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THDL Toolbox > Audio-Video > Creation Of Audio-Video > Participatory Video Methodology

Participatory Video Methodology

Contributor(s): Nelson Walker (last revised February 25, 2007), as adapted from Insights into Participatory Video: A Handbook for the Field.

Name Game (30 Minutes)

• Everyone sits in a circle. All present take part in the exercise, including the facilitator.
• The facilitator hands the camera over to the group and does not touch it until it is his/her turn to film.
• The facilitator instructs the person next to him/her (Person A) how to hold the camera, switch the camera on/off, how to zoom, and where the record/pause button is. Everyone in the group should pay attention to this instruction.
• The facilitator explains that the camera captures image as well as sound, and instructs the he person next to Person A (Person B) to plug in the microphone. Person B demonstrates to the group how to hold the mic properly (pointed to the sound source).
• The facilitator shows Person A how to hold the camera to create a level and steady image by miming the proper position (hand under camera body and elbow tucked into the chest, or alternately with the back of the camera pressed against the body). Person A demonstrates the proper positioning to the rest of the group.
• The facilitator explains that the lens and viewfinder screen are the most delicate parts of the camera, and like the human eye can be easily damaged. The lens cap and viewfinder must be closed when the camera is not in use. (Note: This is the only “negative” instruction given.)
• Person A zooms the camera in and out. The facilitator asks them to frame the person sitting opposite them (head and shoulders). Then, making eye contact, Person A should ask the person across from them (Person C) if they are ready.
• Person A films Person C, while Person B holds the microphone and takes sound. Person C states his/her name and says something about him/herself.
• After filming, Person A hands the camera to Person B. Person B hands the microphone to the person sitting next to him/her. The process is repeated until everyone in circle has a chance to film and speak, including the facilitator. (Note: When handing over the camera, the participant explains to the next person how to use it.)
• When everyone has filmed, the facilitator asks Participant C plug the camera into the projector and play back the footage to the group.

Disappearing Game (20 Minutes)

• The whole group of participants stands in a group as if posing for a photograph.
• Person A is filming and should ask the others to stand like statues and be silent. Try to be humorous with your poses.
• Person A pushes the record button and counts to three (records for three seconds. Make sure the tripod does not move.
• Person A asks someone to leave the group. Remember, the others must not move. The person removes pushes record and counts to three.
• The process is repeated until nobody is left. When the last person is removed, film the empty space for 5 seconds.
• Watch the video immediately. Play both forward and in reverse so that people “magically” appear and disappear.

Filmmaking 101 (45 Minutes)

Shots

• Demonstrate the concept of a shot by showing a short segment of a film. Having the participants clap at every cut.
• Explain that filmmaking is telling a story with images. Shots are like sentences. They should have a purpose and convey information.
• Explain that shots can be put together to create new meaning. For example, if you show a shot of a smoke-stack followed by a shot of someone coughing it is implied that the person is coughing because of the pollution. The same shot of someone coughing could be juxtaposed with other shots to imply that the person has a cold or inhaled secondhand smoke from a cigarette.

What makes a good image?

• Framing – The image has a center of interest, is at an appropriate height and angle, and is level (unless there is a reason for it to be crooked).
• Exposure – The image is well lit (not too bright and not too dark). The best way ensure this is to avoid pointing the camera toward the light source.
• Color Balance – The color looks correct. In certain types of light the color appears to have a blue or orange tint.
• Focus – The center of interest is in focus.
• Movement – There is no extraneous movement. If handheld, the camera must be held as steady as possible. If the camera is on a tripod, the camera only pans, tilts, or zooms if there is a reason to do so.

Interviews

• The conventional framing for an interview is in a medium close-up (from center of the chest to the head). Sometimes we also see them framed in close-ups, medium shots, and wide shots. Demonstrate each shot by drawing it.
• Many people feel it is awkward or amateurish to leave too much headroom at the top of the frame. In a medium close-up, the eyes are positioned 1/3 of the way down the frame, which leaves little to no headroom. Demonstrate by drawing.
• The background you choose for an interview can make a shot more informative and is therefore very important. Try to pick a background that reinforces the content of the interview or tells us something about the subject. Try not to position the interviewee in front of a window.
• Avoid asking questions that produce “yes or no” answers. Instead ask open-ended questions.
• Always make eye contact when asking questions.
• Respond to questions with a smile or a head nod rather than with “yes” or “uh-huh”.
• Make sure your sound is clean.
• The camera should be rolling before the first question is asked, and continue to roll at least 10 seconds after the interviewee answers the last question.

Sound

In film, sound is a separate element that can be manipulated independently of the image. This creates a number of options:

• Voice-Over Narration
• Cut-Away shots during interviews
• Music

General Recording

• The director should tell the camera operator when to press record and call “action!” when the shot is to begin.
• Always roll the camera at least 3 to 5 seconds before the shot begins. Explain that participants need not be concerned about wasting tape.

Storyboard Technique (1-3 hours)

• Talk with participants to agree upon a story to tell.
• On a piece of paper draw 8-10 triple boxes (you can add more later if necessary). The left box will be for image, the center box for sound and the right box for details. Example:
  • IMAGE SOUND DETAILS
• Ask: “How would you introduce your story?” Draw a simple sketch in the first box to illustrate.
• Continue rapidly with the outline of the story. Encourage each member of the group to take turns drawing in the boxes.
• Next go back and fill in the sound for each box:
  • Will someone be speaking?
  • What will be the basic content?
  • Explain that you are able to put music over the shots if they have something in mind and in a usable format.
  • Also explain that audio can be layered over images.
• Finally determine the details of the shot:
  • Where will you be filming?
  • Who is in the shot?
  • What is important about the shot? What information does the shot convey?
  • Who is responsible for the following tasks?
    • Filming
    • Directing
    • Sound
    • Organization
    • General Helper
    • Still Photographer
• Once you have your locations set, determine whether or not it would be more efficient to shoot “out of sequence” and reorder the shots later through editing. If you decide to shoot out of sequence, make sure you keep track of the original order.
• If necessary, stimulate ideas by suggesting different ways of telling a story:
  • Discussion (filming two or more people talking about an issue or event)
  • Interview
  • Narration
  • Observation
  • Reenactments/Skits
  • Descriptive shots (establishing a location/environment/situation, articulating significant details)

Community Mapping (1 hour)

Note: This exercise should be completed before Storyboard Technique if it is to be the basis for the film.

Use a large piece of paper (or even the ground) as the basis for the map. Have the participants draw in significant places (or use available objects to represent them). Potential ideas for choosing places:

• Significant people
• Places that participants want to change
• Recent changes to the physical/social landscape
• Significant cultural, social, religious spaces
• Location where a significant event has occurred or recurs.

Other aspects:

• There is no need for the map to be precise. It doesn’t need to show the actual layout of town but rather a representation of how participants see their environment.
• Plot a route across the map.
• Use this route to create a storyboard for the film using the Storyboard Technique exercise.
• Optional: The discussion evolving around the creation of the map can be filmed to capture significant conversations, which later can be included in the film.

Reviewing/Editing Footage (TBD)

• After shooting, review the raw footage with participants. Explain that they have the option of making changes to their initial plan depending on what footage they have obtained. As a group, form a consensus on what shots to use and what (if any) changes are to be made to initial storyboard.
• The facilitator use’s the groups plan to edit a rough cut of the film. Participants can observe and/or take part in the process if circumstances allow.
• Repeat this process until each member in the group is satisfied with the final product.

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