Kokum Dorothy’s Story: Technical Setup
Production Specifications
Kokum Dorothy’s Story: We can still sing and dance
This short documentary offers an intimate collaborative, survivor-centered project that preserves and honors First Nations history through personal narrative. Centered on Kokum Dorothy, the film reflects the painful realities of displacement, reservations, and residential schools, while celebrating resilience and historical memory.
The narrative comes together like a visual collage: through shared conversations, archived photographs, and storyboard sketches, the creative process weaves fragments of personal memory into a cohesive story. Grounded in empathy and mutual respect, the project highlights the vital importance of listening to Elders and bearing witness to their living legacy.
The production relies on deep main interviews to form the structural narrative, paired with highly prepared B-roll, staged fragments, props, and motion graphics to bring the story concepts to life. Operating primarily with one or sometimes two-person production teams (Director and DoP), the production workflow prioritizes visual storytelling and structured sensitive emotional narratives and relationship building.
Camera Setups
- Camera System: Two-camera setup (A-Cam and B-Cam) utilizes efficient autofocus systems and photo prime lenses with wide apertures.
- Camera Combinations: Sony FX5 (A-Cam) + Canon XA20 (B-Cam)
- Framing & Composition:
- A-Cam: Tableau-like, one-point perspective with depth. Subject looks off-camera directly at the interviewer positioned close to the lens axis. Subject viewing directions should alternate across the episode.
- B-Cam: Half-profile captured on the same side of the axis as A-Cam, framing between a close-up and a medium shot.
- Maintain controlled depth of field so background spaces remain recognizable without disappearing into heavy bokeh.
- Camera Movement: Primary reliance on an Easyrig for responsive, flexible handheld B-roll. Gimbals, sliders are restricted to deliberate, high-value creative uses.
Format, Codecs, & Recording Settings
- Resolution & Frame Rate: Shot in UHD (3840×2160) at 25p.
- Slow Motion (High-Speed): For atmospheric slow-motion shots, camera settings must be switched from 25p to 50p (rather than dedicated high-speed sensor modes) to preserve usable audio recording. Standard 25p is used for portrait shots.
- Profiles & Codecs: Log color space using efficient codecs or Long-GOP. Uncompressed RAW codecs are strictly prohibited.
- Data Budget: Maximum 3TB raw footage limit for a standard 4–5-day shoot.
- Master Delivery Standards: Final outputs require a 1080p25 web master and a 1080i50 broadcast master.
Lighting & Location
- Lighting: Simple, atmospheric setup using a single large softbox source, optional negative fill, and a small LED eye light. Traditional three-point lighting was generally unnecessary.
- Locations: Quiet, controllable indoor or covered settings (e.g., lecture halls, libraries, archives) offering visual depth and high acoustic control.
Audio & Sync
- Inputs & Routing: Dual audio feeds recorded directly into the A-Cam and managed by the camera operator.
- Microphones: Two Røde shotgun directional boom mics paired with a visible Sony wireless lavalier
- Timecode & Synchronization: Cameras run in Free-Run mode synced to local real-world time to simplify logging and post-production editing. Clapper board is used at the start or end of the session.
Data Backup & File Management
- Drive Setup: Dual encrypted SSD hard drives transported separately. Data must be backed up daily to both drives using hash-verification tools (e.g., Offshoot or DaVinci Resolve Clone Tool).
- Directory Structure: Saved under …/10_Footage/Raw/YYMMDD/ broken down by source:
- /A-Cam/card 1
- /B-Cam/card 1
Public Filming & Releases
- Uninvolved background pedestrians must be kept out of focus.
- Verbal consent or signed release forms are required if background individuals receive dramatic attention or interact directly with the scene.
