Article: A release form legally allows you to show someone on screen, and forgetting them can lead to costly lawsuits. In addition, most distributors won't show or buy your movie if you do not have this basic legal protection.  When thinking about release forms, it is always better to be safe than sorry. If they say something on camera you need to have a release form, always. You may also need location release forms for any public locations and release forms for archived documents.  You can download and customize basic release forms online for free. You do not want your subject sitting around while you fiddle with lights, cameras, and microphones. You and your crew should have everything ready to go in advance so that they can sit down and start talking without a lot of hassle. Make sure the sound is clear and perform a quick microphone check with your subject so that you can adjust them to their speaking volume.  Have a friend do a "practice run" with you, where you light them, set up the microphones and record 3-4 minutes of talking to make sure everything is set properly. If you are doing the interview, place a camera over your shoulder, roughly centered on the interviewee's face. Place another over their shoulder pointing back at you. The interviewee should, in general, not be looking right at the camera.  Remove distractions from the backgrounds. The focus is on the interview, not the scenery. Trying to show up and "wing it" is a recipe for disaster. You never know how someone will act in front of the camera, and someone you think is well-spoken and articulate could resort to one-word answers when you record. You need a plan for the interview and have several questions to fall back on if the conversation begins to stall.  Keep your questions short and open-ended whenever possible. "What did you think of that?" is much better than "Walk me through your emotions right after you heard the news?" Never try and lead people to the "right" answer. "You were feeling really sad, weren't you?" doesn't give your subject any room to tell their side of the story. You want them to feel comfortable with you, and you want a "dry run" of some of your questions to get a feel for their answers. Unless you are planning a "gotcha" interview it is always best to get someone acclimated to the interview process before recording.  Be pleasant and cordial at first, you don't need to jump right into your topic the minute they arrive. Get to know them a bit to make them feel comfortable talking to you. This will make for a more natural interview on camera, and can lead to more candid answers. Email, call, or meet the person to give them an outline of the documentary before they arrive so they know what to expect and can prepare accordingly. A good interviewer actually says very little, instead letting the subject speak their mind. Your job as a documentarian is to expose, illuminate, and call attention to stories that would otherwise fall through the cracks. So let the story tell itself. Don't try and sound smart, force the story in the direction you want it to go, or overpower your subject.  Many documentaries never show the interviewer or director. Michael Moore, who appears in most of his own documentaries, reportedly has a sign in the editing room labeled, "When in doubt, cut me out." He is not the center of his movies, his subject is. Go talk to the "villains," the naysayers, and the opposing sides. Challenge yourself to find people who you or your subject don't agree with and let them talk. You'll be surprised what they can illuminate about your subject, and you never know the reasons for their opposition until you ask. Leave your own personal preferences out of the discussion. Simply begin with "I'm making a documentary about _______ and I would love your opinion on the subject." Make them feel comfortable and respected. B-Roll is the footage that plays during transitions or between scenes. It is any shot that is not directly displaying "story" or an interview. Think of any documentary or Hollywood movie and imagine the shots before someone starts talking, often exploring the location or theme of the movie. You will need many hours of B-roll to put together your final movie. Shoot much more than your think you'll need -- it will come in handy.  Leave your camera on before and after the interview, or have a second camera moving around getting interesting shots while you talk. Try and get B-roll that supports your movie. For example, in the documentary Blackfish the filmmakers use underwater shots of the whales, old SeaWorld commercials, and training videos to give the feel of the park and whales between interviews. Spend a day or two at every location going out with your camera, shooting everything you can that relates to your subject. If there is news footage of your subject, call all the local news channels and ask about buying the rights to the footage. Still photos, like those used in Ken Burn's Civil War, can be an effective slide-show underneath a narrator's voice. Unless you have a killer budget you aren't going to recreate the feeling of the Vietnam War on camera. You are much better off shooting for something simple and elegant -- one "soldier" writing a letter back home, two arguing diplomats, etc. Decorate a small set and keep your costumes simple. Having a ton of okay props and sets doesn't look as good as having 2-3 really nice bits of scenery. When possible, use actual dialogue from the scene (as recorded in letters, old footage, interviews, etc) instead of writing what you "think" they would say.
Question: What is a summary of what this article is about?
Make sure any people in the documentary sign release forms if they appear on camera. Prepare your interview set before the person arrives. Write out a list of questions in advance. Sit and talk with the interviewee before turning the cameras on. Let the film speak for itself, instead of trying to speak for it. Find the points of view you disagree with. Shoot B-Roll at every location you visit. Keep any recreations simple and faithful to the source material.
Article: Liquid latex is good for achieving a generally deathly look, as well as building up wounds or other facial deformities.  You should be able to find it at seasonal Halloween supply stores, or at beauty supply chains. Choose a color that looks appropriately pale and decaying. By selectively ripping parts of the liquid latex, you can put wide gashes or small lacerations into your new skin.  Use scissors.  You should carefully snip the latex until you create the wound you want.  Be careful not to nick your skin! Use a toothpick.  Simply stick it into the liquid latex and drag it through for a gaping wound.
Question: What is a summary of what this article is about?
Purchase liquid latex. Put wounds or scabs into latex.