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In the making of this documentary I learned that to make this documentary success, we as a crew/team have to work together regardless what role we assigned for. Besides, I learned that to make this documentary come out as what we expected we have to planned very wisely during pre-production because it can help us to vision the structure and the storyline of the outcome of our documentary. As for me who assigned to be director for this documentary project I have to really know the community and during our first visit I take the chance to talk to the community as much as I can to build the chemistry. And I would say our documentary that we making become success and I can see the community really enjoyed our documentary and can see them smiled and laughed and even have a conversation among themselves while watching our documentary during screening.

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SYLVESTER ANAK EDDY (85862) - DIRECTOR, SCRIPTWRITER 

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SYLVESTER ANAK EDDY (85862) - DIRECTOR, SCRIPTWRITER 

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SITI NURSYAFIQAH NAJWA BINTI MATZIN (87009) - Editor

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SITI NURSYAFIQAH NAJWA BINTI MATZIN (87009) - Editor

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As an new editor, I often ask for help and learn editing from other friends. I creates subtitles, my job is to ensure that the dialogue or text in the video file can be translated or presented in written form that is easy for the audience to understand. I listen carefully to the dialogue and understand the context of the story, so that the translation or text made is in line with the tone and emotion of the film. Subtitles need to appear at the right time and disappear at the right time to be consistent with the dialogue or narration. As someone who is still learning, I often ask more experienced fellow editors. For example, techniques to speed up the sync process or how to use subtitle software more efficiently. Before submitting the final result, I check the subtitles several times to make sure there are no spelling, translation, or other technical problems.

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Siti Nursyafiqah Najwa binti Matzin (87009)

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Sylvester Anak Eddy (85862)

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SYLVESTER ANAK EDDY (85862) - Director & scriptwriter 

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SYLVESTER ANAK EDDY (85862) - Director & scriptwriter 

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As Director, and Scriptwriter for this documentary I had to have a clear vision of what I want the storyline of our documentary to be. Hence why during pre-production I had to do some research about the village we want go. And during our first visit, that is the best time for me as the director and scriptwriter to get all the information about the village and try to find the interesting things that we couldn't find in other villages. Besides during our first visit to the village I take that time to bonding and built the trust among the interviewees that we want to interview so that they can be open while sharing their thoughts during the interview session which we did another day. Other than that, before we doing interview session with the villagers, I prepared the questions which I already arranged according to how I want the storyline of the documentary to be, which mean I did not simply ask random questions to the villagers to make sure the storyline of our documentary still on track. During shooting, I'm in charge of asking questions during interview and also did shooting some b-rolls. Last but not least, during post-production I edit first version of our documentary and I add the footage that I like and cut the interview session according to our storyline before I gave the editing work to our other team member finished the editing.

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Mahazam bin Abdul Bahkrin (84392) - Director of Photography

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Mahazam bin Abdul Bahkrin (84392) - Director of Photography

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As a DoP of this documentary, my role is to capture and record all the footage for this project. My involvement in this project started during pre-production stage where I and my director discuss the type of shot, B-roll and interview position needed for this documentary. For the most part, during production, I was going blind into this project due to the uncertainty of the narrative of this documentary. The multiple story that arise during production cause me to only record the necessary footage needed to fit the narrative.

My secondary role is becoming part of our editing team as the online editor. Our offline editor was stump with the multiple story that came out from the narrative storyline that I have to take the first, second and ending part of the timeline. A hint of inspiration came when discussing with my director to create a interesting hook that really sell the story and pave a way for linking all the timeline into a good story.

Although, in the end, with guidance from our supervisor a complete narrative was constructed from our jumble up mess of footage.

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Mahazam bin Abdul Bahkrin (84392)

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As responsible for the audio and sound section, my task for this documentary shooting is to record sounds such as forest and river ambiences. I was also responsible for recording the director's interviews with the villagers in audio form. On the first day of the visit, I recorded their conversation using a clip microphone and even a mobile phone. I have also taken environmental sounds in a baby cornfield using an H6 audio recording device and a 'shotgun' microphone. The next day, I used my cell phone completely. Then on the last day of the visit, I recorded the conversation of the Ketua Kampung Peros, namely En. Sata, using a clip microphone.

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During my SULAM documentary project, I learnt how to work in large groups and communicate with new people. To work in a large group, the most important thing is to be tolerant and listen to one another's perspectives. Self-decision will negatively affect the perception of the group and make other individuals less comfortable working together. In addition, technically, what I have learned throughout this documentary is, among other things, the proper position for the interviewee, the direction in which they should look when interviewed, and the importance of recording any situation that is beautiful or that can serve as documentary content. Next, for our group, we were taken to the young corn garden, or ‘baby corn,’ and were able to see firsthand the process of planting and packaging the young corn. This event gave me some knowledge about the young corn company. After finishing in the young corn garden, we were taken to an aunt's house, who worked on traditional Bidayuh clothes and beads. We have seen various Bidayuh bead patterns and had the opportunity to try on traditional Bidayuh shirts as well. Finally, what I learned from this documentary was the traditional food of the villages we visited. The cuisine of the village is very tasty and appetizing. At the same time, I was very impressed with the cooperation between aunts and uncles there in preparing meals for us, guests in their village. They are also very friendly and generous. From there, I learned that unity and community are united regardless of race, ethnicity, religion, or skin color.

In my opinion, the interaction between the team members and the lecturers really helped us a lot to achieve good work results. The community has been very supportive of our efforts to achieve the goals we set for this project.

In my opinion, the process of working with the community of Kampung Peros in implementing this documentary is very simple and linear. They are very responsive and interested in telling stories about their village. They also do not question our planning and are easy to handle. Although we were much younger than them, I could feel a feeling of respect from them for us as guests. Without hesitation, they are very kind to take us to the location we need, such as a young corn garden or ‘baby corn.’.

To me, the creative and thought process that goes into making this documentary is about the questions we ask the individuals who need it. Although we have already generalized the questions that will be asked, there are some individuals who are less skilled at elaborating their answers; therefore, we have to be creative and think immediately so that we get the answers we need.

Throughout the process of implementing this documentary, my relationship with the group members, the Kampung Peros community, as well as the lecturers, was getting better, and it was easier to communicate. And the feedback we received from them was also satisfactory and achieved our desire to deliver the planned storyline even though some parts were changed. But the change, however, did not have a real impact, and our storytelling can still continue. My team members are also very committed and cooperate with each other in producing this documentary.

Before this documentary, I assumed that most of the footage would only be guided by interviews with the village community and a little bit of the village atmosphere. But as this documentary progressed, it began to seem to me that documentaries are not just mere interviews. It can be something that explains or makes the audience interested in a community, area, or origin of something. At the same time, the documentary also has its own techniques in order to attract the attention of the audience. To some extent, after this documentary, I learned a lot, especially about the technicalities when shooting.

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As the producer for our documentary, my responsibilities during pre-production and production involved organizing and managing different parts of the project. First, I created a group chat for our team to ensure smooth communication. Before our first visit to Kampung Peros, I wrote a proposal and handled the rental of equipment for each visit.

During the first visit, I collected contact information from potential interviewees. I also took extra footage, including different angles of the interviews, additional B-roll shots, and behind-the-scenes photos. After the visit, I prepared presentation slides for our lecturers to show our progress and findings.

Before the second visit, I contacted En. Joseph to let the community know about our visit and to confirm the availability of our interviewees. For the third visit, we planned to return to the baby corn field, but we faced a transport problem. I reached out to En. Sata, who kindly helped by driving us there.

I also conducted the interviews with our subjects to make sure we captured their stories properly. Finally, during the last presentation with the Kampung Peros community, I represented our group and shared our documentary with them.

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Nurul Iman Nuha Binti Mohamed Nasser (85379)

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Mahazam bin Abdul Bahkrin (84392) - Director of Photography

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Mahazam bin Abdul Bahkrin (84392) - Director of Photography

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During the proses of making this SULAM Project, I have learn that to properly make a documentary there is a few key ingredient that help make this project successful. First is the finding of suitable topic to research and people to interview. As this is during the pre-production, it is important that proper research are done before staging to production. Secondly, the important of having extra B-roll footage during production. My role is the cameraman of my team therefore it is my responsibility to film the footage needed for our documentary. The important of B-roll cannot be understated as it enhance the visual as well as making the story believable. Finally, as I was also part of the editing team, the value of a proper guidance is really significant in creating the proper timeline in editing. Different head have different idea in showing their visual but a harmonize mind will cooperate the different idea into one goal, making a documentary that love by the community.

Personally, my experience with the rural people of Sarawak have been very pleasant. Their level of welcoming and kindness are terrifying (in a good way) even for me as a Sabahan. Every longhouse that I have visited, people welcome me with open arm. This memories will never erase from my mind.

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What I have learned is that the language of documentary success depends heavily on careful planning; from this project, I understand how the pre-production process, production, and post-production editing work. Balancing team coordination, such as aligning schedules to meet our subject, is essential. I need to ensure that our subject is available to shoot on the date we choose. Additionally, tell our subject about any input we want based on the director. For example, for this project, I need to tell Puan Jueh to get ready with all of her 'manik' and 'baju bidayuh' so we can have a b-roll take. Plus, I gained valuable insights into adapting to unexpected challenges and ensuring the team stays motivated throughout the process. This project taught me the importance of storytelling through visuals and how to navigate the challenges of working with real people and authentic stories.

The consultation process provided valuable guidance and fresh perspectives. Feedback from instructors helped refine our approach and keep the project aligned with its objectives. Discussions with our teammates offered creative ideas and solutions to the director and the challenges we faced.

Working with the community is a humbling and enriching experience. It taught me the value of listening when engaging with the people we want to tell a story to. In addition, I was able to learn about their customs and stories. Besides, it can also increase my networking for the future. This process of working with the community requires patience, as building trust takes time, but it ultimately adds to the authenticity and depth of the project.

In the beginning, we had a lot of big and exciting ideas, but as we worked on the project, we realized that we needed to focus on what was realistic and doable. We start with brainstorming, then move to a concrete plan after getting feedback and learning what works best. Over time, we got better at making decisions that kept the story strong and achievable.

As we worked together, our relationships improved. With the team, we learned to share ideas and help each other solve problems. The community became more trusting as we kept them informed and respected their input. Instructors gave us useful advice, and their support made us more confident in our work.

Before this project, I thought documentaries were simple and always enjoyable storytelling, making me think we only needed an interesting story to interest the audience. After being deeply involved in the production, I now appreciate the complexity and responsibility of making a documentary. It is not only about presenting the facts but also about shaping the narrative with honesty and sensitivity. This shift in perspective happened when I witnessed the effort required to balance creative storytelling with how to deliver it.