I was first shown Alfred and Jakobine back in 2015 when I did a Documentary Masterclass course through the BFI Film Academy. The Director of the documentary, Jonathan Howells, came and did a Q&A and screening of the film. After keeping in contact, I emailed Jonathan to ask if he could pass on some research questions I had for Rollo Hollins, who was the Director of Photography for the documentary. The questions I sent over were:
1. How long have you been a Director of Photography?
2. Are Documentaries your focus as a DOP or are there other forms? (e.g. Short/feature films, music videos, commercials, etc.)
3. How did you come to be the DOP for A&J?
4. How much of the Pre-Production involved working with Jonathan as the Director and working independently to plan out for visuals for the film?
5. What planning did you do for A&J? (E.g. Storyboards, Shot lists, mood boards, test shoots?) or was is all planned and shot on the day? If planned on the day, what process do you go through to set up the interviews and the actuality footage?
6. What camera was used to film A&J and why did you choose that camera?
7. Was A&J single or multi-camera?
8. (If multi-camera) Where you in charge or finding the rest of the camera crew or did that fall to the role of the Producer?
9. How did you decide on the lighting for A&J interviews?
10. With Lighting, how do you work through lighting an interview? Do you have a structure you
follow with each or do you "Free style" it when arriving on location?
11. How did you film the driving sequences when Alfred and his son are in the taxi?
12. In regards to the style of filming, at points where we're on location (in the garage, following Jakobine in the garden) what was the choice of going handheld rather than using a rig?
13. What paperwork did you need to produce as the DOP?
Rollo started out shooting his own work at the age of 21 but prior to this he was an assistant to a Director/DOP which gave him an insight into the industry. He worked as a DOP until he was around 30, now currently aged 36. He's now actually transitioned over to Directing and explained "A&J was one of the last thing’s I shot - a lovely project to finished that side of my career on." (Rollo Hollins). Rollo shot as much as he could, being trained originally in commercials and music videos whic have bigger crews and greater grounding for lighting. However, he loved telling stories which led him to documentary and TV work. Rollo had known Jonathan a year or so when he'd mentioned the idea of A&J to him, this was at a very early stage. It was Rollo who mentioned this idea to Rob Fletcher and this led to him becoming to Producer and that got A&J off the ground.
"There were a lot of conversations, a few films nights to align references and we also shot a test in the UK with a similar Taxi, to make sure the rigging and camera plan was going to work. We were in constant conversation about how we’d approach it - It was an interesting time because it was literally just before the emergence of the Canon 5d in mainstream movie making - so I could have looked very different if we’d shot just a few months later. A lot of work was done between myself and Rob, the producer, too. Aligning budgets and scope, schedules and shoot plans to figure out how it would be doable and where we had to compromise. Film making is compromise - best to relish the problem solving. With a ‘low budget’ project there is usually a lot of that." (Rollo Hollins)
This was Rollo's answer when asked about Pre-Production and working with Jonathan and Rob. Rollo explains he tested the idea of filming in the taxi with a modern one, to ensure the idea would work. He also explained that he had done camera and rigging plans and worked closely with Rob to ensure filming schedules worked and what was doable and what needed to be changed. Rollo's last part explaining low-budget projects have a lot of compromising is something I'll definitely need to take onboard.
With the question about planning done for this documentary, Rollo explains that the main planning was in regards to the taxi itself, how he would rig it and how he was able to get as much coverage in the time he had and with the budget, something I'm currently planning through with the performance shoot for our documentary. He explains that they'd plan to shoot in the mornings and late afternoons to avoid midday sun where they could push to be inside for those hours filming.
"Otherwise it was mostly about taking it one day at a time and remaining flexible to the situation. Esp. In doc work - remaining reactive and flexible and light on ones feet is really key. No point thinking too much as invariably everything will change, which is good! You just have to be able to change with it, quickly. So, much of the planning would be to keep kit light and manageable. Trying to figure out the smallest, yet effective footprint" (Rollo Hollins)
When I asked about the kit used, Rollo explained that the camera used was actually a Sony EX3 which surprised me as at university we have our own EX models of the Sonys. Rollo explained that this choice of camera was actually by choice of no log profiles, interchangeable lenses, he also didn't have to adjust ISO or White Balance in post production. But this was the plan, he explained "No log profiles, no interchangeable lenses, no changing iso or WB in post - you had to shoot to a final look - which was much of my training, esp having started on film) (Rollo Hollins).
Rollo explained that majority of A&J is single camera. He had planned the doc to be shot on a single camera and explained that he prefers this as it's less stressful for the contributors, they'll let their guard down a bit and relaxes them as there's only one person who they get used to seeing. Rollo did explain that he could plan this due to his own experience of editing projects on the side and said "I think that’s the single best advice I could give; cut your own rushes. It really teaches you how to work a scene" (Rollo Hollins).
Some of A&J was multi-camera. "So we’d normal only run one camera, BUT - for the car driving scenes, when I wasn’t physically operating - then we’d rig two cameras to the taxi - two mids or C/U’s Alfred and Neils - then let them drive off. Which would give us (a lot of footage but also) more intimate moments" (Rollo Hollins).
Rollo did explain that it came down to his choice to choose the other operators as they work alongside him and often he will not only go off their own (show reels, etc) but also how they are on set as you'll be working with them constantly.
In terms of lighting the interviews, Rollo explained:
"This was before LED’s - I think I used a very large source chimera, with egg crate, powered by a 1k head. Quite close to the subject. I much prefer tungsten light with these older video cameras - you need all of that CRI information for skin tones I find. Even Kino’s can make subjects look a little blotchy, so I tended not to use them for ‘real’, unmade up faces. Maybe a dedo as a rim light - though nowadays I’ve gone off rim lights completely. The room is as important as the interview lights, making sure not to blow out any windows in frame, and for this, lower lighting levels, so it feels cosy and intimate - usually 1 stop under key. Also practical lights where possible. I’d also travel with some dimmers and high powered house bulbs. Of course they are lit interviews and needed to feel ‘formal’ in a way - but not clinical" (Rollo Hollins)
Rollo explaining this lighting for interviews is also with the idea of older video cameras, for our Documentary we're using a Canon C100 camera which isn't an old camera and the locations we're using (that're confirmed) don't have tungsten lighting, most are white lighting but his comment on the background being just as relevant as the subject is something to be argued I feel, with other documentaries I've watched such as Jim & Andy the background is blown out of focus so you can't see it, so I'd argue this all depends on the story and the subject, with my documentary, likely the background is relevant as it shows Tanya's life. However, he comment on it being cosy and intimate is something I want to achieve with this documentary as I want the viewers to be relaxed when watching it.
Unlike other DOP's who I've spoken to, Rollo thinks there is only one way to light any subject; "I think there is only one way to light any subject; Key light, fill light and back light - even if some of those are just room ambiance or it’s really underexposed or your Key is an iPhone - it’s all the same" (Rollo Hollins). He also explained that the choice of lighting does depend on the colour temperature of the room, as you need the lights to match this. Rollo explained that while traveling, he needed the kit to be light, so he had to try and put a kit together which could do everything which is next to impossible. He explained as a DOP you need to adjust and push scenes as you find them. With setting up for an interview he said it shouldn't take more than an hour and if you can, don't have the subject there so that when they arrive you can mic up and shoot.
"I love handheld - prob too much. And it can be done very really badly, this probably wasn’t the finest work in this film. But I wouldn’t shoot it differently. I find any rig becomes the focus of the event, either from having to set it up, tweak it or just visually becoming the biggest thing in the room - which just can’t happen on a doc set - it make the subject to aware they are in a movie. The relationship should be between the DoP and cast - that’s the trust and the camera has to disappear.
It takes years to learn to operate hand held well - some people naturally do it better than others. Really worth looking at a lot of movies to ingrain a feel. There is a very good making of film about A place beyond the pines, that goes into the operating of the opening scene very well" (Rollo Hollins)
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