Shooting a documentary is no easy task. It takes lots of time in the field and lots of planning to execute your camera strategy effectively. One of the challenges that we've faced is figuring out how to get the best angles, where to set up to get the shots we want to get without interfering with what's going on, and perhaps the most difficult task of all: how to think like the subject in what you're filming.
We've been working on This is Flyball for almost ten months now and it has been so much fun to be around the flyball community. The one thing that has always stood out to us in flyball above all else is just how warm, friendly and gracious everyone is. Dave Strauss is no exception. Dave has been involved in flyball for eight years and has mastered the art of shooting a flyball tournament. We are very excited to share with you a guest blog post by Dave Strauss, who will explain in detail and with video examples how to best shoot a flyball tournament below.
How to Shoot a Flyball Event
By: Dave Strauss
For any particular race I usually have to decide whether I'm going to take stills or video. For videos I try to choose a race that's going to provide interesting instances of my "standard shots" (more about that later), which usually means a race that involves one of the faster teams in the tournament. For certain types of shots I'll want teams or at least dogs that are evenly matched, and of course the faster the better.
There are certain types of shots that work well even with slow teams and/or dogs - for example some fairly slow dogs have really nice box turns that are fun to watch as long as it's edited properly.
I also try to take a few "novelty" or filler shots to be used for transitions in the video - for example the intro or the postscript - but those are fairly ad hoc. I just need to remember to do them.
This all works because Flyball is very repetitive. The dogs (and people) are trained to do the same thing over and over again with as much precision and repeatability as possible. Then, each race consists of at least 3 heats so I can do three different shots during the race and be pretty sure that I didn't miss much of anything. And finally, a tournament is usually a bunch of round robin competitions, so each team will race all of the other teams in its division several times over the course of a weekend. If I miss a shot during one race I'll usually have a chance to get it later on in the tournament.
It also works because I'm not trying to tell a story. I'm not trying to show how close a particular race was, or how well a particular team or dog did in the tournament. That would be a very different thing and I'd probably have to change the way I did things to make that work.
If you have several cameras and photographers available you'll probably be able to set up several shots during one race and get everything covered all at once.
2014 - https://youtu.be/zueAVC7suPM
2013 - https://youtu.be/ADuPCAVZyMc
The basic shots I use most are:
1. Box turn (single dog)
Box turn shots make great filler, because they look really
impressive and because there's that visceral *chunk* when
the dog hits the box. Plus you *know* that the shot is
going to be there.
I do the single box turn shot as close as possible to the box,
which is either at the end of the backstop or next to the box
judge, depending on how the ring is set up. Sometimes I'll be set
up in the middle triangle of the backstops but not usually - it's
too distracting to the dogs. I might set up a tripod in that area
instead if I'm filming my team. If I'm next to the box loader
I'll be sitting down with the camera fairly low; if I'm at the end
of the backstop I might steady the camera on the backstop. In any
case I try to keep the backstop itself and any ring fencing out of
the shot. With the GoPro I've been known to set it up with the
little tripod just inside the ring next to the backstop - it's
small enough that the dogs don't seem to notice.
The most interesting box turn shot is when the dog turns towards
the camera, so if you're set up in the left lane you'll get dogs
who turn left and if you're set up in the right lane you'll get
dogs who turn right. During a tournament I'll often do one lane
for one heat and then switch to the other lane for the next heat.
2014 @ 0:45
2014 @ 1:31 (in tight)
2014 @ 2:14 (from behind the box) Camera is steadied
on the top of the backstop
2014 @ 2:18 box turn approach and turn, tripod mounted camera
2. Box turn (two dogs)
To get two dogs in the shot I need to be farther away from the
box - either on the start line side of the line judge or maybe
even between the third and fourth jumps. It depends on the camera.
For this shot I'm looking for a situation where the two dogs
hit the box pretty much at the same time. This happens most often
with the start dogs but also with evenly-matched teams.
2014 @ 0:41
2014 @ 1:29 this is a really nice one
2014 @ 2:47 double box turn during one of the championship rounds.
Note how crowded it is.
2013 @ 2:32
Passes are harder to get because the pass has to be close or it
won't look very special. I want to be close to the lane but if
the pass is more than about 5 feet I'll get just the one dog in
the shot. Also passes are **fast** - it's hard to get enough to
fill an entire shot, so to make sure I get more I usually set up
away from the start line facing the start line. I either shoot it
very low or about chest high. With the low shots the dog coming
from behind the shot seems to just explode by the scene. An
alternative is to looking right across the start line from behind
the line judge; these usually need to be done from above in order
to get the line judge out of the shot. Lining up the shot can
be tricky because of the placement of the line judge.
The simultaneous pass is one of the hardest shots to get but it's
one of the most exciting to see.
2013 @ 2:13
2013 @ 3:15
2014 @ 1:01
2014 @ 1:17 This is an example of a wide pass with slow dogs, showing
how far from the start line you have to be to get the
2014 @ 1:43 Almost simultaneous
2014 @ 2:10
2014 @ 2:31 low - through the picket fence
4. Start dogs
This is actually a variation on the pass, so the setup is similar.
The difference with the start dogs is that usually they'll arrive
at the start line at almost the same time, so it's very exciting
2014 @ 2:00
In this shot I focus on a dog about to be released and hold the
shot until the dog runs out of the frame. I usually do these shots
in the left lane because the other dogs will be lined up to that
dog's right, leaving an unobstructed view; however these shots can
sometimes be done in the right lane depending on how the team lines
2014 @ 1:47
2014 @ 1:56 in the right lane
2014 @ 2:02 this is actually a double start shot and its
interesting because the handlers follow the dogs
out of the frame.
2014 @ 2:29 in the right lane - this was possible because on this
team the start dog lines up ahead of the other dogs.
2014 @ 2:50
2014 @ 3:16 this was shot with the Canon 7D with a 17-55mm lens, while
I was sitting under the scoring table. It shows how hard
it is to get one of this shots in the right lane.
6. Starting with pan
This is similar to the starting shot but I pan to follow the dog.
I don't do many of these because it's hard for me to do a smooth
pan and my camera tends to lose focus during the pan because of
2014 @ 1:57
2014 @ 3:12
7. Tug Swing
This is where the dogs get their reward - they get to swing!
It's also a very tough shot to get. It's in the runback area,
and the runback area is very busy during a heat. You can have
a shot all lined up and then another handler runs between you
and the handler. Or the handler and the dog just run out of your
2013 @ 1:30
2014 @ 1:20
8. Everything else
Looking up the lanes, looking down the lanes, novelty shots
(milestones, unusual and/or cute dogs, kids and babies,
unusual behaviors, non-racing shots).
You can see more of Dave's photography at: http://www.waltzking.org/photos/flyball/
You can see more of Dave's video work here: https://www.youtube.com/user/DWS53
Thanks so much Dave for sharing your wisdom! We hope everyone finds this as rich and resourceful as we did.