Sometimes documentary makers conduct interviews on the fly, in the street, or interview a group of people. We might have to try to interview someone who is less than cooperative. This lesson looks at those interviews that are outside of the norm, the potential challenges and how to best cope.

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Watching someone talk about interview technique is one thing, but having a microphone in hand and a camera at your side with all eyes on you as you prepare to ask questions is a whole other ball game. Pressure can be high, so in this lesson we go through and set some practical exercises to help build your skills, and most importantly your confidence.

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The documentary film, in the literal sense, is a filmic document of something that happened. It is presented as non-fiction. Documentaries take a wide variety of styles and viewpoints, from cutting edge social documentaries, to dramatic historical documentaries, to perspective-shifting nature documentaries, and so on: the list is truly endless, and you can, of course, document anything.

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In this tutorial series we’ve talked about using a variety of tools to move your camera, with special attention paid to fast-paced documentary shoots. There’s a lot of neat gear out there, both new and time-tested, to help you achieve creative camera motion. Simply getting into a car can introduce many new kinds of shots to help add variety in your documentary edit.

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Pans, tilts, jibs, and sliders are all solid, established tools to help you add motion to your documentary. But a steadicam, or more recently, a brushless gimbal, can emulate all of those traditional movements with ease. More importantly, they can do things that no other tool can do: they can take your documentary production to a whole new level.

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