Entering the Era of Post Production

The role visual effects will play in documentary

Grant Vincent Collins

BA Communications
University of the Sunshine Coast

Submitted in fulfillment of the requirements for the degree of

Master of Arts (Research)

Creative Industries Faculty
School of Film and Television

Queensland University of Technology

2009

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Abstract

Creating an acceptance of Visual Effects (VFX) as an effective non-fiction communication tool

has the potential to significantly boost return on investment for filmmakers producing documentary.
Obtaining this acceptance does not necessarily mean rethinking the way documentary is defined,
however, the need to address negative perceptions presently dominant within the production
industry does exist; specifically, the misguided judgement that use of sequences which include
visual effects discredits a filmmaker's attempt to represent reality.

After completing a documentary utilising a traditional model of production for methodology, the
question of how to increase this film's marketability is then examined by testing the specific
assertion that Visual Effects is capable of increasing the level of appeal inherent within the
documentary genre. Whilst this area of research is speculative, qualifying Visual Effects as an
acceptable communication tool in non-fiction narratives will allow the documentary sector to
benefit from increased production capabilities.

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Acknowledgements

I must first and foremost thank Andrew Crosthwaite and Michael Berry. It was Michael – my
external supervisor – who first approached me with the opportunity to undertake this research, and
his devotion to the production was as strongly appreciated as his valuable contributions. Thanks
also are sent to Andy – my primary business partner – who's initial support enabled me to consider
stepping outside of our production business long enough to undertake the research, and it was
certainly Andy who was the rock of support and source of continual motivation throughout the
period of study.

Geoff Portman and Jenny Mayes among many other staff at QUT who supported the production
and helped hone this research. Also, Terry Flew for his continuing commitment and assistance
within one of the most challenging environments for creative practice.

Last but by no means least, Ma & Pa Bendall, for simply living their lives in a manner where
their influence is even now adding richness to other people's lives!

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Table of Contents
Abstract ...........................................................................................................................................2
Acknowledgements .........................................................................................................................3

Introduction........................................................................................................................................6

Chapter 1
Setting the Stage.................................................................................................................................10
Project Background........................................................................................................................10
A Valued Research Direction ........................................................................................................10
The Brief...................................................................................................................................12
A Note on Narrative..................................................................................................................14
Digital Production & VFX Explained...........................................................................................15

Chapter 2
Methodology and Approach...............................................................................................................17
Approaching an Illusion ................................................................................................................17
Rationale Behind Methodology ....................................................................................................18
Following a Separate Path.........................................................................................................18
Outcome Review............................................................................................................................19

Chapter 3
Traditional Documentary Production and the Future.........................................................................20
The Concept of Pure Form.............................................................................................................20
Evolution of the Docu-genres........................................................................................................23
Comparing Current Productions....................................................................................................25
PDV in a Greater Context.........................................................................................................26
Contextual Review ...................................................................................................................27
Doco 1 – Hunt Angels (2007)...............................................................................................27
Hunt Angels PDV Elements............................................................................................28
Doco 2 – Bra Boys (2007)....................................................................................................28
Identifiable Emerging Production Trends......................................................................................30

Chapter 4
Supporting Evidence..........................................................................................................................34
Existing Documentation............................................................................................................34
Qualifying VFX as a Marketable Asset.........................................................................................36
Financial Return........................................................................................................................36
Critical Acclaim........................................................................................................................37
Cultural Impact.........................................................................................................................39
Quantifying the Importance of VFX..............................................................................................40
Viewing Habits..............................................................................................................................42
Developing Argument....................................................................................................................43

Chapter 5
Market Forces & Their Influence.......................................................................................................45
The Context of Marketability........................................................................................................45

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 VFX as a Marketable Component.................................................................................................46
Expected Production Developments .............................................................................................49
Future Speculation....................................................................................................................50
Analysis of Views..........................................................................................................................51

Conclusion.........................................................................................................................................53

References......................................................................................................................................56
Appendices.....................................................................................................................................60
Apendix 1 – Email Confirmation of Production Intent............................................................60
Apendix 2 – MPPA Rates..........................................................................................................62
Apendix 3 – Budget & Financial Notes....................................................................................63
Apendix 4 – Crew & Equipment Lists .....................................................................................64
Crew Credits ...................................................................................................................64
Equipment List................................................................................................................64
Appendix 5 – Digital Production & VFX Descriptions............................................................65
5.1 Motion Graphics.............................................................................................................65
5.2 Animation Sequences.....................................................................................................65
5.3 Compositing...................................................................................................................65
5.3.1 Amalgamating Live action and CGI............................................................................66
5.4 Colour Correction...........................................................................................................66
5.5 Transitions .....................................................................................................................66
Appendix 6 – Highest Grossing Documentaries.......................................................................67
Appendix 7 – Documentary Return on Investment..................................................................68
Appendix 8 – Box Office Earnings Top 10 2005-2007 ...........................................................69
Appendix 9 - Hunt Angels PDV Elements...............................................................................71
Appendix 10 - Bra Boys PDV Elements...................................................................................73
Attachment 1 - Budget...................................................................................................................74

Statement of Original Authorship

The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any
other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously
published or written by another person except where due reference is made.

Signature

Date

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 Introduction

There are several factors commonly singled out as making an impact on a production's fiscal
success; the most recent factor to be included is Visual Effects, however, the documentary sector
has been slow to adopt Visual Effects (VFX) as a communication tool. With increasing levels of
production and advancing technology decreasing barriers to entry within live-action filmmaking,
PDV1 (Post, Digital & Visual Effects) elements of production are expected to become key factors
determining the inherent marketability of documentaries produced at a professional level for
commercial release.

It cannot be argued that VFX alone can increase the appeal of any documentary to any audience
segment. The primary assertion is that visual effects, and related PDV activities, can allow the
examination of otherwise visually un-presentable topics and, when utilised deftly, are capable of
enhancing the presentation of many non-fiction narratives. Further, the inevitable passing of time
will assure that the demographic of people aged 40 years and over – who represent a massive three
quarter share of the audience for documentary – will soon consist of people raised in a visual story
telling environment where use of high end VFX is prolific throughout closely related and
converging media. It is this once younger demographic, who are aging – or already aged – into the
target market for documentaries and they are drving change in the market's expectations.

The role VFX is capable of playing in increasing a documentary's marketability became pertinent
to the production of Making Waves2 during pre-production whilst brainstorming how to increase the
scope of potential appeal for the documentary. An exciting VFX heavy solution was ultimately
dismissed on budgetry grounds, however, this opened the gate for constant reflection on enhancing
Making Waves through the use of PDV activities currently rare within typical documentary
production practices. Ultimately this reflection led to a research question that became quite a

1 PDV Definition:
AFC National Survey 2006/07 – Refers to those activities [post-production, digital-production and visual effects] that create audio
and visual elements for film or TV drama other than by principal photography, pick-ups or physical elements such as sets and props.

2 Making Waves: The Ma & Pa Bendall Story, was the documentary produced as the practical component of this creative practice
driven research.

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separate pursuit rather than a direct outcome related to the practical component.

Presenting an exegesis which provided a chronological account of how the traditional three
phase production model would have required adaption to facilitate the inclusion of VFX and PDV
activities believed capable of enhancing Making Waves was the original goal. This objective
changed when it became apparent that the inclusion of such sequences were widely viewed as
corrupting goals which lay at the very root of documentary production by the majority of industry
stakeholders; including the government bodies responsible for regulation and those in control of
vital supportive funding for productions harbouring aspirations of utilising visual effects. Thus, the
imperative of advancing documentary making knowledge become fundamentally linked to creating
an argument capable of changing the apparently dominant perception that VFX has no place in
documentary production. The need to have this perception recognised as an invalid position is
arguably crucial to Australia's ongoing competitiveness in the documentary marketplace. Further,
rapid acceptance of VFX as a communication tool capable of significantly enhancing marketability
of some documentary titles would give current producers a valuable lead by being first to market
with productions differentiated within an ever increasingly competitive market.

Documentary is one genre that is far more susceptible to competition from amateur production,
resulting in a marketplace with demonstrated erosion of earning potential, due to broadcasters and
distributors being able to offer less to purchase screening rights from an over saturated pool of
filmmakers operating in the 'low to no' budget sectors. Subsequently, market demands exhorted on
documentaries are shifting, and it is anticipated that markets in the near future will be dominated by
polarisation between 'User Created Content' (UCC) and professional productions. This phenomenon
of polarisation appears to be approaching maturity within film and television audiences, and a
resulting divide is expected to impact most notably in broadcaster and distributor acquisition
budgets. With the television market identified as presently being the lifeblood of commercial
documentary production, the need to separate productions requiring high investment from a glut of
possibly simular content produced with lesser quality production values is becoming a major
necessity.

Documentary is also one of the few genres where it is often considered sanctioned or even
necessary to compromise the visual aesthetic in order to communicate a 'truthful' account of the
film's premise. This ready acceptance of lesser quality production values has been a result of past
production limitations and particular trends within the global documentary production circles, but
recent advances within the industry, both technological and natural evolution of film language –
production formats have changed and the literacy levels audiences possess have increased – has

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resulted in higher expectations.

To meet these higher expectations producers will soon be required to adjust their traditional
production methodology in order to effectively and efficiently accommodate the requirements of the
PDV sector.

PDV is a recent term, essentially covering the processes of post production, and combining these
into a singular area of activity that includes digital production – the incorporation of computer
generated imagery or stand alone animation – and visual effects. The need for this new
classification has arisen due to the increasingly incorrect conjecture that these processes were
occurring after the production phase. This is now rarely the case in any production where VFX is
included, and even a significant number of traditionally 'post' processes are now being completed
simultaneously with production, or in some cases required in advance, being carried out prior to
principal photography. Whilst many processes involved with post production still occur after
principle photography, the influence of many other activities historically viewed as 'post' are now
keenly felt throughout the entire production process giving rise to this time in history being labeled
as the era of post production.

As old as the medium of film itself, non-fiction production has both evolved naturally and been
consciously adapted countless times before, but only a few changes have been as significant as
entering this era where PDV has given filmmakers the ability to seamlessly shift from the real to an
entirely fabricated representation of reality which calls into question the very values that define
non-fiction. An important key to this research lies with the understanding that the changes brought
about by advancing technology are merely conditions helping to create an environment where
audience expectations will be a driving factor behind production decision within the commercial
sector. For a long time an accepted rule for documentary filmmakers has been to show, not tell, and
the 'telling' has been reserved for aspects of the production which could not be shown... now the
limit on what can be shown rather than told has been drastically redefined.

By examining both the shifting marketplace, and evolving medium of documentary, two main
areas of resistance are evidently contributing to the slow uptake of VFX within the documentary
genre. First, there is a belief that Visual Effects have no place within the documentary genre, as the
creation of such content cannot be considered a true reflection of reality – which is an idiom of
'pure form' documentary. As an area that underpins resistance to accept VFX the first task of this
document will be to present a new perspective on potential use of PDV activities within the medium
of documentary. Second, there is a view that the extra financial costs associated with PDV activities
are not feasible. Both of these points of resistance actually provide insight into the strengths VFX

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can offer to the documentary genre and correcting the manner in which the technology is viewed
will have a significant positive influence over documentary production capabilities.

Due to current classifications there are almost no films utilising VFX that are accepted as
documentary, resulting in insufficient data available to directly demonstrate the financial benefits
for commercial productions in this sector, so it is necessary to draw from similar mediums to obtain
viable comparisons. Further, relating to the point regarding classification, there is a distinct divide
in academic, and even industry opinion, as to what exactly constitutes documentary. The debate
concerning an accepted definition of documentary has been ongoing for decades and is unlikely to
be definitively resolved with one paper, thus this document can only present another way in which
documentary as a genre can be encapsulated. The main reason behind attempting to offer a new
definition for consideration is to influence funding and support bodies so that they do not
incorrectly discriminate against the future form documentaries will be able to adopt.

The major premise behind this work is based on the reasoning that if all factors which contribute
to a documentary's marketability were levelled, the inclusion of Visual Effects into the documentary
maker's pallet of communication devices would result in the standard of craft rising; effectively
allowing the film to command a greater level of interest and subsequent higher level of return on
investment.

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 Chapter 1
Setting the Stage

Project Background
In 2001 Margery Bendall – an enigmatic member of the Caloundra City community – passed
away. As part of her estate, Margery left the Caloundra City Library close to eight hours of 8mm
film that was shot during the late 60s and throughout the 70s; footage which predominately covered
the Bendalls' surfing travels throughout South East Queensland, Northern New South Wales, and
Hawaii.

Di Warner, the Social Studies Officer at Caloundra City Library, began pushing for the footage to
be utilised in a documentary as a way of preserving the impact Margery and Ben, her husband, had
on the local surfing youth and Australian surfing culture. Di brought in Michael Berry – ex ABC
executive producer for the 7:30 Report, Four Corners and the Geoffrey Robertson Hypotheticals –
who took the project to the Queensland University of Technology (QUT) pursuing an avenue which
would allow the project's modest budget to support a commercial production.

A Valued Research Direction

In order to justify supporting Caloundra City's project QUT required an angle which would enable
the production to serve a double purpose. As practice-led research, the production would also be
expected to generate research capable of advancing filmmaking knowledge in the documentary
field. Three major inherent factors led to the formulation of the research direction:

1. As the client, Caloundra City Library wanted to ensure the documentary had historical merit
and indicated their preferred focus was on the Bendalls’ beneficial impacts on the local
community.

2. The archival footage was essentially shot with '70s home movie' production standards and
thus the bulk of shots were: extremely short in duration; lacking sharp focus; unsteady;

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 poorly framed; or in some cases deteriorated.

3. Michael Berry is very practiced in what can be considered a traditional approach to

documentary production and the directive was to produce the film as a commercial one hour
(42 minute) production.

Applying this traditional approach to production certainly suited Caloundra City's objectives, as it
would allow for a style that tied the disjointed collection of 'home movie' footage together in a
manner reflecting production values of the past decades.

This essentially meant that the practical component would not break new ground or contribute
vitally to the advancement of film language, but would be ideally positioned to provide a definitive
representation of 'documentary'; a production where analysts and critics in the field would agree
that the production was not a modern corruption of the genre. Producing an acceptable example of
documentary was critical because the research component was originally intended to map out the
traditional production methodology utilised for Making Waves and then – through the use of an
imaginary budget closer to the higher end of funding normally attributed to documentary – create a
comparative workflow that definitively highlighted the areas where production pathways would
have needed alteration, or reordering to allow for production of a documentary rich in VFX.

This, however, was not to be the case. As research began to advance, it became apparent that
proving the inclusion of VFX could strengthen a documentary's market value, or enhance its
reception from audiences, would take more than a small number of pages leading into, or
supporting, a guide on how to do just that. Mounting opposition lead to the conclusion that there
was little point in providing a guide for low to middle end documentary producers – who may have
had limited to no experience with VFX activities – if their future intended use of such effects
excluded them from obtaining 'documentary' funding. Further, without the benefit VFX inclusion
could offer the genre clearly established, the benefit of undertaking the extra workload was
superfluous.

During reflection on the practical component, the research focus changed from examining the
implementation of VFX into documentary, to firstly producing an argument substantial enough to at
least spark debate amongst industry authorities and begin the process of having VFX recognised as
an acceptable communication tool for documentary filmmakers. The second, yet equally vital,
research goal was to amass enough evidence that VFX could significantly increase a documentary's
market value.

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 To achieve an accurate assessment of the additional value VFX can contribute to documentary
genre, this research will:

 focus on technical execution, rather than story or content, rather than focusing on
assessment of the narrative's integrity;

 examine the inclusion of visual effects only where such activities would not be included
purely for spectacle;

 not attempt to resolve the ongoing debates regarding elements which qualify a non-fiction
production as documentary; and

 attempt to shift focus from the historical documentary audience to a present day
demographic and even future viewers who will bring with them expectations adopted from
their vastly different consumption of visual mediums, than their predecessors.

The AFC's 2008 Collection of Key Data reports 89% of single title Australian documentaries are
produced on budgets of less than $500,000; with “more than half made for less than $200,000”. The
report also lists documentary series as having average costs ranging between $141,000 and
$334,000 per broadcast hour; with only 33% of series titles enjoying budgets in excess of $1
million.

While the fiscal budget for Making Waves did fall well short of $200,000, the level of in-kind
support which the production enjoyed sufficiently leveraged the total expenditure; allowing this
study to address production models adequate for producers working within average budgets
($150,000 to $350,000 – based on AFC 2008 data3). Thus the execution of this practical component
effectively establishes a direct relevance for over fifty percent of documentary producers working at
a commercial level within Australia, and more than likely a significantly larger host of filmmakers
whose works have not enjoyed commercial release.

The Brief
While there was no formal written production brief supplied by Caloundra City Library, notes
taken from the initial client meeting were formalised in an email (see Appendix 1) and the following

3 The AFC's report Documentary production in Australia: A collection of key data, February 2008 only covers documentaries that
achieve a broadcast or theatrical release.

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points became driving factors influencing both the approach to production and production
aesthetics:

Aim/Objective: Create a memorial / archival film that communicated the positive impacts the
Bendalls made on their local community.

End Use/Deliverables: As a component to a larger heritage project Caloundra City was

running, the film would serve as both a featured element and a promotional piece:

■ A theatrical release on a large screen – this would to be limited to SD4 digital

projection;

■ Main release format would be on SD DVD;

■ Distribution channels would initially and primarily consist of DVD sales through the
Australian library network;

■ Digital Beta Cassette [PAL 601] for broadcast prospects;

 42 minute duration necessary to accommodate a commercial broadcast 'hour'.

Available Production Time: With a final delivery date set for December 20, 2007, a fine cut
viewing on November 22, and the available production support from QUT commencing on
June 4, this provided a 25 week window.

Budget: $18,000 [$127,880 Adjusted – See Appendix 2 for full qualification]

The library was originally very open to the approach filmmakers could take in relation to style of
the production and indicated that if it was possible they would ideally like the production to receive
a broadcast release. While it was agreed that the filmmakers would create the documentary to
broadcast quality standards, assessment of the main material necessitated the need to clearly
communicate that this would be a difficult goal; the following - cited from Appendix 1 - was a main
point within Michael Berry's response to the Library's briefing:

“When considering the potential for a film about Ma and Pa Bendall, it is important
to assess the quality of archival material that is available.

4 SD in the context of this paper will refer to Standard Definition; which is defined by FreeTV Australia – Industry Body – under 2.1.1
in OP 36 as: a 625 line, 25 frames per second, 2:1 interlaced signal produced in agreement with the specifications of ITU-R Rec. BT
601 (as revised). The aspect ratio shall be a full height 16:9 image. An image aspect ratio of 4:3 may be accepted for “pillar boxed”
archival type material.

13
 I have viewed eight DVDs containing a range of unedited sequences of Ma and Pa
on their various holidays. They contain no natural sound, no interview or voice-over
material except for Never Too Old5 which, in its day, was a semi-professional
production”.
Appendix 1

It was known at this stage that achieving a commercial broadcast release required appealing to a
broader demographic than the previewed source material alone may engage. This coupled with the
Library's main objective of producing a film with a specific localised focus meant the filmmakers
needed to treat the broadcast goal as almost a bi-product which would result from exploring the film
to its fullest potential; any other approach may have risked alienating the client by marginalising
their main end use objectives in order to craft a narrative with more global appeal.

A Note on Narrative
While Making Waves did have a reasonable degree of creative freedom, Milic & McConville
(2006, 62) recognise that in a commercial environment, “The most influential decision maker with
regard to the look and feel of the project is the buyer/client. Nothing can go ahead without their
approval”. Had the production been structured as a completely objective account of the Bendalls'
lives a number of more contentious issues which came to light during research could have been
brought to the forefront of the story. Further, with a primary goal of highlighting the positive
influences the Bendalls brought to local surfing culture, the film shifted away from the originally
intended surfing sub-genre and essentially created a 'localised' social and historical commentary,
effectively limiting any broader appeal that may have been achieved by utilising the more popular
surfing documentary style.

With a target audience identified as predominately over 50 years of age Making Waves was
actually primely positioned to appeal to the largest segment of documentary viewers. The AFC's
2008 Key Data report states that 72% of viewers watching documentaries on free-to-air television
are 40 years and over, with the largest demographic (30%) aged 65+. This equates to a massive
25.1% share of the total Australian free-to-air audience (OzTam 2004 – most recent available data, study
limited to capital cities). However, the effect of a localised narrative base was noted in 2003 when,
discussing the role of marketing mass media in his book Media Organisation and Production,
Simon Cottle commented that:
5 Never Too Old was a home movie created by the Bendalls which received a public screening in Caloundra during the 70s.

14
 “...a wider shift towards the commodification of culture is the increasingly export-
orientated production practices of the film and television industries and the production
of 'global' products based on entertainment values rather than critical reflection on local
issues”. Cottle (2003, 58)

This phenomenon affecting marketability is further addressed later in this paper, however, as a
study addressing the impact of PDV activities – specifically those relating to VFX implementation –
the immensely important role narrative strength plays in the likelihood of commercial success is not
being questioned.

Digital Production & VFX Explained

According to Michele Pierson (2002) optical technicians have been involved in the film industry
since the 1920s, which means 'optical effects' as they were first known, followed only 25 years
behind the inception of film itself. VFX is relatively new terminology and refers to a category
within the 'Special Effects' field – which, broadly speaking, covers all optical, physical, chemical,
electronic or mechanical activities performed with the purpose of creating an illusion.

Visual Effects began to splinter and become recognised as a separate entity when Computer
Generated Imagery (CGI) became increasingly popular. While this field is still new enough to have
a number of terms being used to label the same task, some standardisation is beginning to take hold;
where CGI has been utilised to create set extensions, generate or remove inanimate objects this is
now generally viewed as Digital Production. Where CGI is being used to create props, enhance
action, or allow actors/characters to interact with digital elements this is typically considered a
Visual Effect. There are of course many other ways visual effects are employed and many other
uses, but the majority of these are usually associated with enhancing action within a frame. The
term Digital Production has been increasingly used to encapsulate the activity of VFX, but whilst
visual effects can be described as an activity within digital production, it would be incorrect to use
VFX as a term to categorise all digital production activities – this is due to a larger range of diverse
undertakings achieved through digital production.

The major distinction between Special Effects and Visual Effects is Special Effects usually take
place in front of the camera and Visual Effects are predominately executed with a computer

15
program. Special Effects and VFX are often inter-dependent and regularly work together to achieve
a particular illusion. An overview of common visual effects has been included as Appendix 5, and
whilst this is a non exhaustive list it encapsulates the VFX works that would be proposed for use in
Making Waves and the descriptions are sufficient to build a basic understanding of the activities.

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 Chapter 2
Methodology and Approach

Approaching an Illusion
Limitations on this research project were in many ways no different from very typical factors
impacting on a large percentage of productions, particularly documentaries, where limited budget
and lack of access to suitably skilled labour often result in an approach that is a compromise
somewhere between the ideal creative dream and what is realistically achievable. Approximately a
month into exploration of the material, after the first few initial interviews, it became apparent that
two further restrictions where going to influence the direction of the documentary.

Firstly the interviewee's reflections on Ma and Pa Bendall centered around their influence on life
direction of the youths they were interacting with much more than actual recollection of surfing
adventures. It became apparent that whilst intrinsically linked into the developing surfing culture,
the Bendall's served not as surfing role models, but rather unofficial community mentors in touch
with youth through their mutual adoration for the sport.

The second consideration was the lack of archive material to edit together impressive surfing
sequences from the supplied material. Many shots commenced after the wave had been caught and
or finished before the ride had been completed, resulting in numerous fragmented shots poorly
framed and regularly out of focus, deemed largely unusable without substantial digital intervention
in the form of high end digital production and visual effects.

Whilst initially approached to produce a surfing documentary, continuing to pursue the project as
such would have meant unnaturally restricting the storyline which was unfolding organically in a
direction away from a typical surfing documentary format. Further, without the budget to entertain
the prospect of digitally enhancing the existing archival footage the surfing content was limited.
The choice was made to abandon the illusion of being able to break new ground and concentrate on
delivering a homage to Australia's grandparents of surfing culture.

17
Rationale Behind Methodology
Only after the first round of interviews was it clear that the filmmakers would not be trying to
weave a life-story into a surfing film, but rather weave surfing into a biography piece. This shift
was another reason not to attempt to incorporate extensive visual effects in an effort to salvage the
surfing footage. Once the prospect of pursuing what was believed to be an ideal and unique creative
direction was decided against, there was a conscious effort to limit any digital production to what
has been common place in editing processes throughout the last decades. One of the main directives
governing decisions became fulfilling the production needs without the use of any VFX, while
noting sequences that could have benefited from the application of the newer technology. This
resulted in the full post operation being achieved with only one non-linear suite, utilising no third
party or 3D software.

Whilst examining how the production methodology would have required adaption in order to
incorporate timelines and necessities attributed to PDV activities it was reinforced that
documentaries are regularly assembled in a contradictory order to the traditional three phase
production cycle pervasively common in drama. Whilst the tasks associated with preproduction,
production, and post production are still treated as separated undertakings, various restraints more
common in documentary mean that filmmakers in this field are actually more familiar with
production habits that are required for VFX activities. Documentary makers will be in a position to
adopt PDV demands into their production schedules with far less overall change to production
pathways.

Due to a change in research direction the methodology utilised whilst producing Making Waves,
has been marginalised in terms of importance to and direct correlation with the exegesis, however,
the documentary does function as a reference point that has helped to contain the breadth of
research which could have been carried out.

Following a Separate Path

The practical component, whilst originally intended to form a base for a production timeline
incorporating imaginary PDV activities, lost a degree of relevance when the focus changed to
proving a need for inclusion of VFX within the documentary sector at a fundamental level, rather
then a specific account of how VFX would be incorporated into Making Waves. However, the
premis that VFX can improve the marketability of a documentary remained the core research

18
question.

While the use of PDV activities in non-fiction is not unique or even new, a body of existing works
examining VFX in documentary does not exist, and the resulting synthesis of this research is
expected to provide valuable insights for fellow practitioners seeking to maximise return in the
documentary marketplace.

Outcome Review
If satisfying the client is a holistic indication of success then Making Waves was extremely
successful. After viewing the film at the client review the Library and councillor responsible for
funding the project had no negative feedback, nor were there any requests for alteration beyond an
adjustment to the films title – the actual name.

The premiere screening held at the Playhouse Theatre on the Sunshine Coast with a capacity
seating of 120, was sold out three days in advance and attended by the Mayor, whilst also receiving
television coverage by Network 7 and Channel 9. Another good indication of the film attaining the
right level of appeal for the target audience was the high level of DVD sales directly after the
premiere, with close to 100 copies selling on the night itself.

As an example of conventional documentary production, the film provided an excellent template

from which to access potential impact of VFX and PDV activities. Further, the methodology
pertaining to the production process used throughout the practical component of this research
highlighted that the newly emerging 'singular production phase' is actually quite suited to the nature
of documentary production. This point will be covered in greater detail within the next chapter.

19
 Chapter 3
Traditional Documentary Production and the Future

The Concept of Pure Form

Mitchell (2004, 92) asserts that the main task of VFX is “... breaking the rules to depict a distorted
reality. This requires us [VFX practitioners] to suspend the audience's disbelief by manipulation of
their perception... and thus be able to create apparently true images which in reality are fully or at
least partially fake”. Taking this into account when examining the current definitions of
documentary, it is apparent why VFX has traditionally been under utilised in the documentary field;
the most commonly accepted concepts of 'documentary' assert a common central premise that the
film must be a truthful representation of real events, where those events are 'documented as is' with
little to no interference. The mere inclusion of VFX is on first impression at direct odds with this
aspiration; but is that current concept of what defines documentary accurate?

Patricia Aufderheide (2007, 3) looks at the history of the term 'documentary' and offers:

“... people [entrepreneurs in the late nineteenth century] called their films 'educationals',
'actualities', 'interest films', or 'travel films' for example. John Grierson, a Scot, decided
to use this new form in service of the British government and coined the term
'documentary' by applying it to the work of the great american filmmaker Robert
Flaterty's Moana (1926), which chronicled daily life on a South Seas island. He defined
documentary as the 'artistic representation of actuality'.”

Ellis and McLane (2007, 3) note that, “Grierson was perhaps thinking of the French use of
documentairé, which at the time was being used to separate 'serious travelogues' from films that
focused more on scenic values”. Current definitions attempt to be more concise with wording, but
ultimately remain close to Grierson's proposition by inferring the necessity to 'document reality',
however, there appears to be no definition of finite accuracy accepted by the industry or its critics.

The main argument against most definitions which utilise the term 'reality' is encompassed by

20
Henrik Juel (2006), in an essay written for P.O.V. (a Danish Journal of Film Studies), as being
“because 'reality' sooner or later becomes a very difficult concept to narrow down.” This view has
quite possibly been strengthened recently due to the term being increasingly attached to productions
labeled 'reality' shows, which are epitomised by a total reconstruction of events.

Many published authors in the field seem to consciously avoid stating a solid definition and opt to
provide various measures that a film can be tested with6, this is potentially due to a recognised
continuing state of evolution and an ever increasing range of sub-genres, as Aufderheide (2007, 2)
comments; “Documentary is defined and redefined over the course of time, both by makers and
viewers”. Throughout Directing the Documentary (2004), author Michael Rabiger, points out that
documentary “never stay's long inside any set boundaries governing the genre”, further, “There are
no limits to the documentary's possibilities”, and goes on to qualify that the common ground shared
by documentary filmmakers is a “profound fascination with, and respect for, actuality”.

This common premise does appear to be affirmed across all commentary, but where 'pure form' is
championed it is taken a step further; here documentary must attempt to be objective and present
events in a manner where the filmmaker has no interference with the subject and does not seek to
manipulate the audience with anything other than impartial, equally weighted examination.
However, as before with 'reality', the principle descriptive term 'objective' comes under fire with
many dismissing it as impossible to obtain in the medium of film.

Chapman (2007, 11) goes as far as stating that, “the documentary maker has an obligation not to
be objective”, she sets this up by posing the following, “How can the documentary maker convey a
personal understanding or opinion of the content and people filmed if there is an obligation towards
objectivity? The idea that this is a desirable goal is relatively recent, emerging from television
journalism”.

Even in journalism the assumption that a filmmaker can first choose, then frame and finally edit
sequences without actively influencing the meaning that the imagery is capable of conveying is very
hard to accept.

“Documentaries always were forms of re-representation, never clear windows onto

'reality'... that the filmmaker is a fabricator of meaning, a producer of cinematic
discourse rather than a neutral of all-knowing reporter of the way things truly are.”

– Patricia Auderheide (2007, 32)

6 - Ellis & McLane (2007) makes a list of five 'characteristics' that distinguish documentaries from other genres
- Juel (2006) offers six modes a documentary may take, five ways in which they may present 'truth', and a further 15 'points to
consider' when assessing a film as a documentary.

21
 In his book, The Business of TV Production, Craig Collie describes documentary as simply
'Reconstructed real life' and goes onto say, “Documentary is a genre that purports to show actuality,
although commonly it reconstructs reality” (2007, 64). Whilst this definition is possibly too
encompassing, Collie's opinion on the treatment of 'reality' within documentary certainly leans
away from the pure form ideology.

Ellis and McLane (2007) reason that an important characteristic to test for when assessing film as
a documentary is audience response and ask any assessor to consider the motives of the filmmakers
as a distinguishing factor;

“documentary filmmaking offers more that would be described as professional skill

than personal style; communication rather than expression is what the documentary
filmmaker is usually after. Consequently the audience is responding not so much to the
artist (who keeps undercover) as to the subject matter of the film (and the artist's more
or less covert statements about it).”

- Jack Ellis & Betsy McLane, (2007, 328)

This is an interesting shift of focus away from classifying a film by the 'types' of techniques being
employed in production, and brings attention back to the decision maker responsible for execution.
This also latently excludes the attention previously given to the 'form' of delivery, as the
documentary's style of execution becomes merely a tool, and all commentators who argue for truth
as a central defining aspect of documentary ultimately must have their reasoning returned to the
filmmakers' perspective. 'Truth' is a term as loaded as 'reality', but the pursuit of truth, and a
concerted effort to communicate factually without manipulation or deception is undoubtedly a
central key to the riddle known as 'defining documentary'.

There is one definition that this paper cannot argue against, however clinical and excluding it may
be. Regardless, being the basis of selection criteria applied to sources of the main financial data
used within this research, the following classification cannot be lightly dismissed:

“A program that is a creative treatment of actuality other than news, current affairs,
sports coverage, magazines, infotainment or light entertainment program, and/or
corporate training programs”.

− Australian Communications and Media Authority, according to the Australian Film Commission (2006)

Whilst being 'safely' correct, as a definition from which productions are included or excluded
from the classification of documentary, it is the inclusion of the term 'light entertainment' within the

22
AFC (2006) definition of documentary that requires challenging. Series that take on a documentary
structure such as BBC's Walking with Dinosaurs (2000) and Space (2002) tend to be considered
light entertainment. It can be argued that these series are more factual than some of the stand alone
documentaries in the box office top 10, but yet they are not treated the same as series such as
Australian Story7 or RPA which are classified under the documentary banner.

Being that there is a state of flux and indecision among industry authorities, this paper shall assert
that:

Documentary, regardless of its approach to technical execution, remains true to genre provided
the filmmakers themselves make every effort to communicate factually with the purpose to educate,
inform, or challenge the audience, rather than create spectacle, or merely entertain.

Based on it's own ideals, if 'pure form' documentary ever existed, it was at the very birth of
cinema, before camera operators learned to shape visual language. Since that time documentary as a
genre, and the way in which such productions can be executed has evolved, creating new modes of
delivery and giving credence to the likelihood that both the approach to production and the
expansion of genres will continue to advance for years to come.

Evolution of the Docu-genres

Between the first edition release in 1988 and 2005 when authors Alan Rosenthal and John Corner
completed the second edition of New Challenges for Documentary they cite five key aspects of
change. A condensed summarised look at these aspects have been listed below:

1. A Shift in Markets – impacting on conventional distribution arising from new distribution

channels, as well as a ripple effect from this effecting funding decisions.
2. Technology and Application – identified as having significant effect upon the 'grama' of
documentary.
3. Aims Subjects and Addressees – there is a noted shift in the 'terms of engagement' as many
documentaries have partly followed an intensified market demand for entertainment.
4. Ethics – the kinds and levels of intervention and control used to obtain specific results,
which have arisen from a recently placed premium on narrative continuity and impact.
5. Documentary Language – innovation in aesthetic design, modes of portrayal, performative
aspects, and 'adventurous' exploration of voice/image combinations have been building on
what is perceived to be the text of documentary.

7 In 2005 Australian Story was classified by the AFC production report Get the Picture as a Current Affairs program and not included
in Documentary statistics, in 2006 it was included, and in 2007 it was excluded, this time as Light Entertainment.

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From these points, particularly the second and fifth, the documentary genre does seem to be
advancing and pushing boundaries associated with accepted definitions. Hogarth (2006, 56) points
out, “Television and globalization have transformed the traditional documentary almost beyond
recognition, converting what was once a film genre devoted to public service and education into a
popular televisual commodity”. Another very valid and relevant point made by Higgs (2005), is that
should controllers of a medium fail to fill market demand, the market actually finds ways to satisfy
itself, leaving those holding back in damage control. As an example, he cites the music industry
and its reluctance to adopt a new approach to distribution in the digital era. Documentary is
becoming increasingly available online and this is giving rise to voices communicating in non-
conventional visual language.

There is evidence of this loss of control already taking effect in the industry; whilst discussing
what is being termed 'Peercasting' and 'Hyperdistribution', Mark Pesce (2005) asserts, “...the
audience is already in control of distribution. The producer has lost control over where, when and
by whom productions are viewed”. This is supported further in a paper Public Service
Broadcasting, presented by Kim Dalton (ABC Director of Television) at the 2007 Communications
Policy & Research Forum:

“The revolution that we’ve been hearing about since the mid 90’s is finally upon us;
with Web 2.0, better broadband speeds and more household computers and broadband
connections than ever before, we are now really coming to understand the meaning of
convergence, of user choice, and of being connected. We are rapidly reaching a tipping
point: a point where network television won’t be such a dominant and driving force,
where time and place shifting devices will tip the balance to truly fragmented and self-
pleasing audiences, where a significant portion of network content will be delivered
online.”

Further, Rosenthal and Corner (2005, 218-219) make an interesting point relating to ethics; “We
stand on the threshold of the telecommunication revolution – a revolution potentially as profound
and far reaching as the agricultural and industrial revolutions”. What makes this worth considering
is that the point comes directly after they comment that if documentary filmmakers “perpetuate the
lie that pictures always tell the truth, that they are objective witnesses to reality, we [filmmakers] are
supporting an industry that has the potential to symbolically recreate the world in its own image”.

This statement brings back into focus the intentions of filmmakers, and raises the topic of how
documentary will be defined in the future if definitions are centred around the form production take.
Collie (2007, 65), also adds, “The onus is on the director to produce a faithful reconstruction of the
person's activity, or of anything else that is being recorded as actuality”.

24
 Looking at the documentary genre as an evolving medium, if productions are being categorised
through narrow definitions, then it is crucial that an aspect of assessment must account for
intentions: A non-fiction production where filmmakers aim to expand or challenge their audience's
values and known understanding, where the goal is to create a vehicle that is focused on
communication, not entertainment, then this work should be recognised as documentary.

Following this rationale, the research for this paper has made little distinction between
productions that have been classified as light-entertainment, or docu-drama where the label
'Documentary' has been denied based on the perceived entertainment values or advanced visual
aesthetics; provided the program utilises a 'style of presentation' which is centred around
conscientious communication of subject matter that is not fictional, and remains a narrative as
opposed to journalism.

Comparing Current Productions

At the time of writing this paper the film industry is just over 112 years old 8. This is an incredibly
youthful industry that is still finding its own shape and form and analysts freely admit that “we can't
predict success [of a film] at an individual level”, (McKenzie 2007, 110). There are many factors
that have been identified as possible contributors and it is highly unlikely that one alone would be
suffice to ensure a films success, but the most recent entrant into this list of potential elements
capable of increasing audience acceptance is VFX and related digital production.

“Digital technologies have not just transformed the filmmaking process at the level
of technical operations. They have also transformed the way the people making the
films physically and mentally engage in the production of artefacts”.

- Pierson (2002, 139)

Considering the quote above for a moment, one must at the very least entertain the prospect that
documentary – along with all film – is moving into new territory when it comes to visual
expression and cinema language. However, before looking too closely at specific examples some
boundaries must be established to contain this research.

With a multitude of advances in technology impacting on production methodology this research

singles out VFX from other visual technologies, as capable of allowing a story, concept, or idea to
be communicated in a manner that was not possible with a traditional approach to production. At
8 Based on a widely accepted date of December 28, 1895, that marked the first public projection of film. (Ellis & Betsy,
2007)

25
the very least, acceptance of VFX as a communication tool would allow many filmmakers the
option of dramatically enhancing various messages.

Even in 1995, Bernard Wilkie noted a distinct advantage effects offered the visual medium, and
referred to a fairly all inclusive category as 'Essential Effects'. Whilst Wilkie was referring
specifically 'to special effects utilised in television programs this 'essential' category was not limited
to any particular type of effect, but rather any effect “without which the scene itself would have to
be rewritten if not actually excluded” (Wilkie 1995, xvi). This is equally relevant to the non-fiction
genre, there will always be subject matter which is either physically imposible to film or
ridiculously expensive to capture in reality. Visual effects offers filmmakers the ability to present
subject matter that would otherwise have to remain un-shown. Further, as Pierson points out, VFX
allows the filmmakers to consider optional ways to present material which may otherwise be dull
viewing for the audience, and neither of these uses would necessarily have to distort reality.

PDV in a Greater Context

Interestingly, the majority of the highest grossing documentaries at the box office do not contain
high levels of VFX (see Appendix 6). Looking at the top 20, and stepping outside of the focus on
VFX, there is some contention within the industry (Epstein 2005) and particularly documentary
purists (Woods 2006) as to the classification of some of the works as documentary; Fahrenheit 9/11
(2004), Sicko (2007), Bowling for Columbine (2002) all of which, including Super Size Me (2004),
apparently fall into the category of 'mondo-documentaries' (a term to define yet another sub-
category of documentaries covering global issues or 'playing on world wide concerns')9.

The massive acceptance of these mondo-documentaries may be evidence of the marketplace

beginning to dictate distribution, Super Size Me would never have been made if it was left to
traditional documentary makers, but the marketplace embraced the production with such fervour
that it became the fourth highest revenue generating release in cinema history (see Appendix 7).
Earning a massive 22,614.9% return on investment. It is interesting to note that second place also
goes to another documentary, Tarnation (2004).

In her book Documentary in the Digital Age Maxine Baker (2006), assesses documentaries as
varied as Errol Morris's Fog of War (2003), and Kevin McDonald's Touching the Void (2003) right

9. It should be noted that mondo-documentaries are considered a misuse of the documentary genre by purists for a number of
reasons; predominately on the basis that they are not objective and lean towards sensationalisation of an issue rather than actual
exploration of the issue. Some, particularly Bowling for Columbine, contain elements associated with a classification known as
Performance Documentary; which falls just shy of earning the docu-drama label.

26
through to Paul Watson's series Sylvania Waters (1993) – which she points out was the forerunner of
reality television. She does this without making a distinction and whilst all of these documentaries
utilise little to no VFX, they do represent a wide range of sub-genres within the documentary field;
from political documentary, to docu-drama and re-enacted documentary, to voyeuristic light
entertainment, all of which she includes into her exploration of 'documentary' being produced in this
era.

To completely examine the merits of VFX, data needs to be gathered outside of the documentary
realm, but first, there are some current documentaries where VFX is being utilised.

Contextual Review
There are few documentaries utilising VFX; one that relies almost entirely on digital production
is The Exodus Decoded (2006), produced by Felix Golubev and directed by Simcha Jacobovici, this
documentary has James Cameron composited into a virtual museum whilst narrating throughout 43
minutes of High Definition CGI. Showing biblical relics as they are thought to have existed, this is
a great example exploring topics which cannot be filmed, but as a completely fabricated world and
a film relying entirely on digital production, this production is possibly more rightly categorised as
an Animated Documentary. Regardless it has been accepted as documentary. A point to make here,
is that oddly, animated documentary is a format that has won acceptance as a documentary genre
despite everything represented on the screen being constructed, thus it appears that reservations
excluding VFX as a viable communications tool are only raised when VFX is mixed with live
action.

The following two examples of current documentary production can not easily be defined as
'pure form' documentary, but they do represent modern documentary styles, and these films are
backed by critical acclaim within the film industry as well as popular acceptance by the global film
going community. The qualities these documentaries exhibit are representative of present day
demand and therefore they qualify certain usage of VFX which should be considered when creating
a production for commercial release.

Doco 1 – Hunt Angels (2007)

Hunt Angels would have a lot of difficulty laying claim to the status of pure form documentary;
from the beginning the director's visual treatment is aimed at creating a true crime 'look' and a

27
significant proportion of production was heavily staged, however, while this production relies
heavily on a concentrated mix of drama, the narrative offers an historically correct account of
events. Whilst there is possibly some bias evident, that predominantly arises from the interviewees
perception or recollection.

While it does seem that the director intentionally crafted the film to entertain, there has been a
concerted effort to maintain the educational value of the content; this is further apparent by a Study
Guide tailored towards use in high school classes.

With a budget of $1.5 million, well above the average, and very little return 10 this venture may
actually be an example to support the argument that VFX is not a financially viable option for
documentary production, however, it will be an interesting exercise to follow earnings this film will
enjoy in the Long Tail, particularly after the extra attention received when the film won the AFI
award for best Visual Effects in 2007.

Hunt Angels PDV Elements

The VFX activities throughout Hunt Angels is centred around heavy compositing of present day
actors shot against a psych wall (green or blue screen) with either old footage or still images used to
recreate Sydney from 1930-50, this black and white film does not attempt to disguise its VFX, and
while some are subtle and may slip by the majority are presented for what they are... a very clever
use of available material assembled in a stylised manner that would appeal to today's audience.
(Please see appendix 9 for a full breakdown of VFX activities)

Doco 2 – Bra Boys (2007)

As the third highest grossing Australian release in 2007, Bra Boys irrevocably proves that the
documentary genre is capable of attracting audience numbers and generating returns on investment
equal to – or in this case far exceeding – that of many Australian feature films. Further, the
documentary was produced on a budget of $250,000, which demonstrates that a feature length
release can be produced in the documentary genre for less than the average cost of an hour of TV
drama, and significantly lower than Australian feature drama; which over 5 years, 2002-2007, had
an average budget of $5.1 million11 (AFC 2008).
10 As of July 2007: $40,883 (Movie Marshal – Australian Box Office 2006)
11 The Key Data report notes that this figure is distorted by two high budget features, particularly Australia, and the
average budget per production during 2005 & 2006 slates were $2.8mil and $3.4mil respectively.

28
 With connections such as Executive Producer Brian Grazer (Australian and Hollywood Veteran,
with well over 100 producer/executive producer credits), and co-listed writer Stuart Beattie (most
notable for all three Pirates of the Caribbean features, and Collateral 2004) it is no surprise that
this film hits above its weight. But, essentially the film is a surfing documentary that takes
advantage of the currently popular self-reflexive form to step outside of the water and bring the
audience a story about four brothers and their continuing battles with society.

As No.3 highest earning Australian documentary, and No.1 highest earning Non-Imax Australian
Documentary; grossing $1,085,066 more than its closest Non-Imax contender, Bra Boys will be a
bench mark for some time in the industry – the previous No.1, Cane Toads: An Unnatural History,
had held the title since 1988.

Fifty nine seconds into the film a sequence of old illustrations and paintings allow for a first
comparison. Whilst the basic technique of panning and zooming of the the still images is the same
procedure used in Making Waves, the execution is heightened by the use of alternating pace, and
inclusion of movement that draws the eye to a particular focal point within the image, rather than
merely a straight horizontal or vertical movement. This VFX sequence climaxes at 1:32 minutes
with 2D sketchs integrated into a 3D simulation. This simulation is quite simplistic - the animation
is closer to stop motion manipulation of cardboard figures – and only lasts for 11 seconds, however,
digital effects employed whilst compositing the layers are highly effective, producing an impression
of quality that contextualises the film in the audience's mind early as being a professional
production.

Just on two minutes the same pan and zoom techniques begin to be applied to old B&W
photographs which lead a transition into modern day footage that has been treated to take on the
qualities of those B&W photographs – not simply removing the colour but using effects that
simulate old film grain and what quite possibly could be a film curve plug in. The result: The voice
over track smoothly carries us into present day with minimal visual contrast. The audience is then
jolted with the colour returning as Russell Crowe (the narrator of the film) makes the first statement
concerning a theme that runs through the rest of the film “The beach is their saviour”.

The film progresses with interspersed cutting of old images, old footage, and present day
material right up to 3:36, where the first surfing footage graces the screen. A combined use of
music, and dip to black cross fades along with the conclusion of the voice over track signals the true
beginning of the film. (Please see Appendix 10 for a full breakdown of VFX activities).

The documentary regularly returns to surfing footage, a common element in surfing films which

29
allows sequences of surfing shots to function as chapter markers, whether it is a re-location to a new
surfing destination, or a shift of the narrative component being explored. In this case, it is taking a
break from the story line or punctuating the story by tying into surfing culture.

Identifiable Emerging Production Trends

Whilst hypothesising on the future of VFX, Pierson (2002, 168) claims in her conclusion, “The
aesthetic parameters for visual effects productions are circumscribed by the representational
demands of narrative”, interpreting this lavish phrasing... it can be safe to say that Pierson believes
the future – or at least future success – of VFX will be bound by its seamless integration into, or
direct support of, the film's storyline. This should be no different in relation to deployment in
fiction or non-fiction narrative, if the effects are a tool used to support the delivery of the
filmmakers messages and the actual deployment is one that does not make the effect a focus then it
becomes merely a style of presentation, not a component that jeopardises narrative integrity.

“Tensions between documentary's artistic ambitions and its imperative to 'show the
world' have been present since its origin. New recipes for getting this dynamic
combination to work should not be dismissed too quickly, even if they can often be
employed in ways that appear to evade rather than confront the documentary
challenge”.

- Alan Rosenthal & John Corner (2005, 7)

The comment here draws attention back to the way a tool is utilised and once again highlights the
choices lying with the filmmaker regarding deployment. The 'documentary challenge' that
Rosenthal and Corner refer to above relates to the imperative to convey the 'real' and they continue:

“In embracing old and new technologies, leading-edge artists and their films show that
animation - for all its potential paradoxical and fantastical possibilities - can actually
take viewers to deeper, more realistic, levels of human understanding than conventional
live-action or documentary work.

In this sense, animation might just be the pivotal ingredient in a new 21st century art
form.”

30
 The phrasing, 'a new 21st century art form', would suggest yet another category was emerging,
quite separate to documentary, however, if the core principles driving documentary makers remain
the same, why should their product be viewed as something separate. Various types of
documentaries have evolved, then splintered and eventually been regrouped back under the
documentary heading as merely a subcategory, this has already happed to animated documentary.

In the introduction to their book This Business of Television, Blumenthal and Goodenough (2006,
xxiv) remind practitioners that success is intrinsically linked to exploring new ground, and very
clearly state “If you are part of 'the industry' – or want to be – you must be prepared to embrace
change.”

While Blumenthal and Goodenough are directing the comment at industry practitioners, the
wisdom is sound and should authorities choose to endorse definitions that are static and unyielding
to natural progression of an art form, then that choice would more than likely only delay the
inevitable; a resulting split of production category would truly only be in name, as the motivation
and driving passions of documentary makers would still be embodied within the productions and in
time even critics would eventually look back and see the utter similarities and separation would
eventually be forgotten.

Taking a step back, Figure 1 (please see page 32) demonstrates the overall trend of digital
convergence which is steering the environment documentary exists in; if the computer and software
industries continue to outgrow and integrate with the other industries shown, an increase of VFX
use across all mediums and genres, including documentary, is more than likely.

Not all commentators are convinced that this trend will significantly effect the sector, Collie
(2007, 36) for example discusses the belief that convergence has not occurred to the degree many
predicted and states firmly that, “the two technologies of TV and computers/internet have two
different functions, thus will remain separate.”

Regardless, a potential draw back is the yet to be realised impact of Internet Protocol Television
(IPTV). Many analysts including Higgs (2005) speculate that this 'disruptive technology' will
reduce the sale price for documentaries, thus creating a whole extra sector of low budget consumer
created production; albeit the likelihood of this low budget sector utilising significant or high end
VFX is small. This in mind, market forces do favour and will continue to support VFX inclusion,
this glut of low budget production may actually work to build a differentiating factor in the
audiences mind where the inclusion of VFX will become a signifier of quality or at least an

31
indicator of commercial level documentary production.

Figure 1 – Convergence Trends

Source: The Future for Documentaries in Australia, Higgs (2005)

The importance of producing a production which is perceived as a desirable viewing will become
even more paramount as audiences begin to take advantage of the new technologies now impacting
on the broadcast sectors. Consider the following address, once again made by the director of
Television for the ABC:

“The deeper we move into the digital environment where audiences are behaving
very differently to the mass prime time audiences of the past. Audiences are now
increasingly consuming and engaging with content in fundamentally different
ways to the must-watch primetime viewing. Although network TV is still the way
most people view TV content, audiences are moving to new platforms and
dedicated services, as well as accessing content online and via a range of devices.
And they don’t just sit and watch quietly; they also want to share the content with
each other, and they want to participate in the creation of programs. Audiences
have a whole range of new expectations around their content – they expect to
choose specific content, they expect to timeshift and placeshift to suit themselves,
and they want rich media extensions to programs, the ability to interact, the ability
to engage in communities of interest around their programs and areas of interest.
Now they even want to build, program and share their own channels.”
Dalton (2007)

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 Exactly how the changes above will alter the industry as it is currently known is difficult to
predict, but indications at this stage suggest that control of viewing will shift into the audiences
hands, and when this does come to fruition the need to provide a production that delivers what the
audiences desire will eclipse the practice of categorising content according to academic debate.

33
 Chapter 4
Supporting Evidence

Existing Documentation
From the current snapshot of the film industry, it is apparent that VFX has yet to make significant
headway into the documentary genres, however, strong emergence is evident in documentary style
series being produced for broadcast. Being that television is far more regularly consumed than
theatrical released documentaries and considering that series almost always out perform once off
documentaries in ratings (Higgs 2005), this suggests that the audiences will eventually become used
to the inclusion of VFX within documentary and documentary 'like' genres, therefore audience
expectations will shift towards the inclusion of VFX as an expected base level of production
standards.

There is further support within industry statistics; being that feature films make up only 5% of
Australia's production and currently accounts for a significant portion of VFX produced, the fact
that documentary only accounts for 3% of Australia's industry is certainly not a discouraging market
position for VFX companies, especially considering Australian documentaries have now proven
capable of generating eight figure earnings.

It is apparent that documentary is subject to the same forces that are affecting the film and
television industry as a whole and the movement towards this single phase of production is one that
has been occurring for some time: Isaac Kerlow (2004, 29) marks “1999 as the year that digital
video production became a reality” [in the sense that post production was now an integrated
component of production]. Kerlow goes onto add that “As a result traditional boundaries between
disciplines no longer have to exist. There is now, for example, great overlap between the fields of
animation, graphic arts, broadcasting, and film”.

This overlap is one component that has been attributing to a shift in audience viewing
expectations, and this trend of convergence is only going to increase. Rosenthal & Corner (2005)

34
make the observation that as a result of reduced barriers to entry there has been a recent sharp
increase in documentary production and the already high level of user generated content competing
for broadcast deals has already created a buyers market and the average price in the United States
for a cable contract has dropped from US$50,000 for four runs over five years to US$20,000 for
two runs in two years.

The marketplace now seems to be viewed by many industry leaders as an environment which
has no clear indicators, and this is further supported through notes taken by the Principal of the
International Institute of Television/Media Leadership, Doug Macnamara on the 2007 NSW Film
and Televison Office Strategy Conference. These notes cover some key observed 'shifts' in
production and the marketplace being:

 A wide call for a deeper understanding of audience behaviour, there is an identified 'lack of
data' that programmers can draw upon

 The effect of audience demand has become stronger as audiences are less interested in
current mainstream productions

 A shift to global narratives has been noted, whilst at the same time there appears to be a
growing focus on niche target markets

 Convergence has been identified as having a dual edge; content is now easier made and
there are less gatekeepers to distribution, but it is harder to attract attention to productions

 There has been a 'reactive' re-organisation of the industry due to user generated content;
with a resulting shift away from 'traditional literature' based work toward entrepreneurial
models that are taking advantage of the fact traditional distribution gatekeepers are being
undermined

 An increase in sheer amount of content now being generated has resulted in an over
saturation of markets

Thomas Austin (2007, 2) is one of a string of analysts who also support the observation above
adding that there is a 'fairly typical lack of academic interest in viewers response to and uses of,
documentary'. He also notes that there has been drastically less studies into documentary than
feature films or even reality television series. This certainly has been noted during the course of this
research, with a lot of data having to be drawn from related film and television sectors.

35
Qualifying VFX as a Marketable Asset
There are three lines of argument concerning what makes a documentary marketable. Financial
indicators are the most prominent and definitive in respect to citing of hard evidence that can
support VFX as a strong marketable asset. These economic measurements are able to place the
industry into perspective and allow for comparisons to be drawn between documentary and other
genres, but good return on investment is ultimately an indicator of positive responses by the
programmers and audiences. The remaining two look at critical acclaim and cultural impact in order
to try to understand what is driving demand, however, both of these areas afford very little solid
data and remain quite speculative.

Financial Return
There appears to be no study directly looking at potential financial impacts of VFX in
documentary. In order to draw comparisons this section assumes the predictions related to
convergence are accurate at least as far as having some effect on the viewing habits of the present -
and more decisively the future – documentary audience. Thus, comparisons can be drawn by
contrasting box office earnings (Appendix 8) with production budgets, and ideally marketing
budgets, a ratio of return can be achieved.

Anne Thompson (2005) points out that, 'between 1995 and 2005 the average effects budget for a
wide-release feature film skyrocketed from $5 million to $40 million', but argues that such
budgetary demands are easily justified as films with a heavier usage of visual effects tend to gross
over 20% more than their real-life VFX lacking counterparts. When examining the top 10 box office
hits in 2005 (Appendix 8) that extra 20% in actual value represents extra earnings that range from
$73.6 million for Batman Begins and $179.2 million Goblet of Fire. It is worth noting that Hitch,
placed at No. 10, is the only live action film in the top 10 for 2005 which isn't a VFX heavy
production. This trend continues through 2006 and 2007, with all live action films in the top 10 of
2007 heavily reliant on VFX.

Conversely, in 2005 March of the Penguins, the third highest grossing documentary of all time hit
the big screen claiming a $77.4 million take and winning 12 prestigious awards whilst being
nominated for a further 5. (IMBD 2007). However, March of the Penguins and in fact the top
twenty highest earning documentaries at the box office in 2005 incorporate very little to no usage of
VFX.

These figures and correlation between the use or non-use of VFX are representative of a common

36
trend throughout all the box office charts. Based on financial data alone it is apparent that whilst
VFX contributes heavily to return in the feature industry it is not a determining factor of success for
documentaries. However, the potential for documentary to capitalise on VFX should not be
discounted on the basis that successful incorporation hasn't previously been achieved. The
incorporation of VFX into extremely similar productions like the BBC series Walking With
Dinosaurs and the success that series enjoyed demonstrates that the documentary audience is not
adverse to the use of VFX.

It is important to clarify here that there is no assumption that the two disciplines – live action
features and documentaries – will merge, the types of VFX as well as the utilisation of VFX in non-
fiction will be quite different from live action features. Where the effect of convergence will be felt
is the expectations of aging viewers now entering the typical demographic for documentary will
bring with them. There does appear to be a very strong argument that VFX is capable of
dramatically increasing return of investment in the live action feature sector. When exploring this in
relation to non-fiction the debate is not about if VFX can be transferred into the realm of
documentary – because technically this is achievable – nor is the debate about the acceptance of
audiences of VFX within the documentary genre – because they are tuning into productions
produced in the documentary format which are merely being classified within alternative segments
– the only question is how well the increase of income will translate. This figure is one which
cannot be addressed until VFX has actually made headway into documentary productions.

Another factor which does need to be considered when discussing financial indicators is perceived
value, this relates to numerous levels of decision making, from programmers and distributors, to
audiences and retail customers. Exactly how VFX can impact on perceived value is discussed in
chapter five of this document.

Critical Acclaim
To comprehensively assess success, indicators are required to be broadened to include public and
critical/peer opinion. Hunt Angels (2006) made Australian history when it received the AFI Award
for Best Visual Effects; the first time ever that documentary surpassed feature VFX standards (C&T
Mag 2007). Winning four other AFI awards (IMBD 2007) including Best Documentary, Hunt
Angels proves that according to authorities within the industry, visual effects does have a place in
the documentary genre. This can also be seen outside of Australia with Stephanie Barish's academy
award winning documentary The Last Days (1998), which was ahead of its time.

37
 Curiously, in a recent study by Jordi McKenzie (2007, 107-109) the relationship between critics
and box office performance measured a correlation of only 0.147, which was the lowest impacting
factor on a films ability to generate audience numbers; in fact the study also revealed “a negative
relationship between reviews and budget, and also a negative relationship between reviews and the
size of release as defined by maximum number of screens” (p.107). McKenzie's research into film
economics asks the question: What causes one film to become more popular than another and earn
higher revenue and profits? He examines everything, from the cast and director to the marketing
campaigns and special effects. His conclusion “it is simply impossible to attribute a film's success to
any specific variable, or group of variables, and the data proves this”(p.109), but he also makes one
very clear point; the relationship between the data he analyses makes it apparent that “film
audiences don't pay much attention to the critics”(p.109).

The point should be raised that success in film festivals, and gaining awards often does not
appear to translate into a larger release, nor have significant impact on the film's overall success.
While minor, and even major awards, are good to help gain exposure for productions the
marketplace is often governed by different selection criteria than those utilised by judges selecting
winners at festivals. Bosko (2003) points out that while awards are able to attract attention, his
parting advice when closing The Complete Independent Movie Marketing Handbook is to,
“'Remember that your film is a product”. (p.340).

Whilst festival awards can be useful, when discussing the marketability of a film the importance
of critical acclaim is placed into focus by comments like:

“...you must understand that television is rarely about fine art. Television has
always been a commercial endeavour. With few exceptions, television is about the
money.”
Blumenthal and Goodenough (2006, xxiv)

“They are in the business to make money. Every decision they make regarding
whether or not they will work with a film or video has to do with money, not
cinematic excellence.”
Bosko (2003, 77)

These points seem sound advice regardless of whether you are aiming at the cinema box office,
television release, internet distribution, or another model. In view of obtaining a broadcast release

38
Collie (2007) offers less experienced practitioners similar advice, “The natural assumption is that
they [the producer/filmmaker] are selling it [the film] to the viewing public, but this is not really the
case. In fact, they are marketing to broadcasters who, if they buy the program, will in turn market it
to their potential audience to maximise viewers for their investment in the program.” (p.183).

Looking directly at decisions driving acquisition choices Bosko (2003, 77-78) lists the following
selection criteria utilised by distributors and broadcast programming executives:

● Presence/absence of stars
● Production quality (picture and sound)
● Amount of violence
● Amount of sexual content
● Program length
● Format (film vs. video)
● Genre
● Soundtrack
● Packaging/art
● Market conditions
● Perceived appeal to current audiences

Looking at this list, critical acclaim or achievement of awards are not mentioned and whilst they
may be a factor influencing judgement on the last point concerning perceived appeal, it appears
critical acclaim does not influence primary decision making process of programmers or distributors.
Therefore it would be of little benefit to include VFX if the goal of utilising visual effects was
merely to obtain note within the critical circuits.

Cultural Impact
This section has proven almost impossible to qualify; without being able to implement massive
global studies set up to gather data over minimum durations potentially up to two decades the actual
impact of a film such as Super Size Me, or An Inconvenient Truth actually have on society would
risk being marginalised. Further, with VFX being such a recent addition and utilised in so few
documentaries there has been virtually no long term data gathered to attain such measurements.

Some generally accepted tactics can be drawn upon, such as; one of the ways to make significant
impact is to show something never seen before on screen. Particularly in the documentary field this
is becoming increasingly harder to do with live action footage alone. Continuing to explore untold
stories and unseen elements of the universe will largely depend on visually convincing VFX or
digital production.

39
 The important factor to consider regarding this point is the compounding power that profound
impact on the public can play. Cultural impact, could very easily be synonymous with 'reach' and
McKenzie (2007) identifies word of mouth as the single most powerful factor affecting box office
earnings relating to theatrical releases, and CEO of the South Australian Film Corporation, Richard
Harris (2007, 9-11), confirms that it is the inability to generate word of mouth endorsement on
single title documentary broadcasts that result in an undervaluing of the genre on television. Harris
also cites this as the reason behind a preference towards series and even programming tactics that
group stand alone documentaries into 'like' subject matters for release in a timeslot that viewers will
have the ability to return to with a reasonable expectation that the program this week will be similar
to last week. This is the film industry's version of 'loyalty' building activities which have been
singled out by Hill, O'Sullivan & O'Sullivan (2003) as a crucial marketing component to arts
industries.

Quantifying the Importance of VFX

Should the implementation of more effective PDV activities and inclusion of VFX lead to
potential for increased financial return, higher level of critical acclaim, and a greater cultural
impact; then the marketable value of documentaries incorporating these elements should also
significantly rise. The results would have significant flow on effects, not only relating to the
financial prosperity of documentary makers, but throughout the entire industry, especially when this
is considered in context with the use of economic multipliers. In The Economic Contribution of a
Film Project (2006) the AFC reports that based on 1996/1997 tables within the production sector
alone there was a 1.8 percent Gross Value Added Multiplier12, a 1.3 percent multiplier for motion
picture exhibition, and 1.4 percent associated with TV services.

Whilst this is only a measure of financial value, the meaning is profound. For example: applying
this to a hypothetical but realistically achievable scenario... assume that every year Digital
Production allows only one documentary to be produced relating to a narrative that could not have
been visualised by traditional means. Assume also that only one third of the current yearly
productions recorded in the AFC's production reports had narratives that would benefit from the
incorporation of VFX. With the average (mean) earnings for Australian documentary being
$386,000 per broadcast hour, and the pool of 326 commercial broadcast hours of documentary
produced each year, by applying the economic multipliers to potential increased earnings from the
12 This measures the net increases in economic production directly effecting the GDP – The AFC Report states: In a national
accounting framework context, this amounts to the value of wages and salaries plus the value of gross operating surplus (or a
measure of company profits).

40
inclusion of VFX and Digital Production the margin of increased return would result in an overall
extra annual contribution of $4.4 million to the national film economy.

Irrespective of direct contribution to funds VFX provides the capability to improve the standard of
visual presentation; you only have to look towards the BBC produced documentary series' to notice
a premium placed on production values, and the continued success of numerous and varying types
documentary the BBC produces is a testiment to the value audiences place on quality. Although,
quality is a slippery term in itself. According to Murroni and Irvine in there publication on Quality
in Broadcasting (1997, 2) written for the UK Institute for Public Policy Research, “There is no
unique definition of quality in broadcasting. Each stakeholder in the industry has its own vision of
what quality should be”, and they identify five equally valid positions which look at quality in
different ways:

● Consumer view
○ level of interest is judged by the number of subscribers consuming the product, here
quality is linked to the level of appeal and size of audience a production attracts
● Producers view
○ quality has to do with innovation and creativity:
“It is the producers role to propose innovative and imaginative programmes. A quality
production is achieved through a set of ethical values, favouring integrity, progress and
artistic merit”, (p3)
● Managers view
○ focuses on value for money / return on the production
● Curators view
○ centred on prestige / awards
● Regulators view
○ tend to be a combination of Consumer's and Producer's view, but:
“...is closer to the producer choice; praise goes to the channel who appears to interpret
viewers' demand in the most innovative, artistic, and effective way”, (p4)

Murroni and Irvine go on to make two insightful comments that are even more relevant to the
industry as it approaches 2010:

“Changing technologies and changing structures of the industry force us to find

new ways of defining and obtaining quality in broadcasting”, (p5).

Providing a communications means such as VFX to the tools documentary makers can utilise to
communicate to their audiences is merely one other way the standard of filmmaking craft is able to
rise. The second insight also supports the position that as audiences become more familiar with
VFX the greater the demand will be for high quality sequences throughout all visual mediums.

“Quality cannot be defined by any static concept, because our perception of quality

41
 depends on individual and cultural values, nostalgia and expectations”, (p5).

This supports the postion that the expectations audiences will place on production will continue
to evolve and advance, and this knowledge is now over 10 years old. Today's audiences are vastly
different entities to those a decade earlier, and far more visually literate than those of Murroni and
Irvine's scrutiny two decades ago. Examining today's audiences, however, leads one to believe that
the they are in an incredibly high state of fluctuation.

Viewing Habits
Arguably one of the key factors influencing the evolution of visual mediums – or at least the
acceptance of new visual language – is the audience; the audience's sophistication in terms of their
capability of processing evolving visual languages is significantly affected by their previous
viewing history. In the commercial television sector there are entire business models developed
around this fact.

In their book, The Business of Television (2006), Blumenthal and Goodenough discuss the role
viewing habits play in planning commercial content, and look specifically at Nickelodeon's
approach to capturing audiences in early childhood. This is achieved by structuring program content
into familiar delivery modes which advance in complexity with the child's grasp on visual language.
Blumenthal and Goodenough cite the first model which is commercial-free programming (one that
is supported by a merchandising and licensing revenue stream), which prepares Nickelodeon's
audience until “these young viewers are easily converted to mainstream Nickelodeon viewers.”
(2006, 105)

It is this concept of familiarity which Collie (2007, 365), identifies as a primary decision making
factor related to program scheduling through which, “every network tries to maximise audience for
each program it has commissioned”. Collie goes on to add that, “Scheduling is about attracting and
retaining audiences for the programs the channel has chosen to broadcast”, (2007, 366). This tactic,
known as Genre Scheduling has a noted effect on the documentary sector specifically because
“documentaries attract audiences based on their subject matter” (Bosko 2003, 44). Popular subject
matters, or genres, often even drive production decisions of documentaries, because producers will
formulate documentary ideas based on “a programmer's interest in one ore more shows about a
particular subject”, Blumenthal and Goodenough (2006, 228)

Viewing habits are not only exploited through genre scheduling. Like Nickelodeon,

42
programmers will also place productions that utilise simular communication approaches and
production techniques close to one another or within established timeslots already known to the
audience which have different content in terms of subject matter. In this instance audience
familiarity is being exploited through identifiable visual language already liked by the existing
audiences. Collie (2007), explains that programs are 'fashioned' to their audience, and as a general
rule, “Older audiences prefer a conversational narrative approach to a program. Younger audiences
reared on commercials, music video and computer games, are more receptive to the use of visual
effects and more syncopated editing.” (2007, 86)

There is no doubt that the understanding of visual language is progressing, pushing the standards
of productions that aim to satisfy an audience, “...the tastes and interests of a 13-year-old girl in the
1970s are now more comparable to those of an 11-year-old today, and perhaps even a 10-year old”,
Blumenthal and Goodenough (2006, 106). The shift may even be much more radical, if the year
1999 did truly mark the beginning of the post production era, than a child of only 10 in that year
would have now had a greater percentage of viewing time being exposed to VFX heavy programs
than they had in the earlier half of their life. As timelines stand, Steven Spielberg's Jurassic Park
(1993) drove home the power of VFX six years before The Matrix (1999), thus a 30 year old today
would have experienced high quality visual effects for half of their viewing life. This is the
demographic now becoming interested in documentary, and it is this demographic who will
continue to be exposed to advancing VFX as they mature beyond 40 into the age range traditionally
most supportive of documentaries – where upon they will have been identifying with VFX for over
two thirds of their life.

As the audience's literacy increases this advancement allows filmmakers to push film language
further. With this, the proliferation of VFX in audience's visual diets will likely lead to greater
acceptance and even a high demand in relation of quality of VFX.

Developing Argument
Within the context of mass markets, particularly cinema release, it is expected that visual effects
and other PDV elements will increasingly be identified with as primary distinguishing factors
separating professional productions from consumer created content in both the minds of audiences
and critics. It follows that VFX sequences will dramatically increase the marketability of
documentaries that employ these elements.

While the use of VFX in documentaries has yet to be significantly adopted, other PDV activities

43
have been part of the process for decades, but these activities still appear to be largely viewed as
extras or finishing touches that are not as important as other elements within the film. The use of
motion graphics is not new to documentary, but the employment of textual information and even
titles using these techniques often appear to be given less attention or pre-planning as similar
sequences in other film mediums. Hemp (2007, 330) makes one point very clear; “the first few
minutes after the initial fade in has an immense bearing on the audiences reaction to the
documentary”, in the opening a filmmaker demonstrates a level of production that sets expectations
for the viewer. Hemp believes that if your opening is weak you have already lost your audience.
This view can be supported when looking at the two films selected for review and is particularly
obvious for Bra Boys. Casting an eye back over the VFX notes for both reviewed productions,
there is a notably heavier usage in the opening segments. The latent meaning here is that VFX has
been consciously chosen to strengthen the openings of these films.

Consider for a moment that financially successful productions could be classified into three
segments:

 Professional production specifically executed to reflect/imitate the appearance of an amateur

production;

 Amateur production that manages to cohesively capture subject matter that appeals to a
specific demographic or timely taps into the global conscious and is carried by uniqueness
of narrative rather than visual integrity; and

 Professional production that is technically superior and refined, regardless of the merit
associated with the story narrative

In all these sections VFX and related PDV activities have the capability to lend credibility to
productions and, more importantly, they can add value to existing high end productions. Recently
there has been a

44
 Chapter 5
Market Forces & Their Influence

The Context of Marketability

Kerrigan (2004, 44), makes the observation that “Although the importance that marketing plays
in ensuring a film's box office success is recognised, understanding of the process is not, and very
little academic attention has been given to studying the marketing of films”. Unfortunately this also
appears true for the level of study that has been dedicated to defining marketable aspects of
documentary in the sense of what will increase the ability to sell non-fiction productions. At
present the best indicators are the guidelines set out by buyers and these are mostly concerned with
genre and offer very little other selective criteria. The problem is compounded when a filmmaker
can create a visually spectacular production which receives wide acclaim by critics, even picking up
awards at various festivals and still not manage to obtain a distributor, theatrical or even broadcast
release.

Austin (2007, 14, 15, 16), expresses that there is a supported view that television broadcasters are
the critical markets within the industry, citing a number of recognised industry commentators
including Brian Winston, Bill Nichols, and Nick Fraser (commissioning editor for BBC2) who was
quoted as saying “... lets be real for a moment. Documentaries cannot survive without television.
When television loses interest filmmakers starve or do something else”.

This is a view which is shared by then ASDA (Australian Screen Directors Association) director,
Richard Harris (2007) to the point that Harris believes this has been the shape of the marketplace
for the last fifty years. In his papers Film in the age of digital distribution he talks about the
importance of 'Critical Mass', taking the position that; whilst outside the small screen theatrical
cinema release is the dominant market and is the “premium market for 'social' consumption of
content” (Harris 2007, 18), it is actually the perceived guarantee of mass audiences that give
television broadcasters the confidence to commission production of expensive content.

If the filmmaker’s goal is to not only produce a documentary, but do so with the goals of
producing more documentaries, then they must consider the production in the context of a

45
sustainable business. If the main market supporting this type of production is television then
documentaries should be made with a television audience firmly in mind.

Bosko (2003), reasons that there are actually three audiences which should be targeted if a
production is to enjoy a wide release:

● Those who will watch the product (consumers via purchase, rental, or broadcast situations)
● Those who will buy/sell the product (distributors, acquisitions)
● Those who will promote the product (publicists, media, festival programmers)
Bosko 2003, 21

Reaching all three target audiences is rarely an inexpensive exercise and a point to consider: in
2006 the average print and advertising budgets for US feature releases averaged AU$47.5 million
for major titles and AU$15.2 for minor titles (including theatrical release documentaries), whilst the
Australian print and advertising budgets ranged between AU$0.1 - 0.5 million13. (AFC Box Office
Backgrounder 2006). Promotional strategies alone may not be the best place to compete if budgets
are tight, however, promotion is only one fourth of the marketing mix, and often considered the
least important of the four components. In every text referenced during this research the first
marketing consideration was always 'product'.
In their book introducing the fundamentals of marketing, Kotler, et el (2004, 367) devotes a
whole section to the importance of product positioning entitled “Product differentiation and
competitive advantage”. The widely accepted link between differentiation and competitive
advantage is very relevant within the film and television industry.

One good definition is of product differentiation offered by Kerin (2008, 187), “This strategy
involves a firm using different marketing mix activities, such as product features and advertising, to
help consumers perceive the product as being different and better than competing products. The
perceived differences may involve physical features or non-physical ones, such as image or price”.
Whilst this definition is not aimed at the film industry the core principle of 'differentiation' certainly
needs to be considered and VFX offers a different physical feature within documentary production.

VFX as a Marketable Component

In a strictly commercial scenario, the real marketing effort begins often well in advance of
production. 'Usually a program is offered in the marketplace two times. First it is offered as a
program proposal, for broadcaster pre-sale among other production funding sources, as a means of

13 The AFC 'estimates' that very few exceptions had marketing budgets above AU$1 million.

46
cashflowing the cost of production, (Collie 2007, 181). It is rare for productions in Australia to
secure funding without a broadcaster or distribution commitment, so the importance of pitching – or
marketing – the proposed production well is vital. Kotler, et el (2004, 371) argues that differences
worth promoting – or incorporating into positioning strategies – even when that differentiation
satisfies only one of the following criteria:

● Important: The difference delivers a highly valued benefit to target buyers.

● Distinctive: Competitors do not offer the difference, or the company can offer it in a more
distinctive way.
● Superior: The difference is superior to other ways that customers might obtain some benefit
● Communicable: The difference is communicable and visible to buyers
● Pre-emptive: Competitors can not easily copy the difference.
● Affordable: Buyers can afford to pay for the difference.
● Profitable: The company can introduce the difference profitably.

Looking at these points again in relation to the benefits VFX can offer to a marketing mix there
is some great supporting reasoning:

● Important: In instances where VFX is able to deliver scenes previously visually un-
presentable the production option does offer a 'highly valued benefit' to
target buyers.

● Distinctive: As the the industry adopts the practice of including VFX this point will
diminish, however, first movers will benefit.

● Superior: Being able to include photo realistic imagery is certainly a superior

option than removing the audience from live footage in order to provide
a graphic sequence closer to a Powerpoint presentation.

● Communicable: The difference attached to the inclusion of VFX is extremely visible and
the increased enjoyment levels are communicable to buyers

● Pre-emptive: Competitors in the low to no-budget sector will not easily be able to copy
the difference, and those in the commercial sector will find it a lot harder
to play catch up if they decide at a later point that they do wish to
compete utilising this production tool.

● Affordable: When talking about buyers as the end audience the inclusion of VFX in
the production methodology will not alter what is largely a fixed end
price within the marketplace, the question of affordability will only be
raised by parties involved in financing productions and it is possible that

47
 the cost of utilising VFX may be equally balanced by increased returns,
and failing that, be offset by expenditure otherwise needed to effectively
market the film that has no distinctive point of difference.

● Profitable: Whilst this will be dependent on individual circumstances, the inclusion

of VFX into certain productions could dramatically increase potential
profit margins.

Utilising these benefits in the pursuit of obtaining financial backing, Collie (2007, 127) discusses
the importance of addressing the ways a project might be treated in post-production relevant to
including VFX components in a documentary proposal; 'These approaches [post production
activities] raise technical issues in dealing with them and they should be indicated in the proposal
document so that the commissioning broadcaster is confident the technical challenges have been
addressed”.
While this advice is sound, if the inclusion of VFX does require additional pre-planning even
prior to pitching, the question is raised regarding the value in including these components in the
pitch. Excluding the additional appeal provided to a production addressed in the points above,
Collie (2007, 181) points out that, 'Ironically, broadcasters will pay less for acquisition, when they
can see exactly what they are buying, than for a presale, where they buy on the aspirations of a
proposal document”. This behaviour is largely related to the fact that a finished product is easier to
obtain than one that is yet to be produced.
Even if a production commences without having to be marketed in the proposal stage it is rare
that marketing is considered after completion. In The Complete Independent Movie Marketing
Handbook (2003) Bosko explains in his introduction that, 'The process [of effective marketing]
begins before a film is completed, with the research department determining, ...a motion picture's
appeal to it's most likely target audience”, (Bosko 2003, 2).

While this may be dismissed as a luxury only available to the commercial production world,
another two points made by Kotler, et el (2004, 363) concerning market positioning are worth
keeping firmly in mind; 'Consumers position products with or without the help of marketers', and
the advantage lies with marketers who, 'Plan positions to give their products the greatest advantage
in the selected target markets'.
As already mentioned one strategy is to use specific product attributes, such as VFX, to
differentiate a production and Bosko (2003, 46), reminds readers that “The ability to expose a
viewer to something that doesn't exist in reality is a great hook.”, but also warns filmmakers that,

48
“A hook must contain elements specifically attractive to your targeted viewing public, while at the
same time setting you apart from similar product on the market”. (Bosko 2003, 48).
Knowing that documentaries are purchased primarily on subject matter, the manner in which
market segmentation occurs is extremely similar to mainstream business where 'targeted products
are made especially for a particular group', (Kotler, et el 2004, 370). The matter than is identifying
which audience groups associate with which kind of subject matter to establish where VFX will be
most effective.
Whilst Kerin (2008, 187) offers, “A business firm segments its markets so it can respond more
effectively to the wants of groups of potential buyers and thus increase its sales and profits. Kotler,
et el (2004, 356) warns that, “the economics of segmentation are changing... this is particularly the
case for products and services that can be provided electronically”, and points out that one primary
requirement for effective segmentation is; “Sustainability, the degree of which the segments are
large enough to be profitable”. This will most likely be the key to selecting production where the
incorporation of VFX will be both affordable and profitable, making VFX a valuable marketing
commodity.

Expected Production Developments

In a world where user created content has already proliferated the marketplace, the term
commercial production is no longer necessarily equivalent with professional production, yet while a
non-professional production can become a commercial commodity a professional production that
fails to incorporate a fresh approach, gripping story, or unseen footage capable of mesmerising
audiences, will ultimately not gain a commercially viable audience.

Many of these non-professional filmmakers are creating productions that do not adhere to the
norm or conform to existing film language and their productions are being released via multiple
distribution methods to audiences who are consuming the material. In many cases broadcast
standards do not even apply to the released film and production processes vary dramatically from
existing business models.

In his recently released white papers Robert Connolly (2008) pushes for an alternative approach
to production to be fostered by the Australian film bodies. Connolly argues that Australian films are
suffering due to the current emphasizes on attempting to replicate Hollywood production practices
on budgets that are not large enough to support that approach and convincingly cites examples of
successes by Mexican and South American cinema releases where the abandonment of US

49
methodology has lead to exciting results.

Whilst Connolly's observation may not be a convincing argument to assist in selling the concept
of adding cost to productions through higher usage of PDV activities, it does highlight the currently
accepted traditional model of production is not a definitive 'best practice'. Adding weight to
Connolly's argument was response in support made by Harris (2008), which opens with an insight
quite relavent to the documentary industry's own resistance to change:

“What has always amazed me in the almost twenty years I have been in this
industry is how resistant it is to change. This is an industry that prides itself on its
creative and technological innovation and yet it in so many areas it remains locked
into paradigms and methodologies that were developed over 100 years ago. And
there so often seems to be a fear within the industry of challenging them.”

A refinement of current processes does seem required to suit the Australian production
environment and it would only make sense to incorporate the notion of single phase production
whilst the current methodology is in flux.

Future Speculation
Knowing that documentary is such an evolving medium, producers should be looking at what
will be the fashion in 3-6 months when the production is released and tempering that expectation
with what worked last year, not simply taking what appealed last year and reusing it. To stay at the
forefront of the medium which will continue to change, filmmakers must be willing to adapt within
the changing production environments.

“Before now, craft has traditionally been associated with artisan forms of production.
Against the standardisation of mass production processes it has stood for a
“workmanship of risk”. Not just the application of a techniques – a body of knowledge,
a set of skills – craft has traditionally been defined by an intuitive relation to the
materials of its making. This way of thinking about craft – with its emphasis on the
haptic dimension of workmanship and the constructions of material artefacts – possess
some obvious problems for transposing craft into the digital realm. But rather than
abandoning this project I will argue here that if the legacies of the crafts are indeed
traditions of production, then the emergence of new forms of production necessitates a
rethinking of craft.” Pierson (2002, 140)

50
 It may only be a temporary shift, but a shift towards PDV activities becoming critical
components within the documentary market should be given heed. The observation is also made by
Pierson (2002, 123) that, “The history of special effects is littered with the discarded apparatus and
lost or dimly remembered skills associated with special effects techniques that no longer exhibit
enough of the requisite mixture of technology and art to be considered state of the art.” Like the old
'movie magic' tricks, the degree of emphasis placed on presentation values will assure the continued
adoption of PDV within the industry.

It will only be a matter of time before the documentary scene reaches a tipping point and follows
in the wake of its bigger brother that is feature films and VFX becomes almost a necessary element.
This critical mass is more than likely closer than most believe. "Even five years ago, we shot one or
two movies a year with a significant number of effects," says Hutch Parker, president of production
at 20th Century Fox Film. "Today, 50 percent have significant effects. They're a character in the
movie." (Thompson 2005, VFX Gods)

Considering also, that a shift towards acceptance of PDV activities has already begun with not
only the adoption of an Animated Documentary genre, but an expeditious recognition of a number
of sub-genres. When completely animated documentaries such as Waltz With Bashir (2008) grab
the spotlight at Cannes, resulting in labels such as “the first feature-length animated documentary”
(Ide 2008, 1), being readily appropriated by global press the acceptance of VFX as a
communication tool within documentary does not seem to be a distant reality.

Analysis of Views
Present and future audiences will likely support user generated content – irrespective of
production quality – particularly where this content is filling voids in markets that are too small to
justify budgets required to produce commercially viable high end documentaries. While indications
suggest consumers are currently happy to, and may well continue to accept lower production values
when it is available to them at no or little cost, the likelihood of audience consuming productions
where they are required to outlay costs will be tempered by their perceived value. That value, whilst
being intrinsically linked to narrative strength and degree of global appeal, will potentially be
equally determined by production qualities; particularly that of the visual aesthetic.

Whilst the research strongly suggests particular narratives would benefit from the inclusion of
VFX far greater than others, and some – particularly documentaries based in direct or observational

51
approaches – perhaps gain no value at all from visual effects, all films intending to compete in the
commercial marketplace will be far better positioned if they place a significant emphasis on
incorporating PDV elements which possess the ability to heighten the level of appeal related to
visual aesthetic. Execution of tasks previously associated with 'finishing' a film will become
increasingly parallel with traditional production and will be as important as employing a skilled and
talented director of photography.

Despite technologies becoming increasingly more obtainable, there will be an ever widening gap
between amateur and commercial level professional documentary production. Considering this as
an entry concern; professionals are even now required to demonstrate previous work in order to
acquire funding... when funding bodies soon note the need for PDV activities they will begin
looking for aspects of treatments that may require VFX. Professional experience in this field will at
that point become a mandatory criteria in relation to selection.

In the context of adopting single phase production, Documentary is actually better placed than
feature production and, in Australia at least, the nature of documentary production allows for
smaller crews, as well as a more ready acceptance by audiences of visual execution which doesn't
match the latest blockbuster seems built into the genre. It is, however, vital to comment here that
documentary does not need to be less perfectly executed, and if future trends occur as they are
expected to impact on the marketplace, producers working at a commercial level will soon need to
ensure that the visual aesthetic is treated with reverence.

52
 Conclusion

Ultimately, matching storyline with a style of presentation which appeals to the intended target
audience will continue to be the most important factor affecting critical and commercial success; yet
in order for the production to be marketable that target audience must represent a mass capable of
generating a favourable return on any investment made creating and distributing the film.
Therefore, marketability of documentaries arises from the ability to cost effectively reach and
distribute a production to the targeted audience, but is heavily linked to perceived value held by that
audience. That value is defined by the level of appeal inherent in the production. Creating greater
appeal lies in utilising all available tools to craft an aesthetic where the style of presentation does
not devalue the production's documentary responsibilities, but enhances the viewers’ experience.

It is the reference to 'style of presentation' that is key to solidifying VFX as an integral component
of future professional documentary production. As the younger audience demographics age,
becoming more likely to view documentary – as statistics on current audience composition suggest
– they will bring with them expectations of what constitutes a professional presentation and these
expectations will be drawn from characteristics most common to their previous viewing habits and
increasing exposure to high end CGI, visual effects, and other PDV activities.

The inevitability of audiences ageing is one factor that should totally dismiss any argument that a
genre's presentation should be static, the current documentary marketplace is already occupied by
audience members who carry with them higher expectations on production values than those of a
decade ago, and the next generation to 'age into' the documentary demographic will possess
significantly higher expectations again. These are the same people enjoying increasing ease of
access to UCC, which is expected to only further serve toward placing a requirement on producers
seeking a paying audience to deliver a higher quality product than those documentaries available to
view at no cost.

While this paper broadened the scope of productions analysed to allow for the inclusion of
borderline docudrama and series that have been perceived or co-categorised as 'light entertainment'

53
into the research scope, the inherent value of PDV activities within documentary is supported by
this uptake of VFX throughout the closely related genres. Digital convergence appears to be
advancing all the film genres even while apparent market trends within the film and television
industry are further segmenting existing categories, resulting in a marketplace that will only
continue to adopt an increasing number of labels to separate similar material. Within this
segmentation there will be interest areas with audience followings significant enough to substantiate
the higher costs associated with VFX, and this product differentiation will assist titles in generating
increased returns.

Market pressures are currently favouring the value of entertainment which may soon result in
further sub-categorisation within the non-fiction genres, but it is imperative that the mere presence
of values attributed to entertainment – be they visually enjoyable aesthetics, or dramatic narratives –
do not alone discount a production as being a documentary. Further, the mere inclusion of VFX, or
even reliance upon digital production to illustrate points, should in no way be seen as a factor that
would exclude a film from the classification as a documentary. Like the varying approaches to
traditional production itself, the determining criteria must rest with the motivation behind selection
and use of tools within a filmmaker’s arsenal. Producers must be conscious of the vehicles being
created by directors to communicate subject matter to audiences; because the audiences themselves
are becoming increasingly film literate, but primarily due to the ease in which a fine – if rather
blurred – line can be crossed leaving the film outside the documentary realm.

Opening up non-fiction story lines which previously could not be presented in a visually
compelling arrangement is the singular greatest gift VFX has to offer documentary makers.
Provided those who take up visual effects as a tool use it to communicate factually, the principles
behind documentary genre will still be met.

The premise that PDV activities – particularly VFX – will assist in the marketability of even this
defined segment of film genre is still largely speculative, however, the likelihood seems poised to
only increase with time. The axiom, 'First to Market Advantage', has always been a wise strategy
and given the potentially enormous economic benefit attributed to the industry by the potential use
of VFX in this sector it is not unreasonable to say the future of documentary will include increasing
amounts of PDV activities throughout the production phases.

Should the financial incentive alone be not sufficient then the subsequent ability to reach a greater
audience will see filmmakers who wish to communicate an idea to the global masses increasingly
adopt these tools.

54
 At present the largest impact of VFX on the documentary genre will be to enable releases treating
subject matters that would not normally be dealt with due to constraints related to our physical
reality. But very soon, with an emerging polar duality within the marketplace, this is expected to
change, and VFX will likely become a signifier identifying commercial level production. As soon as
this occurs the notion that PDV activities contribute to the perceived marketability of documentaries
will be endorsed.

55
 References

Anacondas: The Hunt for the Blood Orchid (motion picture) 2004, Screen Gems

An Inconvenient Truth (documentary) 2004, Lawrence Bender Productions

Aufderheide, P. 2007, Documentary Film: A very short introduction. USA: Oxford University Press.

Austin, T. 2007, Watching the World: Screen Documentaries and Audience's. UK: Manchester
University Press.

Australian Film Commission 2006, Documentary Production in Australia: A Collection of Key

Data [Government Publication] Sydney.

Australian Film Commission 2007, Documentary Production in Australia: A Collection of Key

Data [Government Publication] Sydney.

Australian Film Commission 2008, Documentary Production in Australia: A Collection of Key

Data [Government Publication] Sydney.

Blumenthal, H. & Goodenough, O. 2006, This Business of Television, 3rd ed. US: Watson-Guptill
Publications.

Bosko, M. S. 2003, The Complete Independent Movie Marketing Handbook. US: Michael Wiese
Productions.

Bowling for Columbine (documentary) 2002, Alliance Atlantis Communications.

Chapman, J. 2007, Documentary in Practice, UK: Polity Press.

Collie, C. 2007, The Business of TV Production, AUS: Ligare Pty Ltd.

Connolly, R. 2008, Embracing Innovation: a new methodology for feature film in Australia. AUS:
Centre for Screen Business AFTRS.

Cottle, S. 2003, Media Organization and Production. Canada: Sage.

Dawson, R. 2007, Creating the future of documentaries - Trends in the Living, [online blog]
http://www.rossdawsonblog.com/weblog/archives/2007/03/creating_the_fu.html

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 (accessed March 19, 2008).

Ellis, J. C. & McLane, B. A. 2007, A New History of Documentary Film. USA: Continuum
International Publishing Group Inc.

Epstein, J. 2005, Paranoia for Fun and Profit: How Disney and Michael Moore cleaned up on
Fahrenheit 9/11, Slate [online journal] http://slate.com/id/2117923/
(Accessed 21 October 2007).

Fahrenheit 9/11 (documentary) 2004, Lions Gate Films.

Forrest Gump (motion picture) 1994, Paramount Pictures.

Harris, R. 2008, A Response to Robert Connolly’s White Paper, [online]

http://www.aftrsmedia.com/CSB/?p=217
(Accessed 20 December 2007)

Harris, R. 2007, Film in the Age of Digital Distribution: The Challenge for Australian Content.
AUS: Hyde Park Press

Higgs, P. 2005, The Future of Documentary in Australia: Coming Ready or Not. AUS:
SPAA/ASDA Documentary Council

Hill, L. O'Sullivan, C. & O'Sullivan, T. 2004, Creative Marketing. 2nd ed. UK: Butterworth-
Heinemann.

Hogarth, D. 2006, Realer Than Reel: Global Directions in Documentary. USA: University of Texas.

Hunt Angels (documentary) 2006, Fortisimo Films http://www.huntangels.com.au/huntangels

(Accessed 19 October 2007).

Ide, W. 2008, Waltz With Bashir, Times online [online]

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/canes
(Accessed 21 October 2007).

IMBD 2008, March of the Penguins [online] http://www.imdb.com/title/tt0847162/

(Accessed 19 October 2007).

IMBD 2007, March of the Penguins [online] http://www.imdb.com/title/tt0428803/awards

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 (Accessed 19 October 2007).

IMBD 2007, Hunt Angels [online] Available at: http://www.imdb.com/title/tt0775486/awards

(Accessed 21 October 2007)

Juel, H. 2006, Defining Documentary Film (Essay written August 2006 for the film journal "p.o.v.",
A Danish Journal of Film Studies, University of Aarhus - published in Number 22, December
2006).

Kerin, Roger A. 2008, Marketing: the core, 1st ed. AUS McGraw-Hill

Kerlow, I.V. 2004, The Art of 3D Computer Animation and Effects. UK: John Wiley and Sons.

Kerrigan, F. Fraser, P. & Özbilgin, M 2004, Arts Marketing. UK: Elsevier Butterworth Heinemann.

McKenzie, J. 2007, Filmonomics: An Introduction to the Economics of the Box Office, Metro
Magazine. Issue 153, June.

Kotler, P. Brown, L. Adam, S. & Armstrong, G. 2004. Marketing 6th Ed. AUS Pearson Education
Australia

McKenzie, J. 2005, An Economic Analysis of Motion Pictures in the Australian Cinema Industry
1997-2000, A thesis submitted as requirement to the Degree Doctorate of Philosophy at The
University of Sydney, December 2005.

Macnamara, D. 2007, FTO Strategic Planning Workshop: Notes of Participant Discussion, Film &
Television Office NSW

Mars Attacks (motion picture) 1996, Warner Bros. Pictures.

Milic, L. & McConville, Y. 2006, The Animation Producers Handbook. Sydney: Allen & Unwin.

Murroni, C. & Irvine, N. 1997, Quality in Broadcasting. UK: Institute for Public Policy Research.

Mitchell, A, J. 2004, Visual Effects for Film and Television Series, USA: Elsevier Science Ltd

'Oz Doco Awarded for FX', 2007, Content & Technology 2007, Vol 4, Issue 1, p44.

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Pesce, M. 2005, Hyperdistribution, Part One [online]
http://www.mindjack.com/feature/piracy051305.html
(Accessed 12 January 2008).

Pierson, M. 2002, Special Effects: Still in search of wonder. USA: Columbia University Press.

Pirates of the Caribbean (motion picture) 2003, Disney.

Rabiger, M. 2004, Directing the Documentary, 4th edition. UK: Focal Press.

Rosenthal, A. & Corner, J. 2005, New Challenges for Documentary. 2nd ed. UK: Manchester
University Press.

Sicko (documentary) 2007, Dog Eat Dog Films.

Sky Captain and the World of Tomorrow (motion picture) 2004, Brooklyn Films II.

Spiderman (motion picture) 2002, Columbia Pictures Corporation.

Star Wars: Revenge of the Sith (motion picture) 2005, Lucus Film.

Super Size Me (documentary) 2004, Kathbur Pictures.

Terminator 3: Rise of the Machines (motion picture) 2003, C-2 Pictures

Thompson, A. 2005. F/X Gods: Top 10 Visual Effects wizards who rule Hollywood. Wired
Magazine. Issue 13.02 February.

Walking with the Dinosaurs (tv series) 2000, Framestore.

Wilkie, B. 1995. Special Effects in Television, 3rd Ed. UK: Focus Press.

Woods, D. B. 2006, In 'docu-granda' films, balance is not the objective. USA: Christian Science
Monitor.

59
Appendices

Apendix 1 – Email Confirmation of Production Intent

---------------------------------------------------------------------------------------------------------------------------------------------------

Proposal:

Ma and Pa Bendall film

Introduction

When considering the potential for a film about Ma and Pa Bendall, it is important to assess the
quality of archival material that is available.

I have viewed eight DVDs containing a range of unedited sequences of Ma and Pa on their various
holidays. They contain no natural sound, no interview or voice-over material except for Never Too
Old which, in its day, was a semi-professional production. Apart from a scripted voice-over
commentary, it contains some recorded voice of Pa Bendall.

I understand there has been an oral recording of Ma Bendall, which I have not heard.

The material available to make a documentary film about Ma and Pa Bendall is generally of poor
quality, judging by the DVDs supplied. It is my view however, that a reasonable quality could be
achieved by utilising the three films:

• Never Too Old

• Surfing at Snapper Rocks
• Ma and Pa Surf Carnival – Hawaii (1969)

The edited film, Never Too Old is dated and has a simple voice-over commentary. The content
could be regarded as being of ‘home movie’ standard. The other two films have some short, but
interesting shots that could be incorporated into a broader context.

Audience

The final visual quality of any film using the above material would not, in my view, be acceptable
for a broadcast television audience. However, I wouldn’t dismiss that option at this early stage. I
have seen some terrible quality vision on broadcast TV and it depends a lot on how special or
unique the subject matter is. In other words, depending on how well it is produced, and if marketed
in Queensland, a film about Ma and Pa Bendall could be seen as attractive to say, Channel 7.

In my experience, while it is possible that Channel 7 may accept say, a 25 minute documentary on
the Bendalls for broadcast in Queensland, it is unlikely they would pay for it.

We may also consider a proposed film about the Bendalls in the context of a broader memorial to
this couple. In other words, a non-broadcast quality film could be a valuable archival document
which could either be available through the Caloundra library system or on constant public display
in a Sunshine Coast surfing museum.

60
Proposal

It is my proposal that a more interesting in-depth profile documentary (approx. 30 mins) of Ma and
Pa Bendall can be achieved reasonably economically by incorporating new material into the
existing three films mentioned above.

The new elements could include the following:

Interviews with people who knew the Bendalls well e.g. Hayden Kenny, Sue Bayntun, John
Buchanan, Graham Gillies, Ian Dickinson, Lawrie Kavanagh, Andrew Champion, Geoff Numquam.
These interviews would focus on their characters and personalities and their specific contributions
to young people’s development and the Sunshine Coast surfing scene. The interviewees may also
reflect on how they have benefited by knowing the Bendalls.

Music that reflects the period (1960s -70s).

A voice over by a professional Coast media identity e.g. John Stokes

Contemporary vision of the Sunshine Coast including surf carnival, memorabilia from the Bendalls
including surf boards and Moffateers certificates, caps etc.

Michael Berry
9 September 2006

61
Apendix 2 – MPPA Rates
MPPA MINIMUM RATES
Film & TV Freelance Technicians

Classification Agreement Rate from Agreement Rate from Agreement Rate from
Level 19 March 2007 1 Jan 2008 1 Jan 2009
$ per week $ per week $ per week
Level 1 838.95 863.38 887.83
Level 2 900.97 927.21 953.46
Level 3 946.34 973.90 1001.47
Level 4 1012.51 1042.00 1071.49
Level 5 1078.66 1110.08 1141.49
Level 6 1165.64 1199.59 1233.54
Level 7 1273.01 1310.09 1347.16
Level 8 1393.06 1433.63 1474.21
Level 9 1450.91 1493.17 1535.43
Level 10 1533.52 1578.19 1622.85
The Base Hourly Rate is calculated by dividing the above rates by 55.
The above rates reflect a 50 hour week.

For a complete breakdown of roles in releation to pay levels please view the full document available at:
http://www.alliance.org.au/resources/film_%26_tv_technicians/
(the link to this agreement is on the very bottom of the list)

62
Apendix 3 – Budget & Financial Notes
The budget has been prepared according to the guidelines requested by the AFC when considering
productions for funding support – their a-z Microsoft Excel based forms accommodate professional
level production, and are extremely comprehensive; due to the depth of detail allowed for on these
forms unused data lines have been eliminated to make overall appraisal of the budget easier.
Notes:
There were three primary sources of in-kind contribution to this production that have direct
and substantiated fiscal costs linked to the
1. Contributions by the Library - these do not account for:
Factors not included
1.a. Time and expenses contributed by the councillor's office, nor hours contributed by the
councillor himself. It should be noted that approval for the project and the capital
assigned to the fiscal production budget were direct results from support that
commenced in 2004, three years prior to pre-production
2. Contributions by the University
2.a. Where the university supplied equipment these items have been costed based on the
current hire rates from Lemac (Brisbane) – This has been based on 8 days of principal
photography, this does not include cost associated to equipment storage
2.b. Costs associated with insurance cover the University maintains has been omitted
2.c. Labour attributed to the film by University students and or staff have not been listed
under the respective crew roles nor have these amounts been included as voluntary
contributions
3. Contributions by the Filmmakers
3.a. Both the Executive Producer and Editor worked on a volunteer basis, their labour is
included as an in-kind contribution and has been based on industry standard
renumeration governed by the MEAA under the MPPA 2007-2009 minimum rates guide
has been included as Appendix 2 for reference.

Full budget calculations are attached at the end of this document on page 74.
The following colour key applies:
Blue Figures represent In-kind Contribution from Broad Oak
Purple Figures represent In-kind Contribution from Caloundra City Library
Grey Figures represent In-kind Contribution from QUT
Green Figures represent In-kind Contribution from Volunteer Crew

63
Apendix 4 – Crew & Equipment Lists

Crew Credits
Script Sound Recordist
Michael Berry Jarad Conrad

Camera Additional Music Assistance

Grant Vincent Collins Tait Odell
Paul Alister Clair Polanski & Tsunami Magazine
Drew Muir
Editor
Location Sound Paul Alister
Paul Alister
Drew Muir Executive Producer
Jarad Conrad Michael Berry

Original Music composed & performed by Producer

Kate Finkelstein Grant Vincent Collins

Equipment List
Excluding this studio shoot, the common equipment utilised for the interviews consisted of the
following:

Sound
Microphone Boom ME66 Stabaliser Lighting
Senhiser Shotgun Microphone Kit Colour Correction Gels (Assortment)
Microphone Boom Pole Carbon Fibre Light Meter
Microphone Kit Radio Lapel Mic Sony Lastolite Reflector/Diffuser (x2)
Audio Mixer Portable Shure FP32/33 Light Kino Flo Softlight
Headphones 3.5mm/6.5mm Light Stand 2K
Light Kit 300w Ianiro (Three Lights)
Camera Light Kit 800w Redhead (Three Lights)
Video Monitor Sony 9in Field Kit Light 100w Sun Gun Sachtler
Sony DXC50 / DSR250 Kit Light 2K
Wide Angle Lens for Sony DXC 50 Shot Bags
Battery Packs (x3) C-Stand (x3)
Tripod Kit Miller DS20 Carbon Fibre
PD 170 Kit General
Tripod Miller 10 Fluid Head Fire Extinguisher
Cannon SLR Stills Camera EOS 350D First Aid Kit
Tripod Stills Velbon

(A kit usually included spare batteries, necessary cables, and or lighting stands or miscellaneous
additional equipment such as gloves, clamps, and break boxes)

64
Appendix 5 – Digital Production & VFX Descriptions
These definitions have been tested against many texts, but are largely the result of the author’s
personal exposure to PDV activities.

5.1 Motion Graphics

Motion Graphics are probably the most utilised yet least recognised element belonging to the
visual effect sector. This is perhaps due to their long history of use throughout film titles and
broadcast interstitials. More common in the documentary field is the use of 'lower thirds', where
information displayed on the lower third of the screen enables the viewer to identify a location or
interviewee. The argument contained within this document for further adoption of VFX into
documentaries will not focus on motion graphics, they are already a solid part of the genre's recipe.

5.2 Animation Sequences

In the context of VFX, animation sequences are usually limited to realistic looking computer
generated characters, be they creatures Anacondas (2004), robots Terminator 3 (2003), or even
digital representations of actors themselves Star Wars: Revenge of the Sith (2005) and the
Spiderman (2002). The key, according to Professor A. J. Mitchell (2004 p.240) is exactly matching
the CGI to the live action footage, and Pierson (2002) points this out on a number of times
throughout his book, singling out Mars Attacks (1996) as an example of poor integration of VFX
into live action. The term Digital Production has been increasingly used to encapsulate the activity
of VFX.

Where this applies to documentary can be explained thus: the brief appearance of Simpson like
2D animated characters in An Inconvenient Truth (2004) would not be considered VFX, but rather
switching to another medium. Where as the appearance of a T-Rex in Walking with the Dinosaurs
(2000) among present day environments is a visual effect.

5.3 Compositing
Compositing can take a few forms, however the main principle is taking two or more images –
live footage or CGI – and combining them into the same frame.

One of the most memorable examples of this effect being used to full affect is a scene within Jerry
Bruckheimer & Gore Verbasinski's Pirates of the Caribbean (2003). During the climax there is a
battle between soldiers and the cursed crew of the Black Pearl who switch between live actors and
digital skeletons. This is also an example of animation sequences (it is an appropriate time to point

65
out that many effects are dependent upon one or more other effects – including special effects – to
achieve the desired seamless look). The compositing process determines how the scene was
constructed. First a clean 'plate' was shot of the deck without any actors or characters. Second the
scene is shot with actors and a third plate where only the soldiers where performing their
choreographed fight sequence. CGI skeletons were then composited into the scene and between all
four 'elements' a single composite shot is created. In this instance an alternative background was
also composited into the scene.

In some cases actor performances are shot against psych walls (or blue/green screen) which are
then removed through a process called keying, allowing the performances to be placed against
another live footage or computer generated backdrop. This process has even extended to complete
psych sets such as in Sky Captain and the World of Tomorrow (2004).

5.3.1 Amalgamating Live action and CGI

Combining live footage and CGI can once again be a form of compositing, but is treated slightly
differently and has a number of varying uses, the most common of these are:

 Set Extension, where a portion of the set is removed and reworked within 3D applications to
provide a far grander scale or different look;

 Facial Mapping is a technology used to 'map' an actor's face onto a stunt player; and

 Removal of elements are also a common practice, think of Lieutenant Dan's legs in Forrest
Gump (1994).

5.4 Colour Correction

Colour Correction (or Digital Grading) is the software based equivalent of treating film in a
special manner during development; both colour correction and treatment aim to create particular
stylised colour pallets. These activities are firmly grounded in post, but the software based option
allows filmmakers to go further and isolate only certain colours, or certain subjects within the frame
and as such can be utilised as a visual effect.

5.5 Transitions
Transitions are very commonly practiced and whilst can be extremely technically advanced as a
type of VFX they will also not be focused on as an element to be further adopted by documentary
producers, as this technique of 'transitioning' between shots or scenes/chapters is possibly more
common in documentaries than feature films.

66
Appendix 6 – Highest Grossing Documentaries
Global Relases Top Twenty Five
Lifetime Gross /
Rank Title (click to view) Studio Opening / Theaters Date
Theaters
1 Fahrenheit 9/11 Lions $119,194,771 2,011 $23,920,637 868 6/23/04
2 March of the Penguins WIP $77,437,223 2,506 $137,492 4 6/24/05
3 Sicko LGF $24,532,634 1,117 $68,969 1 6/22/07
4 An Inconvenient Truth ParC $24,146,161 587 $281,330 4 5/24/06
5 Bowling for Columbine UA $21,576,018 248 $209,148 8 10/11/02
6 Madonna: Truth or Dare Mira. $15,012,935 652 $543,250 51 5/10/91
7 Winged Migration SPC $11,689,053 202 $33,128 1 4/18/03
8 Super Size Me IDP $11,536,423 230 $516,641 41 5/7/04
9 Mad Hot Ballroom ParC $8,117,961 202 $45,348 2 5/13/05
10 Hoop Dreams FL $7,830,611 262 $18,396 3 10/14/94
11 Tupac: Resurrection Par. $7,718,961 804 $4,632,847 801 11/14/03
12 Roger and Me WB $6,706,368 265 $80,253 4 12/22/89
13 The Aristocrats Think $6,377,461 234 $243,796 4 7/29/05
14 Spellbound (2003) Think $5,728,581 117 $17,508 1 4/30/03
15 Touching the Void IFC $4,593,598 137 $96,973 5 1/23/04
16 That's Dancing! MGM $4,210,938 906 $1,506,802 906 1/18/85
17 The Fog of War SPC $4,198,566 261 $41,449 3 12/19/03
18 Enron: The Smartest Guys in the Room Magn. $4,071,700 151 $76,639 3 4/22/05
19 Paris is Burning Mira. $3,779,620 91 $310,127 23 8/9/91
20 Imagine: John Lennon WB $3,753,977 561 $1,412,213 561 10/7/88
21 Step Into Liquid Art. $3,681,803 91 $135,985 5 8/8/03
22 Born Into Brothels Think $3,515,061 127 $14,605 1 12/8/04
23 The Corporation Zeit. $3,493,516 28 $28,671 2 6/4/04
24 Rize Lions $3,336,391 352 $1,574,787 352 6/24/05
25 Grizzly Man Lions $3,178,403 105 $269,131 29 8/12/05
Source: http://www.boxofficemojo.com

67
Appendix 7 – Documentary Return on Investment

The top 5 highest performing films (feature films and documentaries) in relation to return on
investment.

Worldwide Percentage
Release Date Movie Distributor Budget
Gross Return
1 7/14/1999 Blair Witch Artisan $35,000 $248,300,000 354,614.29%
Project, The
2 10/6/2004 Tarnation WellSpring $218 $662,014 151,738.07%
3 3/21/1980 Mad Max Filmways $200,000 $99,750,000 24,837.50%
4 5/7/2004 Super Size Me IDP/Sam $65,000 $29,529,368 22,614.90%
Goldwyn
5 11/21/1976 Rocky $1,000,000 $225,000,000 11,150.00%
Source: www.the-numbers.com/movies/records/budgets.php

68
Appendix 8 – Box Office Earnings Top 10 2005-2007

2005 - US
Rank Title (click to view) Studio* Worldwide Domestic / % Overseas / %

1 Harry Potter and the Goblet of Fire WB $896.0 $290.0 32.4% $606.0 67.6%

Star Wars: Episode III - Revenge of the

2 Fox $850.0 $380.3 44.7% $469.7 55.3%
Sith
The Chronicles of Narnia: The Lion, the
3 BV $744.8 $291.7 39.2% $453.1 60.8%
Witch and the Wardrobe
4 War of the Worlds Par. $591.7 $234.3 39.6% $357.5 60.4%

5 King Kong Uni. $549.4 $218.1 39.7% $331.3 60.3%

6 Madagascar DW $532.7 $193.6 36.3% $339.1 63.7%

7 Mr. & Mrs. Smith Fox $478.2 $186.3 39.0% $291.9 61.0%

8 Charlie and the Chocolate Factory WB $475.0 $206.5 43.5% $268.5 56.5%

9 Batman Begins WB $371.9 $205.3 55.2% $166.5 44.8%

10 Hitch Sony $368.1 $179.5 48.8% $188.6 51.2%

Source: http://www.boxofficemojo.com

2006 - US
Rank Title (click to view) Studio* Worldwide Domestic / % Overseas / %

Pirates of the Caribbean: Dead Man's

1 BV $1,066.2 $423.3 39.7% $642.9 60.3%
Chest
2 The Da Vinci Code Sony $758.2 $217.5 28.7% $540.7 71.3%

3 Ice Age: The Meltdown Fox $651.6 $195.3 30.0% $456.2 70.0%

4 Casino Royale Sony $594.2 $167.4 28.2% $426.8 71.8%

5 Night at the Museum Fox $573.5 $250.9 43.7% $322.6 56.3%

6 Cars BV $462.0 $244.1 52.8% $217.9 47.2%

7 X-Men: The Last Stand Fox $459.3 $234.4 51.0% $224.9 49.0%

8 Mission: Impossible III Par. $397.9 $134.0 33.7% $263.8 66.3%

9 Superman Returns WB $391.1 $200.1 51.2% $191.0 48.8%

10 Happy Feet WB $384.3 $198.0 51.5% $186.3 48.5%

Source: http://www.boxofficemojo.com

69
2007 - US
Rank Title (click to view) Studio* Worldwide Domestic / % Overseas / %

1 Pirates of the Caribbean: At World's End BV $961.0 $309.4 32.2% $651.6 67.8%

Harry Potter and the Order of the

2 WB $936.3 $291.1 31.1% $645.2 68.9%
Phoenix
3 Spider-Man 3 Sony $890.5 $336.5 37.8% $554.0 62.2%

4 Shrek the Third P/DW $791.7 $321.0 40.5% $470.7 59.5%

5 Transformers P/DW $701.0 $317.7 45.3% $383.3 54.7%

6 The Simpsons Movie Fox $523.4 $182.5 34.9% $340.9 65.1%

7 300 WB $456.1 $210.6 46.2% $245.5 53.8%

8 Ratatouille BV $450.3 $204.4 45.4% $245.8 54.6%

9 The Bourne Ultimatum Uni. $404.2 $225.6 55.8% $178.6 44.2%

10 Die Hard 4.0 Fox $372.5 $134.5 36.1% $238.0 63.9%

Source: http://www.boxofficemojo.com

70
Appendix 9 - Hunt Angels PDV Elements

Note: Roughly 35 minutes into this film most of the different types of VFX employed have been
utilised and the filmmakers rely on reusing the same effects in different scenarios for the remainder
of the film. The points below cease cataloguing reused effects after the halfway point of the film.

0:27 Composited layers of what appears to be old photographs of Sydney placed in 3D

environments; with backlit windows 'switching on' as the digital camera pans and cranes
slowly across the images.

0:52 Introduced digital lighting leading into a sequence of Rupert's actual films from the
early 1900s projected onto digital sky through a number of live footage location shots.

4:12 Basic 2D train imagery composited into a 3D environment.

5:02 Matched live footage angles to existing angles in old photography composited together
and intercut with old footage.

6:36 Actors play out a small scene with old footage providing the background.

7:46 Great example of handling old photography with composited layers.

9:02 Pan of digital composite to live footage and fade into composited still photography
foreground with CGI smoke and an old film being 'projected' onto a screen in the
background.

9:35 Present day Rupert composited into foreground of old footage and still shot that have
been disassembled and reworked into a three dimensional illusion.

13:48 Layered images and live action with a superb in-no-way realistic night sky and moon.

14:25 Still shots with CGI angel wings and composited Rupert actor.

15:52 Revisited reverse action of above effect.

17:42 Composite of slow motion tea spill over an even slower motion background of actors
reacting advancing into foreground frozen shot with moving digital tea drops adding
dimension to the shot.

19:54 Newspaper article with actors 'superimposed' into the crowd making staggered
movements.

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21:02 Repeated Newspaper VFX.

22:01 Repeat of VFX under 9:02.

23:34 Still image with composited action into windows leading into combination of graphic
representations of housing against a similar unrealistic sky.

25:08 Burning celluloid leading into composite of old footage, old stills and digital sky.

26:47 Digital smoke or composite of smoke with still image.

28:58 Good example of digital reflection that had been used a number of times earlier
throughout the film.

29:03 2D composite using same staggered animation techniques as those used in the opening
sequence of Bra Boys – the second film reviewed.

31:38 Composite of actors walking through panning old photographs of streets.

34:05 Repeat of window from 23:34.

51:59 Face morph – digital re-enactment of a police mock-up of who they believed the murder
victim might have been.

72
Appendix 10 - Bra Boys PDV Elements

4:19 Heralds the first text sequences – transitions leading into quickly paced cutting between
imagery that makes the effort to marry live footage to the point that it almost seamlessly
transitions into old newspaper articles; which are presented in a dynamic manner to lift
attention levels.

7:28 Photo sequences that have been handled in a motion graphic environment to specifically
smooth movements.

9:18 Introduction of drama/conflict through the use of extra slow movement (which is in
contrast with the earlier building of hype) film look filters are employed over clearer still
images to allow for the still images to be cut between slow motion live action with a
higher degree of affinity.

13:11 Graphic based composited sequences.

17:56 Graphic sequences including magazines – an effort has been made to distinguish the media
types, rather than make newspapers, magazines and old photographs look uniform.
Magazine design elements have been singled out, cropped onto another layer and re-
composited back onto the parent image with varying degrees of movement to both
increase the impact of comments and draws the audience member's attention.

22:22 Stylised graphic based titles lead into a re-enactment of a police officer chasing vagrants
off the beach, which uses heavily 'digitally' treated footage to attempt to imitate old film.

40:37 Graphic sequences – multiple layers of various newspaper cuttings, composited over live
action, all moving, with elements overlaid by digital text to highlight points.

73