JAMES DUFF’S CREATIVE DOCUMENTARY WORKSHOP

This unique, professional documentary workshop is designed for filmmakers and actors with a passion for visual storytelling. It provides you with a very unique opportunity to gain first hand crafting a documentary under James’ and Julia’s expert guidance.

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What’s on offer

The workshop is fast, intensive and absorbing. Our key goal is to give students the tools, the mindset and the support they need to work in the real world. By the end of the workshop, students will have evolved professionally, worked with industry leaders, have professional documentary experience and a documentary for their showreel.

A graduate of the University of Southern California School of Cinematic Arts, MFA Directing, James has created a practical, hands-on workshop where filmmakers have the opportunity to explore first hand the creation of the documentary, under James’ guidance. Students discover the world of documentaries through lectures and screenings, shoot exercises to prepare, keep a production journal, pitch ideas for a single collective documentary to be created, learn to write proposals, learn to light, compose, edit, discuss marketing and distribution for docs and participate in a public screening of the project. Each member of the workshop will receive a copy of the material they shoot, for use in their showreel.

James Duff Instructor at afilm
About the instructor?

Director of the acclaimed “Hank and Asha”, Prague Film School Directing and former Stone Street Studios/ NYU Tisch drama Instructor James Duff’s 2 week Documentary Workshop covers practical documentary storytelling training. James’s extensive Los Angeles and New York Theater directing experience compliments his considerable film and African documentary experience.

Writer, Producer, Editor of “Hank and Asha” (screened at over 50 festivals world-wide, with over 20 awards) Julia Morrison will lead the workshop with James. Julia has also pproduced historical documentaries for the prestigious PBS series, American Experience (“Dolley Madison”; “Alexander Hamilton”) with Middlemarch Films, and was Associate Producer on the Emmy-award winning PBS mini-series, “Benjamin Franklin.” She has produced current affairs documentaries for New York Times Television, including the award-winning “MLK Boulevard” and “China Rises: Getting Rich,” a co-production of New York Times Television, CBC, and ZDF, which received Canada’s Gemini award.

What will you get out of it?
  • You will learn about the documentary format, discuss conventions, genres, documentary styles
  • You will start a production journal / diary.
  • You will learn about documentary versus narrative structure.
    • You will learn how to write a proposal
    • You will about the camera for documentary
    • You will learn interview techniques, lighting, soundWe will screen feature documentary / break down the entire film
  • You will learn how to use Final Cut Pro. How to work with an Editor.
  • You will learn about budgeting / Marketing/ Distribution / Festivals
James Duff documentary workshop
What will you be doing?

DAY ONE: WHAT IS DOCUMENTARY?

  • Introduction of course and students objectives. We will attempt to define documentary, and discuss conventions, genres and documentary styles.
  • In-class exercise: each student will “shoot an emotion.” A two-minute piece which will convey an emotion of their choice without dialogue, to be reviewed in class.
  • Assignment: prepare three ideas for a ten-minute documentary, to present the next day in class.
  • Assignment: start a production journal/diary. Students will be required to keep an informal journal to record development of their projects and goals, and to reflect on challenges and lessons learned. Evening screening of feature documentary.

DAY TWO: DRAMATIC STRUCTURE

  • Documentary versus narrative structure. Shot, Scene, Sequence and Act. What is a Narrative Arc, the spine and “train.” Exposition. Rising Tension and Conflict. Objectives and Obstacles. Choosing Characters.
  • In-class exercise: students will watch a short clip from a feature documentary and break it down, to be critiqued in class.
  • Students pitch three ideas for their documentaries.
  • Assignment: Structure Exercise. Students will view a feature documentary in the evening and break down the entire film for review the next day.

DAY THREE: PRE-PRODUCTION AND DEVELOPMENT

  • Pre-Production Strategies. Evaluating Project Ideas. Long vs. Short form documentaries. How to write a proposal – logline, synopsis and treatment. How to pitch your idea.
  • In-class exercise: students write loglines based upon previous day’s pitches.
  • In-class screening: screen and analyze examples of documentary short films.
  • Students form groups of three and choose their project idea.
  • Assignment: each group will write a proposal: logline, synopsis and a brief treatment for their chosen idea. Evening screening of feature documentary.

DAY FOUR: CAMERA FOR DOCUMENTARY

  • Visual storytelling. The Language of Film. Coverage. Ellipsis. Shot lists. Composition. Movement. Which camera is appropriate for your story. Re-enactment and archival footage.
  • In-class screening: screen and analyze coverage from clips of documentary features.
  • In-class exercise: each student will shoot coverage of a scene.
  • Review student proposals.
  • Assignment: each student will shoot a coverage of a process which they have no control over (making a pizza, fixing a watch, getting a haircut). Evening screening of feature documentary.

DAY FIVE: INTERVIEW TECHNIQUES, LIGHTING AND SOUND

  • Demonstration of interview techniques. Planning interview questions. Working with talent. Sample transcripts. Different lighting styles. Lavalier and boom microphones.
  • In-class screening: examples of interview looks, techniques and lighting styles.
  • In-class exercise: students will interview each other, using different lighting styles.
  • Review coverage assignment. Evening screening of feature documentary.

DAY SIX: STUDENTS GO OUT IN FIELD AND SHOOT

DAY SEVEN: STUDENTS GO OUT IN FIELD AND SHOOT

DAY EIGHT: EDITING

  • Final Cut Pro. How to work with an Editor. Transcripts. Selects. Visual Scripts. Translation issues. Paper edits.
  • In-class screening: examples of how editing can enhance storytelling.
  • In-class exercise: students will perform basic edits on their footage.
  • Evening: students free to go out in the field to shoot and edit.

DAY NINE: OBSERVATIONAL DOCUMENTARY

  • Observational documentary and cinema verite techniques. Handheld shooting techniques.
  • In-class screening: clips from observational documentaries.
  • In-class exercise: students will shoot a cinema verite style scene with dialogue. Students will pose a topic for debate for three subjects in an interior location.
  • Evening: students free to go out in field and shoot and edit.

DAY TEN: OBSERVATIONAL CONTINUED AND DIARY/JOURNEY DOCUMENTARY

  • Finish discussion of observational documentary. Discuss Diary/Journey documentary.
  • In class screening: clips from diary/journey documentary.
  • In class exercise: students will edit their footage from cinema verite exercise.
  • Evening: deadline to wrap shooting. Time to edit.

DAY ELEVEN: BUDGETING/MARKETING/DISTRIBUTION/FESTIVALS

  • Discuss budgeting. Marketing – how you generate interest in your film? Distribution strategies to best take advantage of your film. Festival strategy – which festivals will get a particular film the most exposure.
  • In class exercise – student will create a “real world” budget for their films.
  • Evening: students free to edit.

DAY TWELVE: WRAP UP

  • Students will have the morning/early afternoon to finish editing.
  • Evening: public screening of students’ work. Students are free to invite friends and family, as well as the subjects of their documentaries. Wrap party.
«Even after working for a number of years as a multimedia journalist and documentary filmmaker, my time spent learning from Julia and James was invaluable in the sense that it not only helped me polish my skills as a filmmaker and (more importantly) a storyteller, it also helped broaden my understanding of the industry as a whole.»Arwen Kidd
«Beyond that they both have great attitudes as people and an openness that contributes to being able to get creative both with them and the environment they create as mentors. I’ve gone straight into work, shoot and create in London and I have their skills as teachers to thank for contributing to my career.»Tom Weir