Creative Film Making and Editing – Bournemouth Poole
Loop Of Us
The documentary film techniques produced by the camera work, the composition, many smooth movements and angles, the speed that follows actions and appearance of persons and things are in a particular way governed by the manner of delivery of a visual message in the editing process. Very literally, this type of production is mostly based on “a method in which editing is the film” (Reisz, Millar 1968 p. 123).
Although rhey have distinct differences in style, content and audience, however, the fundamental difference between making a documentary versus a feature film is that, while in feature films the most important factor is the development of a plot, the documentary film “is concerned with expression of a theme” (Reisz, Millar 1968 p.124).
Generally speaking, documentaries don’t have a critical plot to keep the audience exited by telling an intriguing story in order to generate interest and suspense throughout the story. The interpretation of a theme is a matter of creative process and it requires a personal judgement, an opinion or careful thought of what is the director’s vision of the film, and the editing choices on a nonfiction film. As a film or video editor, the goal is to seek out an original and expressive way that makes it “enough and as good” for others, because “the film’s merit will rest on the quality of the treatment, not in the spontaneous entertaining power of the theme itself” (Reisz, Millar p.124).
Often, in order to create something highly expressive this process is slightly complicated all the way from filming to editing. After all, “putting together a film is a complex process, and anyone successfully engaged in it will tell you that the greatest enemy, assuming good material, is anything that inhibits a positive work rhythm or stifles the development of momentum” (Crittenden 1981, p.61).
The Future’s Past
While during both pre-production and production come the major challenges, it is in post-production when assembling the footage in an appropriate order, that work that follows the script by cutting and splicing various shots together, is when we know whether we’re making the right decision.
“When film is not a document, it is dream.” — Ingmar Bergman.