Found Footage Documentaries in the Digital Age

VALTER AND THE POOR from matumatik on Vimeo.

Found footage documentaries have long been a favorite of experimental filmmakers interested in the stories that can be produced exclusively from archival or library footage and photographs. As has been discussed in previous posts, technological advancements in video and audio capture, non-linear video and sound editing, and the ubiquity of footage, images, and audio on the web, have combined to form a creative environment in which found footage documentaries promise to play a more important role in the evolution of the documentary art form.

As a film student I can tell you that, here in Northern California, the popularity of web-based, found footage docs is growing in popularity amongst the next generation of filmmakers, and that its popularity can largely be attributed to the ease with which a simple but compelling story can be told without the cost and challenges associated with producing a documentary from scratch.

The video below is a trailer of a found footage doc posted by a student in 2010.

It is also due to an awareness on the part of faculty members regarding the importance younger generations have placed on the moving image as a fundamental characteristic of modern storytelling.

As an experiment, I decided to see how easy it would be to produce a short, found footage documentary from content downloaded exclusively from the web. I chose as my subject Tony Bennett. The results of my efforts are below. 

The entire piece took 10 hours to complete, which includes the time it took to research his life and story, write the script, record the narration, and then assemble the final cut. All of the images and audio were downloaded from the web (except for the narration). While it is by no means perfect it ably demonstrates how incredibly easy making found footage documentaries has become. 

What role found footage documentaries ultimately take as part of the new age of digital communications is still yet to be seen. Given the resources now available online, there can be no doubt that they will continue to develop and evolve beyond their experimental roots.

Another piece posted by a student, this year.

'Eye of The Dawn' found footage documentary piece. from Nazare Soares on Vimeo.

Define or Inform: Examining the media’s use of imaging in the Trayvon Martin tragedy.

By now, most are aware of the tragedy that occurred in Sanford, Florida, this past February, in which Trayvon Martin, a 17-year old male, was shot and killed in what many believe were suspect circumstances. When the story initially broke, news media outlets like CNN, Huffingtonpost, and Reuters featured photos like the ones you see below.

These photos were used when very little information was known about the circumstances surrounding the shooting and the individuals involved. They characterizes Trayvon as a vivacious and happy child, an innocent cut down in the prime of his life. And yet, they are misleading.

At the time of the shooting, Trayvon was 17-years old, and no longer the young child we see above. Still the media used these images instead of something more contemporary. Why?

Now take a look at the photo below. This image came into popular use around the time that it was revealed a police report of the incident confirmed that Mr. Zimmerman had sustained injuries consistent with his claim that he had been assaulted. No longer the happy child seen in the previous photos, this image is of a much older Trayvon scowling at the camera. Again, why did sites like CNN.com choose this photo instead of the former, more ‘positive’ images of Trayvon?

In the case of Mr. Zimmerman we see a similar misrepresentation in the media’s selection of images. The picture you see below was used early in the story’s genesis.

It portrays Mr. Zimmerman as an unhappy, overweight, criminal, someone perhaps capable of the brutal and senseless murder of a child. However, just like the photos of Trayvon, it is misleading. At the time of the murder, Mr. Zimmerman had lost a significant amount of weight and was not incarcerated but worked as a volunteer for a local neighborhood watch program. Why did the media select a photo of Mr. Zimmerman that was both out of date and misleading as to his physical image and legal circumstances?

The photo below was used around the time that the “angry” photo of Trayvon was first introduced. Like the photo of Trayvon, it is more contemporary to the time of the shooting and suggests a shift in the subject’s attitude and demeanor. Not only is Mr. Zimmerman in a suit and smiling, he is much thinner than in the mugshot photo.

As documentarians we recognize the power of images to influence public opinion. In fact, we rely on it. To suggest that the media’s use of these photos, and the timing of their use, was arbitrary would be naïve. Thus, the issue becomes whether or not their use was part of a conscious effort to shape public opinion, in my opinion, yes. But in doing so, has the media crossed a line of journalism ethics? Is it unethical for the media, and by extension documentarians, to manipulate images to in effect ‘tell’ the public what to believe or how to feel about an issue? Not necessarily.

While one of our primary functions is to inform it is also to interpret. Even the most non-invasive, fly-on-the-wall documentaries are edited with an underlying theme or tone. In other words, it is impossible to be totally objective about a subject. The fact that we choose one event over another represents our personal interest, or the interest of our employers, and by definition that makes the work subjective, but does that mean we have the right to mislead the public? Should the media have used the photo of George as a thin and smiling man when the story first broke, instead of a mugshot? Or, in the case of Trayvon, should they have used the photo of him as a grimacing teenager instead of the smiling child?

In my opinion, it is the seriousness of a particular issue or story, and its potential to polarize the public that requires that we as interpreters of events be as objective and unbiased as possible. Why couldn’t news sites have used photos of Trayvon and George that were contemporary and neutral as to their demeanor? The fact is they could have, and should have, but didn’t, because they wanted to create controversy. 
This is one of the major problems with contemporary media and its propagandistic approach to controversial issues. By focusing on the controversy, instead of providing a balanced interpretation of the facts, the media is, in effect, telling the public what to believe and how to feel. Thus, they are no longer informing so much as defining the way a story should be understood.

The Video Revolution, Part II: DSLRs and Hybrids

Watch Battle for Haiti on PBS. See more from FRONTLINE.

Last week we discussed the impact of the Millennial generation on the use and popularity of video content as an enhancement to information consumption online. They, along with the ubiquity of broadband and the Internet’s unique position as a visual medium, have contributed to the growing popularity of non-traditional video capture devices like DSLRs*, smart phones, and hybrid camera-corders. The effect of these devices has been nothing short of revolutionary to the filmmaking industry, and non-fictional film in particular.

While professional filmmakers continue to rely primarily on the traditional camcorder, many are beginning to include these alternative devices in their work because of the exciting possibilities they present as regards the kinds of footage they are able to capture. A good example is the world famous cinematographer Mrinal Desai.

Last year, I had an opportunity to ask Mr. Desai about the equipment he used for the Frontline documentary, “The Battle for Haiti”. He revealed that in addition to using the Sony F800 HDCAM, his team used the Canon 5D MKII to shoot much of the B-roll you see in the clip above. The footage is absolutely breathtaking and demonstrates one of the many reasons why professionals are beginning to experiment with DSLRs in their projects.

Some may argue that Mr. Desai also used expensive lenses and other equipment to produce the high quality images we see in the clip above, and it’s true. However, the fact that the DSLR cost about one-fifth the price of the HDCAM makes it a compelling option for any independent documentary maker on a budget.

Still, some worry that the image form factor of these new devices is not “motion picture” quality, and again, they would be right. True “motion picture” quality requires a larger resolution than many of these devices are capable of, but that is beginning to change.

The growing popularity of DSLRs has forced manufacturers like RED to introduce “hybrid” cameras that are capable of large format image capture but cost significantly less than the majority of professional grade camcorders. Take a look at the clip below shot with a RED Scarlet-X (http://www.red.com/products/scarlet, retail $9700 body only).

Thus, for less than a third of the price of a RED Epic-M, you can buy a hybrid capable of “motion picture” quality footage.

While the price of the RED Scarlet-X and Canon 5D MKII may seem appealing to professionals tired of paying tens of thousands of dollars for a single camcorder, it is still way outside the budget of many independent doc makers. For those seeking an even more cost effective alternative there are numerous cameras available that provide high quality imaging at a great price. One in particular, another hybrid, is the newly released JVC GC PX-10 (http://camera.jvc.com/). 

A recent addition to their line of camera/camcorders, the PX-10 offers full, progressive HD quality for about the price of an entry level DSLR (retail $899.95). The clips below were taken using the PX-10. Note, that the second clip is shot at 300fps. 


Normal frame rate:

300fps:




The bottom line is that the evolution of alternatives to traditional camcorders continues at a rapid pace and that we, as indie filmmakers, should not discount them as unsuitable simply because they are not “motion picture” quality. For many emerging and seasoned pros these devices offer a cost-effective means of capturing high quality images for their projects. If the goal is to see your work on the big screen, there are still alternatives like the RED Scarlet-X that offer 4K resolution at an affordable price. But for the rest of us that are content with the small screen format of TV and the Internet, there are now a myriad of options available that are capable of delivering beautiful images without draining your bank account.


*The term "DSLR" refers to a type of camera in which the subject of the image is viewable exactly as it will be captured, unlike a camera which relies solely on the viewfinder. In addition, the format of DSLRs is typically equivalent to 35mm film but may also include medium format imaging that uses a smaller sensor. In other words, DSLRs are what professional photographers use as digital replacements for their 35mm film counterparts. 

The Video Revolution

Video is everywhere. At no other point in human history has so much emphasis been placed on the moving image as an enhancement to how we receive and interpret information. From CNN.com to Reddit, the appetite for original video content continues to grow by leaps and bounds. If you are wondering, “who is to blame,” you can lay all the praise or condemnation on the Internet.

The web has evolved from its early roots as a method of transmitting text to a multimedia-rich, visual medium of communication. Just look at what it has done to politics and journalism. Check any mainstream political or news site and you will see lots and lots of video. Why is video so pervasive? Well, one reason is because of the ease with which even the novice can capture, edit, upload, and distribute video. Add to this the ubiquity of broadband and it suddenly becomes obvious why our culture is being inundated with video content.

While some may argue that it is the Internet that is driving the rapid development of cheaper and better quality tools for video production, others insist it’s the other way around. I say it is a convergence of the two with a third important element: the emergence of the Millennials as a consumer base. The Millennials are those individuals born between 1982 and 1995. They are the first generation of Americans raised with an awareness of the Internet, and are also the first culture whose primary media source is TV. More than their predecessors the Millennials are the ‘video’ generation.

All of this has led to an explosion in the production of video content for online consumption. Whether it is Huffingtonpost, Reddit, or CNN.com, everywhere you look it seems as if anyone and everyone with a computer, smartphone, or tablet is making videos and posting them online.

How then does this new reality affect us as documentarians? First, it means that we now have a lot more competition. Second, it suggests that the old philosophy of buying the best camera that you can afford may not be true anymore. Why would someone lay out $20,000 for a RED when they can pay $5,000 for a DSLR and still maintain a high level of visual quality? Sure, some may argue that a video camera is not a still camera, and vice versa, but the evidence indicates that the line between what we consider “professional” grade and “amateur” is blurring to the point that, as Indie doc makers, there is compelling reason to seriously consider the latter when determining which camera to buy for our projects.

But it’s not only the price difference that makes these new video devices an interesting choice. It is also their form factor. The fact that I can record video on a device as small and easy to carry as a DSLR or smart phone presents intriguing possibilities. Oftentimes, interviews happen in places that are unaccommodating to large camera cases and equipment. DSLRs, smart phones, tablet computers, make it possible to capture footage in ways and places never dreamed of even a decade ago. Moreover, all of these devices record in a highly compressed HD format. With most manufacturers claiming a resolution of 720p or higher, this means that the video quality from these devices is as good or better than most of the non-fictional, TV programming of the 80’s and 90’s. Take a look at the video link above. It is a short documentary shot with a Canon DSLR and some prime lenses. The entire production cost less than $5K to create.

Next week we will take a deeper look at some of these alternatives to traditional video cameras, and how they are revolutionizing the documentary art form. Until then, have a great week.

Healing = Speaking

For the past several weeks, I have shared some of the emotional and psychological context behind each of the interviews conducted for “a final peace”. In the 18-months that it took to finish the film, I learned more about my family than at any other time in my life. I also learned how much I didn’t know.

If there is an underlying message or theme to the film, it is this: get to know your family. Get to know your kids. When I think back to when my aunt Tina was molested the first time, it is clear that after her experience she began to show emotional signs of the abuse. The same is true of my uncle Tommy, my cousin Jason, and me as well. We all showed emotional signs of our abuse. 

Thus, the admonishment to all parents and stewards of children is to get to know your kids. Be attentive to any dramatic changes in their personalities or emotional behavior. Most children are fairly transparent when things are going wrong. Even teenagers will manifest some type of behavioral response to violence in their lives. But we will not see the signs unless we know our children’s individual personalities.

We cannot always be there to shield the ones we love from harm. Even though we do our best we are not always successful. Sometimes events overwhelm us and we are left to deal with the emotional wreckage and pain. When this happens, open communication is absolutely vital. That is the moral of the film. Incest, pedophilia, sexual abuse of any kind will ruin your life if you don’t talk about it. If you don’t endeavor to heal yourself you will always be a slave to the memory. Healing begins with talking about it openly and honestly.

I am forever grateful that I was able to make this film. I can honestly say that it has changed my life forever and for the better. In addition to what I learned about my family, and myself, I also learned how to make a film. But more importantly, I was able to demonstrate to other victims that there is no shame in surviving or, in speaking out.

When Love is not Enough.

Perhaps the most tragic figure of all those I interviewed for "a final peace" is my aunt Candy. Though she was not molested or abused in any way, she still suffered tremendously because of Tom, and I would say, more than anyone else.


My aunt has always been the "cool aunt". The one who never judged but always tried to encourage, the one who loved when no one else would. But it is this very attitude that led her down the path where she was forced to choose between a brother she cared for dearly, and the children she loved more than anything else.


Of all of the family that loved and cared for Tommy, Aunt Candy was his favorite. Throughout his life, she was the one thing he could depend on. If he needed a place to stay or money, or just someone to care about him, she was there.


Even after he abused her children, and she swore she would never have anything to do with him again, she continued to have contact with him till the day he died. That is her nature, and Tommy loved her for it.


As a father, I cannot imagine the internal turmoil she must have endured when she found out what had happened to her kids. And as the interview clip for this week reveals, she still feels the pain, even three decades later.


If there is anything to be learned from my aunt's example it is that sometimes, love is not enough when the damage runs too deep. Despite our best efforts and intentions, we can still get hurt when we try to help someone who is broken.


Despite the suffering she endured as a result of her unwavering kindness and loyalty, in my opinion, we need more people like her in the world, not less.


The clip I chose for this week's blog contains the first words my aunt has ever spoken regarding what happened and how she feels about her decisions. It also provides compelling insight into the internal controversy she continues to feel to this day.

Generous to a Fault


Last January, my parents celebrated their 50th wedding anniversary. To call such a feat ‘remarkable’ is to understate the obvious. In this day and age, it is not remarkable for two people to stay married for 50 years, it is Herculean.

If you were to ask my parents for the key to their success, they would probably talk about having a good sense of humor, being a good listener, and learning to be supportive of one another through the good times and bad. But one thing they may not point to is their generous spirit.

Growing up, I had numerous opportunities to see my parents’ generosity in practice. They were always the first to offer their home to family members who had fallen on hard times; like my uncle before he went into the Navy. Most of the time, their kindness was appreciated by the recipients, and not used as an opportunity to take advantage of their kind nature. But now and again, as in the case of my uncle, their generosity resulted in personal heartache.

Prior to the film, my parents were unaware of the full extent of my uncle’s criminal behavior. They knew that he was a thief, a drug addict, and that as a child, he had been a victim of sexual abuse at the hands of his father. They also knew that while he was living in their home, he had behaved inappropriately towards me in a sexual way.

What they did not know was how their generosity had facilitated his sexual deviance, or  how they may have been able to stop him before he sexually abused my cousins. That revelation has caused them both a great deal of sadness, which is reflected in the clips chosen for this week’s blog.

The fact that both cared a great deal for Tommy and sought to help him to improve his situation in life is a testament to the kind of people they are. That he, in turn, abused their loving concern is not proof that they were wrong to share their home with someone in need. Instead, it demonstrates that we can never know someone’s true intentions, even when such are considered “close family”. And that sometimes ‘pursuing a higher path’ means taking risks that could have unforeseen and traumatic consequences.

Nevertheless, I continue to admire my parents for holding true to their generous nature, in spite of what happened with my uncle. Even though what resulted may have been a parent’s worst nightmare, I feel they should never regret their efforts to help. It is my firm belief that if all of the adults in my uncle’s life had been as kind and generous, there is no doubt he would have taken a completely different course.