The Tennents - Hey (Working Title)

This is the first edit of The Tennents - 'Hey' (Working Title). There are a few little edits that need to be ironed out, and some camera movement which needs to be replaced with something else before it is fianlised; but I do think that overall it works and capture the lively feel which I wanted for the recording parts of the documentary.

At the Warren The Tennents were originally going to only be recording two songs - 'Touch The Sky' and 'I've Been Waiting' but they also recorded this track, 'Hey'. I have decided to use a sample of this video as the first track on the documentary because of the introduction - which is longer and will therefore stretch over the opening titles, instead of having no sound at all. The downfall to using this track however is that I have less even footage - i.e. not all the members of the group share a similar time in the video because of battery running out, or the memory card unable to carry more as I had only planned for two tracks. Over the two days at The Warren I shot around 40GB of footage because I was shooting in full HD (1920 x 1080) because if the quality wasn't good then the documentary would loose a lot of versimilitude It would also mean that the little focusing tweaks through the video would not be noticable due to the quality and I think that these work well - making the shots more interesting whilst also making the subject more intriguing.

I editied the whole piece of footage in Adobe Premiere CS4 after going through the clips in RealPlayer choosing which were usable and which had to be scraped - or at least put in a miscellaneous folder. In Premiere I cut the clips and placed them in the order I wanted them to appear in then put up the brightness and contrast to realistic levels so that the lights look right to our eyes because I think the ISO on the camera was a little sensitive with the aperture. Other than that I didn't add any other effects to make it better quality - I wanted it to be as close to how it was shot as I could possibly; which I think makes the footage more point of view and as if the viewer/audience was actually there.

For the actual documentary, only around 30-40 seconds will be used rather than the whole video - otherwise the documentary would seem very dull and repetitive for every band shown. Instead I want to make sure that every video is just a taster of the band - therefore showcasing the musicians around Hull much better. This means/encourages the audience to listen to and remember the band later because they haven't heard all of the track - therefore meaning that the documentary is doing what it is supposed to; presenting a snapshot of loac bands.

Recording Photos

The Warren Records

Warren Records started up in September 2009 with a release of 'State of The City'. The label is a branch of The Warren, a charity organisation set up in Hull to support young people; the records branch of the charity was set up after 'Secret Millionaire' Martin Stamp donated £20,000 to songwriters Jody Mckenna and Keith Hagger who then set up the recording rooms in The Warren.

'State of The City' is a 41 track showcase of bands from in the city; covering a wide range of genres and styles to try and really put some of Hull's musical talent on the map - aiming to get Hull bands heard of around the rest of the country.

Some of the bands included - The Paddingtons, EndOfLevelBaddie, The Notebook, Novocaine, Counting Coins, Abbie Lammas and more...

Disc 1 -
1. SubSubSub - Resin vs James Pyke Mr Covo
2. Somewhere In This World - The Holy Orders
3. Turn World Around - Ras Greg
4. The Howling - Jody McKenna
5. Been in Love - Nightfall Feat Mr. Prez & Alexis
6. Running Out Of Laughter - The Talks
7. Moto - Hekima & The Bongo Flava
8. Smile - Abbie Lammas
9. I Remember - Tyler Morgan feat Mr. Prez
10. Can't Ruck With Us - Project Feenix
11. Live Fast, Die Young - Keith Hagger
12. Plastic Toy - Sara Sanchez
13. Razor - Novacaine
14. Rupert The Bears On Crack - The Ruperts
15. Vehicastra - Morningstar Productions
16. We Livin - James Pyke & Ysabelle Wombwell
17. Pem Bile Giyane - Dilzar Shanga
18. Only You - Luke Keegan
19. Bang - Mr. Beasley
20. Counteract - The Neat vs. Mr Beasley

Disc 2 -

1. No Mundane Options - The Paddingtons
2. Wonderful Woman - Keith Hagger
3. Line Of Poverty - Kill Youth Culture
4. Real Rap - Grey
5. Break Apart - Storm The Banquet
6. Natural High - Nightfal vs. Y.P.
7. Second Guessing - The Cliques
8. Crazy Show - EndOfLevelBaddie
9. Eves Of Green - Someone & The Somethings
10. Bending Reality - Jody McKenna
11. Bank Roll - Asteroidboyz
12. Eat Your Greens - Counting Coins
13. Falling - Ysabelle Wombwell
14. Whatever It Takes - Outspoken Silence
15. Crystals Of Pyrite - Mountain Goat Frenzy
16. Falling - Ysabelle Wombwell
17. What We Gonna Do - Rad Greg & Ysabelle
18. New Ending - The Notebook
19. Going Sailin' - Joe Duncan
20. Bison - Awash With Antler
21. March Of The Lords - Morningstar Productions

The Warren currently record bands for free - then release the single through SoundCloud for free too, in order to give the band more of a coverage and so that bands can get gigs or send demos.

The Warren have also released Eps/albums from these bands -
Outspoken Silence
Ysabelle Wombwell
Jody McKenna
Hekima & The Bongo Flava
The Talks
Counting Coins
Mootzoot

The Warren will be an important part of the documentary - not just because multiple bands that I am covering have recorded there but also because it is an integeral part of the Hull music scene. I may even get interviews later on with Stuart Baxter - the sound engineer and one of the managers there or others that work within the Warren Records sector of The Warren. These interviews would offer an alternative view to the music scene at the minute in Hull - other than just interviewing bands. These interviews would also show what someone with real experience - and encounter a lot of local bands daily seeing how the areas taste and styles change over time; therefore they are more likely to give me a more conclusive answer than any currently popular band at the minute. This is not something I would film just yet however, as I think it is more important to record and talk to the bands first as they are the ones who are going through - or at least a bigger part of it.

Band Profile - The Tennents

The Tennents are a rock quartet from various villages around Hull. Having formed only a year or so ago, they are an already well established live act in the city - regulars at Lamp, Fruit and other pubs and clubs around the city. they have also featured in the now Fuel based indie themed night 'Time For Heroes vs Bossanova' - a culmination of two exciting nights after Lamp had to shut its doors for the final time.
Their sound is a mixture of classic rock with undertones of the nineties grunge movement - somewhere between Peace and The Enemy with clever lyrics and great guitar riffs. For such a young band their lyrics are suprisingly clever and work well - giving the songs not nescessarily more depth but still something with more soul than your average pop song. This form of lyric writing - especially caring about what you right isn't seen in a majority of rock bands and lyrics are generally more pompous, egotistical and have no sense of reality. Matty Connor, the lyricist, is no Doherty, Turner or Dylan yet but there are signs that he may develop into an even better songwriter than he already is.

The Tennents have recently been recording their first Ep at The Warren and is set to be released and heavily promoted by Jigsaw Records - a local, independent records company - in the coming months.
At least two of the tracks from the Ep will be featuring in the documentary with the segment about them.
The Ep tracklist:
1. Touch The Sky
2.I've Been Waiting
3. Hey (Working Title)

Members -

Matty Connor - Lead vocals/lead guitar
Sam Mackereth - Drums
Ryan Smith - Rhythm guitar/backing vocals
Barney Wilson - Bass/backing vocals

(At time of writing)
Twitter followers: 446
FaceBook likes: 185
Soundcloud: 0

Reverbnation stats -
Rank: #15 (The rank is how popular they are in their area, which is listed as Withernsea)
ReverbNation fans: 4
Video plays: 128
Total Fans (ReverbNation/FaceBook): 189

YouTube:
Subscribers to the bands channel: 15

'Exits on the Left': 910 views
'What To D'o: 1,085
'Wait & See': 232

2,252 YouTube views in total.

'Exits on the Left' YouTube statistics - 

910 views since February 2nd
7 Comments
11 likes
0 Dislikes

Top Locations - UK, Ireland, Norway
Top Demographics - Female, 13-17 years; Male, 18-24 years; Male, 13-17 years




'What To Do' YouTube statistics -

1,087 views across since February 2nd
11 Comments
17 Likes
2 Dislikes

Top locations - United Kingdom; Italy; Norway
Top Demographics - Male, 18-24 years; Male, 13-17 years; Female, 13-17 years

Fruit also uploaded an acoustic version of 'Ain't Life Grand'

1,103 views across since May 3rd
2 Comments
13 Likes
3 Dislikes

Top Locations - UK; Norway; Malaysia
Top Demographics - Male, 13-17 years; Female, 13-17 years; Male, 18-24 years

Sample of Footage (First Record)

Test shots for microphones (built in and shotgun)

Built in Camera mics

Didn't work because the microphone jack was still in.

Hotshoe Shotgun Mic

Fairly clear left channel - right channel static.

Handheld Shotgun Mic

Clearest with the least static or feedback.

Built in mic

Clear but pics up a lot of other noise - there are two clear channels though.

Hotshoe shotgun mic

(Same as test two)

Clear left channel but static/feedback on the right channel.

 

After these tests I have decided to use the hotshoe mic, however with it mounted rather than held because even though when held it is clearer there is not a long enough lead in order to conduct a group interview effectively. Mounted on the hotshoe it will pick up enough usable sound - and I can then just use one channel rather than stereo, and later spread it across both channels for much clearer sound. 



Interview with Laura Jenkinson about music documentaries

 

Storyboard 4 - Live Recording

Storyboard 3 Interview

StoryBoard 2 - Studio Recording

StoryBoard 1 - Full Plot

Interview Questions first draft

Who are you? (Introduce yourself) Where do you come from? 

·       Where do you fit in within the Hull music scene?

      What do you want to achieve?

      Why did you start the band?

Who influences you in Hull?

      Who influences you outside of Hull?

      Are there any bands you model yourself on or want to emulate? 
      Is music important in Hull?
 

What do you think of the music scene in Hull?

      Do you think music in Hull is getting better or worse?

      What do you think of the bands in Hull at the minute?

How easy is it getting gigs in Hull?

      Are the audiences in Hull good?

      Do you have a fan base?

Have you tried gigging anywhere else yet?.. ( What was it like?)

      Are there any ways for you to get gigs anywhere else? (or how did you start gigging outside of Hull? 

      Where else would you like to be able to gig? Will you soon?

Is this your only source of income?

      Do you have other jobs too?

      Do you live just off the band/gigging

      What do you see yourselves doing in five years time?

What do you enjoy the most about being a band in Hull?

       Is gigging around Hull enjoyable?

       Is the city a big part of your identity?

What do you think of the venues in Hull? Are there enough?

       Is there a gap in the market for better/more venues?

      What else can the venues do to make a better nightlife/scene around Hull?

Anything else to add?/Mention?

Recorded Interview Techniques

For all of my filming I will be using my SLR, this means that the frame size will be consistent and always the same quality. The camera will be sat on a tripod to the right of where I am sat, with the band sat opposite me. The camera will not be dead center in order to try and give the shot more perspective and therefore meaning that the audience feels as if the band are talking to them. There will be a slight gap in between the two musicians (rule of thirds) so that it is not too cramped. One will be slightly further away from the camera than the other is, which means that the recording has some perspective. I am going to always use a tripod so that the camera is always stationary and means that the audience are part of the group rather than a mobile camera, which is always changing shot, would distract from the conversation. The interviews will take place with two members of the band rather than the full band – meaning that the shot is not overcrowded and that they are less likely to talk over each other.

            For sound I will be using a hotshoe mic – meaning that I don’t have to edit the sound with the video later on and therefore it will be of higher quality. The lens used will be a 28mm Wide Angle fixed zoom lens with no autofocus which allows me to frame the band more easily and record silently because the lens has no motor – and will not be constantly trying to focus. For my live and studio recordings I will be using an 18-55mm autofocus/zoom lens instead because I don’t have to think about the sound and also it gives me more range for the filming. For the interviews my aperture will be set to the largest (2.8) because the Auto ISO can darken it later – if I was to lighten it later there would be visible noise.

            The questions will be emailed to the bands before the interviews – allowing them to familiarize themselves with the questions and allowing them to prepare so that they at least have an idea of what they want to say. I will also carry a printed version of the questions for the bands to look over before hand if they need to.

            Each question will be asked in three different ways – with slight variations meaning that I am definitely going to get an answer for every question – and that it will be more in depth than just whatever sprang to mind when it was first asked. It also means that during the editing process I will be able to fit the answers together better – thus giving the documentary a better narrative style – or a more interesting snapshot into the Hull music scene. 

Health & Safety form

My Audience

The main audience for my documentary will be male and female young people, most probably students in and from Hull who are interested in music, bands and the city so therefore do have a social life.
They will mainly be British - otherwise there may be a language barrier and most probably be lower middle/upper working class because this means that they can probably afford or have played instruments in the past. They will also have an active social life - therefore meaning that the documentary has more to do with them and their lifestyle choices.
Religion does not affect the audience  - although it is more likely that they would be Atheist or Agnostic because it is more fashionable - but also because they are educated scientific discovery is probably more of an interest than faith which looks outdated.
It is more likely that my audience would not be married or part of any formal (or written) relationship because they are young.
They like to explore the world around them and exploring new things - therefore they are more likely to sit and watch a documentary because they are more likely to get something more out of it than if they were to watch a meaningless of phatic programme instead.

The vast majority of my audience will be more liberal - therefore read The Guardian, or NME and will take more of an interest in local publications like TenFoot City than the Hull Daily Mail - because it is culture based and caters for a younger audiences because it can be fairly radical.

Services like YouTube, Spotify, and Soundcloud will be used regularly by my audience to find new music - but also because they cannot afford to buy all of the music they desire. They will also - to be sociable, use things like FaceBook, Twitter and perhaps Tumblr to connect with others and share various things they find - thus making this a very valuable marketing tool for the documentary.

Television programmes like Jools Holland and the Arena documentary series would be viewed by my audience - because they show the alternative music scenes rather whatever is popular in the charts. Other programmes may include the Channel Four Barclaycard Mercury Prize Sessions or the repeats of Old Grey Whistle Test on BBC Four or other alike programmes on BBC Four.
Music Awards will be valued - but generally only the Mercurys or The NME Awards because they are more alternative present themselves to be based on more artistic merit than ceremonies like the BRITS.

Films will not be a vital part of their interests - generally they will be whatever is popular at the time rather than something more alternative or avant garde because they are harder to get hold of. Music documentaries about bands they like will of course be seen but not based on who directs it - just on the subject of the film. Directors like Roger Sargent and Julien Temple though would be more likely to make these films, after producing them about The Libertines, Sex Pistols, Blur and Joe Strummer - alternative icons which would fit in with or be held as heroes to my audience.

Rough Shot by Shot Plan of my Documentary

Introducing shot - "Welcome to Kingston Upon Hull" sign in the rain/dull weather. Almost like a master shot, this will introduce the film and give it a good establishing shot -especially ifit is framed again bad weather.

White writing on a black background - "A film about music in Hull"
Soundtrack: The Tennents - leads nicely into the first interview.

Stills of clubs like Adelphi, Lamp, Welly, Fruit etc. (rotated stills)

Shots of them in studio (mixed with song) then cut to them tuning and being interview.

Quotation first- like "Hard getting gigs" or something similar.
"The Tennents" in the corner. White writing - simple text.

Introduce themselves and their stature in the city - i.e how long they have been together. They are the first band because they are unsigned and unmanaged while also having the least time to practice.

Live shots of another of their tracks performed live.

Young Jack - same format -  recording/one track, interview parts, live track

Yannick - recording/one track, interview parts, live track,

The Hubbards - recording/one track, interview parts, live track,

The Talks or Paddingtons (established bands) music video, interview - talk about record etc, live track (if possible)- more in depth interview about why they think so few bands really break from Hull

Promoters/Club DJs/owners
What they think about the music scene/industry in Hull. How/if its changing and what they think of upcoming bands.
How it could be better

Jigsaw/Warren Records
interviews if possible about bands they have, record sales and how hard it is to get the records into local shops - or out to other cities.

These interviews could also be just used in snippets in order to get a more Todorov appropriate plot, however that would have to be done later when all of the interviews were complete.

Influential Media Texts -

These texts have influenced  my vision of what I want to create in various ways, from Cinematography right through to the way that the narrative is presented and also the framing of the shots. For the films which are unavailable in full I have included the trailers instead.

There Are No Innocent Bystanders - was a full feature music documentary which was screened in various cinemas in January 2012. The film is an in depth look at The Libertines' tumultuous career as a band. Featuring interviews from the whole band - but focusing more heavily on the songwriting duo Pete & Carl throughout the film - showing the places where The Libertines' lived, ate and played their first gigs at. As well as these interviews we also see the band rehearse together for the first time in numerous years - all leading up to their return to Reading & Leeds festival in 2010. 

The film tries to keep a sense of "will they, won't they" which never seems to really come off - throughout the film the audience always knows that they well; but that is not what keeps this documentary riveting. That is because it is interesting for interests sake - like a lot of documentaries, you know what the ending will be, however it is still watchable because of the insight you gain into the subject which is the focus of the documentary.

Clips: Above - Trailer

          Below - Film Clip

Director: Roger Sargent

It Might Get Loud - Another feature film documentary released in 2008 two rock music legends (Jimmy Page, Jack White), and The Edge. The film explores the musical heritage of each of the guitarists and looks in detail at what influenced them, how they became musicians and the early days of each of their bands. 

Clips: Above - Film Trailer

          Below - Full Film 

Director: Davis Guggenheim

Joe Strummer: The Future Is Unwritten -
A feature length documentary about the sings life, ranging right from his childhood, through the time he spent as frontman of The Clash and then the time up until his death.

Clips: Above - Trailer
          Below - Full Film
Director: Julien Temple

Music Documentary Synopsis

  

               My music documentary will be taking an in depth look at the Hull music scene and seeing whether it is actually improving or is still stuck without a thriving music scene; at the dead end that is the M62. The documentary will have multiple interviews with various bands, promoters and club owners about how they think the city is doing – and what they think should be done/what it will be like in ten years’ time. The documentary will also showcase a few of the city’s up and coming young band’s live performances/recordings as well as the venues they play. 

Evaluation Of Skills Development

               

                For my Foundation Portfolio project I decided to produce a music magazine. The parts of the magazine I produced were the front cover, a contents and a full article. In order to produce this first I began by researching other similar magazines in order to create an idea of what other magazines produce at a professional level. I decided that I both wanted to break, and keep to conventions in order to create a more unique magazine; whilst also ensuring that it wasn’t trying to appeal to too niche an audience. Next I began to create drafts of what I would want different areas of the magazine to look like – varying from simple templates to detailed, almost finished products. I then began to take brand new images to begin creating the finished magazine parts whilst beginning to write the article and put the contents together. Because I had already drafted the magazine multiple times previously it came together quite easily and developed into the finished product which has its own look; and it also meant that the magazine had its own feel. After a little more tweaking I eventually created a finished product which I thought looked good and worked well – most importantly it looked like a finished professional product.

                Before I started the course my skills technologically were limited; because I had never had the resources to be able to practise with it, whether that is cameras, computers or editing software. I was proficient with programs like Publisher however because it is on most Windows computers so therefore was easy to access and use. At GCSE level I created a perfume/aftershave advert so had to use cameras then in order to get the right image for the advert. I also then had to use photo editing software in order to edit the image and create the rest of the advert around it, although this software was nowhere near as advanced as Photoshop is, and therefore the advert was very simple, and less well put together. I also had to research other perfume/aftershave adverts which were linked to my product in order to get a better understanding of the conventions/styles which are seen in these adverts, and for the research I never had anything like Prezzi in order to present it in a clearer, more easily understood style. Creatively I was a lot less confident because I had not used the technology before so therefore could not experiment with it properly in order to come up with better – or at least more ideas.

                I used these skills in the Foundation Portfolio during almost everything I have done. For example, having some use of cameras before meant I had a better understanding of what sort of shots I needed to take and also how they would work compositionally. It also meant that I was more confident with the camera so could get through photos quicker in order to produce more drafts in different styles so that I could show I had a range of ideas. I used Publisher to set out all of my pages (apart from the cover) because I had used It before and it is simpler and quicker than trying to do it on Photoshop – mainly because Photoshop doesn’t work well when you try to add text on top of the image. Publisher works well for this however because there are more options available to make the text/images fit together in a coherent way which works well. I tried to make my magazine standout through using things like more contrasting/complimentary colours and using sharp/soft edges and shapes in order to create a design which I felt worked well – and attracted attention because of its colours and layout. I think that my original skills helped a lot because it meant that I could more confidently create designs, and experiment more with them.

                Through working on the Foundation Portfolio the main skill that developed was my use of Photoshop (partly due to taking Graphics as well) because I had to use it on nearly every image which I developed in my work to make it at least a better quality image; or to add other things around it in order to create a design which starts to look like a magazine more, and so it looks better developed and more professional than it did originally – this also in turn allowed me to generate more ideas and create more quick designs. I was also able to develop my camerawork further in order to take better photos too as the course went on because I was using it more often and so therefore I began taking more pictures in order to create more magazine drafts and so that I had more than enough images for the rest of the magazine. Also, I began to starting putting research onto Prezzi because it was easier to understand and navigate and meant that my blog had some difference rather than just being essays. My understanding of the conventions around music magazines also grew – meaning that I could try new things more confidently in order to create my final product. 

In conclusion I think that my skills have developed vastly – which in turn has allowed me to generate more ideas; which is probably the most important part of my skills development as it mainly meant that I could show and express a large range of ideas varying in how good they are. Also from a more technical side my advances in use of Photoshop meant I could experiment more with the images I had taken (another key part of my skills development) and make them work will in my final magazine and also the drafts that came before that. On top of that it also meant that I could explore the conventions more; for example cutting the subject of the image away from the image and overlaying it above the masthead – like some magazines do – to see if that would work well for my magazine or would however detriment the quality of it.

               

               

               

Audience Key Terms

Qualitative Data – Based on people’s opinions on the subject; therefore it is more likely to be about their personal tastes rather than groups they belong to and cannot be grouped as easily into definite categories… “What genres of music do you like?” Which forms of music video do you like most?”

            Quantitative Data – When the data is numerical and easy to order it is quantitative because it is based on closed or one answer questions like… “Are you male or female?”, “Where do you live?” or “How old are you?”

            Demographic Data – A statistical map of a population, showing things like age, income, education clearly and giving an idea of where the majority of the target audience is based.

            Psychographic Data – The study of people’s values, behaviour, attitudes, activity, interests and opinions. 

Summary of summer work

Summary of summer work –

The first part of the summer work which I completed was to look at videos of documentaries which I like the style of filming of. Next I began to write about the conventions of rockumentaries – documentaries about music and discussed the various ways that they film in a certain style and are presented in different ways.

Next I began to create a shot by shot guide of The Libertines’ film, ‘There Are No Innocent Bystanders’ Trailer’ in order to get a better understanding of what I would be producing and also how it is put together – especially the continuity because the documentary uses this to make it feel quick paced, and always look like there is something going on.

Shot by Shot 'There Are No Innocent Bystanders' Directed by Roger Sargent

Conventions of Rockumentaries (Music Documentaries)

        From a cinematographic point of view conventionally any documentary will use a lot of close ups, to try and make the film seem more real, and involve us more rather than making it feel like we're watching from afar. One of the main things that a documentary does well is to make us feel as if we are observing something which is  happening from within the room/next to the characters. Documentaries - especially in interviews when using close ups - will use a point of view shot with only the interviewee in shot, not over the shoulder or a two shot in order to try and create the effect that the viewer is the one conducting the interview rather than anyone else. You will never see a master shot in documentaries because it would definitely loose a sense of realism because of it - also (especially in Rockumentaries) if you only see the characters alone then it makes the finished product look more confessional, and therefore more real, and like it is an insight into their thoughts and feelings.  It will generally use a steady cam throughout in order to make the documentary seem more realistic - because realism is the key to a good documentary. Angles used will vary, because it has to make sense (as with any show) to the viewer whilst the framing will generally be more direct and much simpler - it will try to frame characters as they would be to the viewer in real life, rather than just showing half of them or showing them slightly out of focus.

        Apart from for continuity, music documentaries will usually stay away from transitions or anything similar because they will reduce the realism in the film. The main part of editing for a documentary is to place clips in a legible, understandable order so that certain parts link together to form a cohesive narrative. This may mean splitting up the interviews so that someone's opinions are not known too early or cutting it so that it links to what another interviewee is saying at that time. This works especially well for rockumentaries because it makes it more confessional - which makes it much more effective if dealing with a band/artist that has in the past been involved in drugs or a band break up.
 
        The Mise En Scene for rockumentaries is usually designed in order to reflect either the stereotype of the artist or go against the artist's stereotype in order to either challenge peoples views of the subject or to emphasize them. If a musician has a somewhat seedy image then the director may emphasize that by setting parts of the documentary in more sleazy places - like strip clubs or more run down areas. If however a director wants to challenge the stereotype and expectations then they may set the interview in more of an intellectual setting - like a library for example. Props can also be an important part of the Mise En Scene for a music documentary because something like a guitar in the background immediately sets the scene and also reaffirms what they are. Props can also be a good way to break stereotypes too - for example if a musician who is associated with drugs is seen with poetry books or novels then it is quite likely that the public who see it may think differently about them - whilst also giving their fans a better understanding of them. Lighting can be key in creating an effect in a biased documentary because of the way it can portray someone - paler blues pinks and purples will create a more sleazy effect whereas colder white lights, or just yellow will make them seem more truthful.

       In a rockumentary the sound will generally be tracks that the band have already written - or may have been influenced by. Tracks that link parts together are very common because they mean that the documentary flows well and also make the documentary more interesting because a good soundtrack means that the film is much more watchable and appealing on another level. A documentary would almost never (unless designed to be a tearjerker) use a soundtrack that is designed to encourage emotion - because of course that goes further and further away from the realism of it all. A voiceover is very common because it allows the film to form a more understandable  narrative even if it does decrease the realism. It also means that the film seems less biased because the voiceover tries to be as impartial as possible. The narrative may never reach a conclusive end - because it is generally just a film designed to inform and therefore will not really have a conclusion. the story-line will generally be developed simply through the interviews - and will lead to one main question or part of the character/band discussed in more detail - it may just be a more volatile part of them. It will then generally be a 'how do we make it better?' style ending question in order to leave the film with hope but also in order to give it a conclusion which the viewer is in a way part of.
   
       The character the documentary tries to portray depends on how biased the maker is because of course everyone will have a different opinion about the subject. the documentary will try to either show a fair, unbiased view of the subject or will try to change peoples opinions to it by enlightening them.