must have a working knowledge of the definitions to know when to use each
one.

Scene Heading

Indent: Left: 0.0" Right: 0.0" Width: 6.0"

A scene heading is a one-line description of the location and time of day of a scene, also known
as a "slug-line." It should always be in CAPS.

Example: EXT. WRITERS STORE - DAY reveals that the action takes place outside The
Writers Store during the daytime.

Sub-header
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

When a new scene heading is not necessary, but some distinction needs to be made in the action,
you can use a sub-header. But be sure to use these sparingly, as a script full of sub-headers is
generally frowned upon. A good example is when there are a series of quick cuts between two
locations; you would use the term INTERCUT and the scene locations.

Action
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

The narrative description of the events of a scene, written in the present tense. Also less
commonly known as direction, visual exposition, black-stuff, description or scene direction.

Remember - only things that can be seen and heard should be included in the action.
Character
Indent: Left: 2.0" Right: 0.0" Width: 4.0"

When a character is introduced, his name should be capitalized within the action. For example:
The door opens and in walks LIAM, a thirty-something hipster with attitude to spare.

A character's name is CAPPED and always listed above his lines of dialogue. Minor characters
may be listed without names, for example "TAXI DRIVER" or "CUSTOMER."

Dialogue
Indent: Left: 1.0" Right: 1.5" Width: 3.5"

Lines of speech for each character. Dialogue format is used anytime a character is heard
speaking, even for off-screen and voice-overs.

Parenthetical
Indent: Left: 1.5" Right: 2.0" Width: 2.5"

A parenthetical is direction for the character, that is either attitude or action-oriented. With roots
in the playwriting genre, today, parentheticals are used very rarely, and only if absolutely
necessary. Why? Two reasons. First, if you need to use a parenthetical to convey what's going on
with your dialogue, then it probably just needs a good re-write. Second, it's the director's job to
instruct an actor on how to deliver a line, and everyone knows not to encroach on the director's
turf!

Extension
Placed after the character's name, in parentheses

An abbreviated technical note placed after the character's name to indicate how the voice will be
heard onscreen, for example, if the character is speaking as a voice-over, it would appear as
LIAM (V.O.).

Transition
Indent: Left: 4.0" Right: 0.0" Width: 2.0"

Transitions are film editing instructions, and generally only appear in a shooting script.
Transition verbiage includes:

 CUT TO:
 DISSOLVE TO:
 SMASH CUT:
 QUICK CUT:
 FADE TO:
As a spec script writer, you should avoid using a transition unless there is no other way to
indicate a story element. For example, you might need to use DISSOLVE TO: to indicate that a
large amount of time has passed.

Shot
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

A shot tells the reader the focal point within a scene has changed. Like a transition, there's rarely
a time when a spec screenwriter should insert shot directions. Once again, that's the director's job.

Examples of Shots:

 ANGLE ON --
 EXTREME CLOSE UP --
 PAN TO --
 LIAM'S POV --

7 Basic Steps to Writing a Screenplay

Writing a screenplay is an extremely rewarding process, but it’s not an easy task. It takes a
serious amount of time and dedication to develop a good screenplay, and if your goal is to sell it,
completing a first draft is only the beginning. You’ll have to refine the story, often with several
more drafts, get an agent, submit your script to studios and producers, and have someone like it
enough to risk a substantial amount of money to buy it. Unless, of course, you’re planning to
finance and produce it yourself.

Each year, the major Hollywood studios purchase a combined 100-200 original screenplays.
When you consider that somewhere between 25,000 and 50,000 new screenplays are registered
with the WGA every year, it’s easy to see how difficult the task actually is. But, don’t be
discouraged. Most people don’t invest enough time learning how to develop a good screenplay;
they just try and write one. By dedicating yourself to the craft, your screenplays will start out
well ahead of the pack. There are a few steps to follow when developing and writing your
screenplay. Remember, though, there are no real rules, so they can happen in any order, or not at
all. It’s up to the story, and ultimately you.

Step 1: Craft a Logline

A logline is a brief summary of your story, usually no more than a single sentence, that describes
the protagonists and their goal, as well as the antagonists and their conflict. The protagonist is the
hero/main character of the story, while the antagonist is the villain/bad guy/opposing force. The
goal of a logline is to convey both the premise of your story and its emotional undertones. What
is the story about? What is the style? How does it feel?

In the old days, the logline was printed on the spine of the screenplay. This allowed producers to
get a quick feel for the story, so they could decide whether to invest the time into reading it or
not. Today, the logline serves the same purpose, although it’s usually communicated verbally, or
included with a treatment.

Step 2: Write a Treatment

A treatment is a longer 2-5 page summary that includes the title of your screenplay, the logline, a
list of main characters, and a short synopsis. Like loglines, treatments are mostly used for
marketing purposes. A producer may read a treatment first before deciding if the script is worth
their time.

The synopsis should highlight the main beats and turning points of your story. Anyone who reads
it should get a very good idea of the story, the characters, and the style. They should learn
enough to feel empathy for the characters and want to follow them on their journey to see how it
plays out. Writing a treatment also gives you the opportunity to view your story as a whole and
see how it reads on the page, and it can help you understand what’s working versus what needs
work before you dive into the details of writing each scene. Since your treatment will be used to
market your screenplay, be sure to include your name and contact info, too.

Step 3: Develop Your Characters

Think about the story you want to tell. What’s it about? Do you know the theme yet? Create
characters who will contrast the central question, and who will have to undergo a major
transformation to answer it. There are plenty of character profile worksheets online that can be
helpful in bringing your characters personalities to life. Two that I’ve found to be helpful are
here and here.

The most important thing when developing your characters is that you make them empathetic
and interesting. Even the bad guy should have a reason he’s bad, although it may be unjustified.

Step 4: Plot and Outline

Break your story down into its narrative-arc components and map out every scene beat by beat.
A number of writers use flash cards or notebooks for this. You may create a board for each script,
and then make a list for each of the narrative-arc components, with a card for each scene. On
each card, make a checklist of the story beats and write notes about the characters or plot.

Do whatever works for you. The goal is to plot out your story. The more detailed you make your
outline, the less time you’ll waste down the road. As you plot, keep in mind that tension drives a
story. Building and releasing tension is key to keeping the audience engaged and driving the
story forward. When hope is faced with fear, tension is created. This is what forces the hero to
change.
Step 5: Write a First Draft

Using your outline as a map, write your script scene by scene, including the dialogue and
descriptive action. The first ten pages of a screenplay are the most critical. A reader or producer
usually has a ton of scripts flying across their desk and they don’t have time to read them all.
They’ll give a screenplay ten pages to pull them in. If the script has interesting characters and the
proper structure elements, they’ll likely continue reading. If not, it’s going in the trash.

The screenplay is a unique format of writing. While it’s true that there are a number of elements
common to any story regardless of medium, screenwriting is different in that every word of
descriptive action must be written in present tense and describe something the audience can see
or hear.

Although typewriters and word processors work just fine, but working on software will do the
formatting for you. Hollywood follows a fairly strict format when it comes to screenplays. While
this can cause quite a bit of confusion, it was more of a problem in the past. Modern
screenwriting software makes it a very easy process. The most commonly used apps include
Final Draft, Movie Magic Screenwriter, and Adobe Story.

Don’t stop and go back to fix dialogue or update action description until you’ve written the
screenplay all the way through. Then you can go back through it, tear it apart, and rebuild it.
Don’t be too self-critical during the first draft. Just write.

Step 6: Step Back and Take a Break

Once you finish a first draft, it’s a great idea to relax a bit and take your mind off of it. That way
when you finally do come back to it, you can read it with a fresh set of eyes.

Step 7: Rewrite

Now that you have a completed draft, you have a much better picture of your story as a whole.
Go back and refine the action, tighten the dialogue, and edit the script. Chances are you will have
to do this more than once. When creating a final version, using more white space on your pages
is better. It’s easier to read and seems quicker to get through. When a producer has to read
multiple scripts a day, it’s discouraging to see a script filled with pages of dense action
description and long monologues.

Overall, writing a screenplay is a difficult task — one that takes sacrifice and a dedication to the
craft. In the end, it’s a rewarding process, in which you get to create characters and watch them
come to life as they make choices to navigate the obstacle course you’ve placed before them.
Take some time to study the craft, and your script will be done in no time.

For more in-depth tips on learning to write a screenplay, there are a handful of books considered
by most industry professionals to be must-reads for any aspiring screenwriter. Each one offers
valuable insight into a different aspect of developing a story, creating interesting characters, and
crafting a thoughtfully motivated screenplay.