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International Journal of Latest Research in Humanities and Social Science (IJLRHSS)
Volume 05 - Issue 08, 2022

www.ijlrhss.com || PP. 33-43
Stages of Documentary film production: analysing the changes

Abstract: Documentary films have been a powerful means for representation. As narratives are changing, the
ways of representing them are also changing. The process of making these representations are changing.
Documentaries are no more about ‗reading‘ of information in front of a camera, it has evolved with time. From
being newsreel pattern to experimenting with various narrative styles, from shooting in reel to capturing in high
definition digital formats, from a limited option of bulky film cameras to handheld cameras: changes are
unavoidable along with a large number of options available. But the core production stages have been the same.
Like human culture, the culture in the technological world has also evolved. The implementation of new
approaches is the cause and effect of the advancement and evolution in technology. The process of production
undergoes three essential production stages: pre-production, production, and post-production. However, these
three essential stages have been elaborated with several ‗newness‘ in terms of its implementation and execution.
The technological experiments and acceptance of it by the audience have widened the creative aspect in
documentary forms. However, universally the process of documentary production will vary, but more or less
these stage of productions cannot be ignored. This paper shall attempt to explore the new aesthetic, expressive
style, and technologies adopted in due course of time for producing documentaries, particularly focusing on the
stages of production.
Keywords: Documentary film production, stages of documentary production, documentary film, pre-
production, production of a documentary, post-production.
Introduction:
As a popular myth, the term ―documentary‖ was coined by renowned Scottish documentary filmmaker
John Grierson. Documentary films are the narratives recorded to narrate purely facts and represent reality.
However, some believers believe that every film (including fiction), documents the reality of the events and
moments of actor (acting fiction) is also a form of documentary film. As Bill Nichols rightly expressed ―Every
film is a documentary. Even the most whimsical of fictions gives evidence of the culture that produced it and
reproduces the likenesses of the people who perform within it. We could say that there are two kinds of film:
(1) documentaries of wish-fulfillment and (2) documentaries of social representation. Each type tells a story,
but the stories, or narratives, are of different sorts‖ (Nichols 2001:1). Further, Marshall Curry considered that,
―of course no documentary is completely 'objective.' Every decision you make - who to interview, how to edit,
where to hold the camera - imposes a point of view on the film‖. Documentary films deal with ethics,
significance, and escapism recounting real stories (especially) of the unrepresented communities and individuals
narrating the purest form of truth through this medium.
Albert Maysles expressed ―making a film isn‘t finding the answer to a question; it‘s trying to capture life
as it is‖. Documentaries can be captured with simple elements like audio and video whereas they can be
produced with advanced elements like graphics, visual effects and digital art. It can also be crafted with an
amalgamation of various elements like photographs, texts, audio, video, graphics, etc. Not to forget, the
implication of each element while crafting a documentary film bring challenges also: challenges of justification
for its use, its appropriateness, maintaining the aesthetics and gravity of representation. Moreover, a question
might arise that does the film needs technical ‗ornamentations‘? Probably, the answer is, it is the decision of the
filmmaker. But, some craftsmen are still attached to the traditional essence of documentaries. For this
Sankhayan Ghosh expressed in The Hindu, ―The world may get obsessed over technologically perfect images
but it can‘t make you feel or cry. The texture of the real footage, its imperfections is something I find very
convincing and believable. The worse the quality of footage gets, the more emotional the audience is. That‘s
why I love film too, with its grains and scratches‖. Another style to mention is Asif Kapadia‘s observational
style of documentary making by using archived footage in his films Senna (2010) and Amy (2015) which has
inspired the contemporary documentary makers. In the year 2019, The Financial Times regarded Kapadia as
―the director who reinvented the documentary‖.
The simplest way of recording reality narratives can be traced in early films (pre-1900). ―The earliest
―moving pictures‖ were, by definition, documentaries. They were single-shot moments captured on film: a train
entering a station, a boat docking, or a factory of people getting off work. Early film (pre-1900) was dominated
by the novelty of showing an event. These short films were called ―actuality‖ films‖ 1 (UKEssays, 2015). And
of the early 20th century, Pathe is the renowned global manufacturer of such films. Whereas, the timeline of
documentaries is enriched with lengthy productions like the 14 episodes documentary of Henry Hampton‘s Eyes
1
https://www.ukessays.com/essays/film-studies/the-history-of-documentaries-film-studies-essay.php
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on the Prize (1987) and Ken Burns‘s The Civil War (1990) miniseries. Patricio Guzman‘s The Battle of Chile
(1975-79) is a documentary project made in three parts: The Insurrection of the Bourgeoisie (1975), The Coup
detat (1976), and Popular Power (1979). In terms of the screen timing, it is the storyteller‘s expressive capacity
in how much of duration they can distinctly portray the story. Many of the first films, such as those made by
Auguste Marie Louis Nicolas Lumiere and Louis Jean Lumiere, were a minute or less in length, due to
technological limitations. ―Some of the techniques that Auguste and Louis set forth were of great use to Russian
filmmaker Dziga Vertov, who in 1929 made the revolutionary film Man with the Movie Camera, about life in
Russia. While the Lumiere films were generally less than a minute long, Vertov‘s film took more time to
establish a storyline through montage techniques‖ ( Marof, 2007:3).
Technological advancement and alternate techniques have been rapidly taking over the former aesthetics
and traditional styles of documentary filmmaking, especially in the hour where everyone has a story to tell or is
surrounded by a story that is needed to be told. Improvement and growth in factors like education, gender
equality, self-empowerment, and awareness of common men of their rights have made them felt their self-worth.
This has called for a want to tell ‗their narratives‘. The expansion of new media platforms has also catered to
the need for more screening platforms for this form. Furthermore, the dissemination of technology converged
with new media in every age group in the current scenario has extended a screen for every story. Now the
expensive stages of production can be completed in a smartphone. The documentary film is a medium to get
‗inside‘ the life of a subject, a theme, a topic, or of an event, and affordable technology has become a boon for
this genre of representation. These contemporary narratives of documentary projects are informative, engaging,
and sometimes mixed with an element of humor as well. The ‗heaviness‘ of documentary content has gradually
been replaced by an artistic and experimental pattern of narration. This genre has build up space for all kinds of
content and information: fundamentally it does not discriminate in portraying and representing the truth. The
‗text‘ of representation has changed due to changes in technology.
In terms of the production of documentary films, it has traveled a long way. It has written some of the
bright chapters in history with landmark productions as well as has overcome the lowest phase. But it has
survived and documentary films have become experimental over time. This form of communication not only
allows its audiences to learn and understand its subject‘s journey but occasionally also support finding a solution
to their existing problems. It helps in unraveling the issues layer by layer and grows a deeper understanding of
the subject that the film is dealing with. To express and represent narrations, different syles have been adopted
and faded away with time. Diverse modes of documentary films have evolved, but Bill Nichols‘s six modes of
documentary films are popular amongst scholars, academicians, critics, and documentary filmmakers. ―In
documentary film and video, we can identify six modes of representation that function something like sub-
genres of the documentary film genre itself: poetic, expository, participatory, observational, reflexive,
performative‖ (Nichols, 2001:99). In each style, the equipments are used in a particular manner, and narratives
are drawn in their style of reference. These documentary narratives are identifiable by their styles and the way
the narrative is woven. This genre demands apposite representation, appropriate encoding of narration,
sensitivity towards its subject(s) and should be able to support the project till its dissemination to its targeted
audiences.
Many aspects have changed in this genre but one aspect is still challenging for its maker, i.e. the financial
assistance (funding). In the context of gaining fame along with a quotient of financial return in this genre
cannot be compared with the big-screen releases. The numbers are thin on the ground who can, for a long,
endure the rigorous process of arranging funds, directing, editing, producing, and distributing documentary
films. Fortunately, few dedicated independent Indian documentary filmmakers consider documentary
filmmaking to be a lifetime dedication and passion, to mention, Anand Patwardhan, Sohini Gosh, Saba Dewan,
Rahul Roy, Sanjay Kak, Nishtha Jain, Stalin K, Pankaj Butalia, Mike Pandey, and more. All of them have
witnessed and experienced the technical and non-technical changes and challenges that have enveloped this
genre time again in India. Considering the growth of both documentary filmmakers and their audience, it won‘t
be incorrect to state that as challenges are intensifying, film productions in these genres are also increasing. As
documentary filmmaker Sanjay Kak rightly expressed, ―there is a very vibrant documentary screening culture in
India today, which distinguishes it from documentary practice in many parts of the world, and which sustains a
large and growing community of filmmakers. Yes, it‘s not a commercially lucrative circuit, and it‘s not a threat
to Bollywood, but I don't think that‘s where most of my fellow filmmakers have centered their ambitions
either!‖.
Beginning with the core context, the stages of documentary production, the fundamental stages for both
fiction and non-fiction films have been predetermined and to date, those fundamental stages have no
alternatives. However, with due course of time, there have evolved various ways of implementing these stages.
In fact, in contemporary times a documentary filmmaker has become as experimentalist as a fiction filmmaker
can be. Audiences have amplified their perspective that reality can be represented with experimental narratives
without diluting the truth. In the context of stages of documentary film production, fundamentally, the process
of creating film consists of steps, namely the process of pre-production, production, and post-production. ―This
process step is in accordance with the concept of MAVIB (Multimedia Audio Visual and Broadcasting)
explained by Rahardja, et al. (in (Ruhyana, 2016), that ... the steps of the MAVIB production concept begin with
preproduction, then production, and finally postproduction‖ (Ranangsari and Fuquan, 2020:86). In the
beginning, these three stages were moreover handled solely by the filmmaker. To refere, we can look at Nanook
of the North where the task of the director, writter and producer was hanled by Robrt J. Flahery. With due
course of time, the production aspects got more systematic and each stage was handled by experts. In the
context of implications, these three core stages are implemented in a chronological manner (as mentioned below
in the chart).
Chart 1. Stages of Documentary Film Production2
Two more stages bifurcated from within the three stages, i.e. research and marketing & distribution.
These two extensions play a vital role in the professional dissemination of the final product. Productions like
Nanook of the North (1922) by Robert J. Flaherty to Roger and Me (1989) by Michael Moore, from Nightmail
(1936) by Basil Wright to Tales of Night Fairies (2002) by Sohini Ghosh can be referred to, to understand that
each production (project) has its ways to imply these stages of production. However, any of these stages can be
carried out simultaneously or can be taken into action in a non-linear manner. Nonetheless, certain factors like
the sensitivity of the topic/subject, budget, filmmaker‘s decision and multiple external factors do influence as in,
in which order each of these stages can be brought into action. Each stage is somehow interconnected with each
other and has its influence and importance in building the representative text. In the world of video production,
no other saying is more accurate than Benjamin Franklin, ―If you fail to plan, you are planning to fail!‖. These
stages are independent and are conducted in different times and spaces. Nevertheless, at the same time, they are
much interconnected with each other and an error in any of the stages does influence the entire production. As
mentioned earlier, the contemporary scenario has given the flexibility to conduct these stages independently,
parallelly, and or simultaneously. Let‘s have an insight into the various stages of production.
Research: ―The aspiration to capture, revisit and review reality has always been a driving force for both science
and art. ... The search for visible evidence and attempts to document the world also underpin the origins of the
documentary tradition. Documentary has a direct, multi-sensory impact‖ ( Cassell. et .all, 2017). Research and
fact-checking have become more essential, especially in the time where many are under the influence of
infodemic. Documentary films are research-driven projects which are mostly dependent on the content, facts,
and information found at the stage of research. The filmmaker has to earn in-depth knowledge about the
subject, where research plays a crucial role. Once the filmmaker finalise his/her topic for the film, from here
begins the filmmaking process, that is the research. It depends on the filmmaker, either to first conduct the
research independently before the pre-production or to carry the research simultaneously along with the pre-
production. Not to forget that many documentary filmmakers and critics do consider the stage of research to be
a part of the pre-production stage. Documentary filmmakers like Errol Morris, Barbara Kopple, Steve James,
Werner Herzog, and Nick Broomfield‘s process and filmmaking techniques are worth looking at.
Chiwetel Ejiofor stated, ―You do as much research as you can for any project‖. Research can be of
various types and can be conducted in an extended time frame until and unless the filmmaker is constrained to
adhere to any given deadline. An independent project has the flexibility of stretching the research duration.
However, it is not the same with a project, especially which is supported by any grants or has any broadcasting
deadlines. In the context of the source of research, it can be either a primary source like the subject itself, direct
interviews, original documents, or secondary source like books, journals, etc. On the contrary, there are certain
topics where the scope of research is less. Certain topics are such which are captured in real-time, as the events
2
Chart: Author‘s creation
take place, the filmmaker shoots chronologically as the narration progresses. The process of research can be
conducted by the filmmaker himself/herself or can appoint a researcher who is familiar with the subject or refer
to a subject expert. The familiarity of the researcher with the topic facilitates the project to determine its map
for research: basically to identify its source of research without being directionless. For projects which has
deadlines to meet, the researcher should know at least where to start the research from, in which direction to
look for the answers. In short, a good documentary project has to have good research.
Importance of research:
 Research functions as a reality-check: it acts as a filter to distinguish between reality and myth.
 The foundation and credibility of the film is achieved by good research.
 Research functions like the backbone of the documentary project
 In-depth research does justice to the text of the narration and representation of the truth
Pre-production: As the name denotes, pre-production is the stage where arrangements are done before the
shoot: this is where the project is planned to weave the narrative. Pre-production is all about preparing and
working on the requirement for the shoot and it end‘s when the production stage begins. Development can take
months or even years to get the project green-lit3 by a studio or any funding agency. There are several pre-
production steps in the MAVIB production concept: it is the stage for brainstorming and conception, research
(primary-secondary), drafting proposal, storyboard & shot listing, production-crew schedule, location scouting-
risk assessment, drafting of budget, looking for funds, contingency plan-back up plan, shooting schedule, call
sheets, key creatives are chosen, and scripts are drafted (word-to-word script4, outline5, format6). In the context
of scripting, it can be influenced by the duration of the project, subject, budget, and few other core elements.
All the groundworks are prepared, which is required to get the project started. The members or crew associated
and involved in this stage are limited as compared to the other stages. It is a small group of creatives and
executives who are associated with laying the foundation work for crafting the narration. Dealing with real
affairs, a documentary project can only be a ‗plan‘, one cannot be rigid as things can demand changes according
to the events taking place and narration progresses. The more time dedicated to this phase, the clearer and
communicative the project shall be towards its target audience.
Another essential decision taken in this stage is to finalize the types and formats of programs and
productions: panel discussion, interview, PSA (Public Service Announcement), etc. This shall provide a clear
idea about the shooting and editing style. To elaborately mention, to set the style of production like film tone,
mood, narrative style, sound design, use of music, shooting location (outdoor/studio), graphics and special
effects, camera angles, audio recording (mono/stereo and sync/non-sync), making a production calendar, editing
style, and planning for dissemination of the finished project (marketing and distribution). To be precise, every
minute to major aspects related to technical and non-technical arrangements is needed to be looked out for as
there are no retakes while recording reality. In terms of the technical aspect, arranging number of cameras to
use, recording and storing formats, types of mics, type of lighting, etc. need to be pre-arranged. Essentially,
complete visualization of the project needs to be done at this stage but keeping an approach of acceptance of
changes in the narrative. Reality cannot be scripted, controlled nor predicted: the filmmaker has to be ready for
accepting the unexpected. Moreover, paper-works like official permission, gate-pass, transportation, shooting
permit etc. are all needed to be worked upon. A roadmap from beginning till the end of the project is sketched
3
Green-lighting a film means the studio has approved the idea and will finance the project and next it can move
into the production stage.
4
Word-for-Word: In a word-for-word script, every word spoken by the talent is written out. This type of script
is used in dramas, music videos, lectures, and documentaries. When writing a word-for-word script, write the
right had-hand column material first (audio and stage direction for performers). While writing the audio,
visualize how the program will look. When you imagine a camera angle switch, move to the left column of the
next line in the script and note ―switch‖ in the video box. A change in camera angle can even occur in the
middle of a sentence.
5
Outline: The Outline script usually has a word-for-word introduction and conclusion, but an outline for the
body of the script. For example, the question for an interview is all scripted. For the initial draft, the scriptwriter
does not know how the interviewee may respond and the answers cannot be scripted. The interviewee‘s
response is noted in the audio column of the script as ―the talent answers,‖ ―talent response,‖ or a similar phrase.
6
Format: The format script is very brief and is used for the evening news panel discussions, talk shows, game
shows, and other programs whose format does not change from episode to episode. The on-screen talent and
lines may change, but the shots are predictable from a production point of view. The order of events in programs
of this type is predetermined and the sequence of every episode is consistent.
down in this phase. The stage of pre-production will benefit the quality of the production. It is about the
efficient use of the filmmaker time and channelising the crewmember‘s creativity and energy. Furthermore, if a
filmmaker wishes to adopt any particular narrative style then one has to decide at this stage. Many aspects of
filming the narration have to be directed in the pre-production stage to apply the style of city symphony 7.
Chart 2. The stage of pre-production8
In terms of analyzing the technical changes in the production aspect, most of the above-mentioned
elements have been converged with digitalization or have adapted the digital version. Handwritten scripts have
alternative professional software like StudioBinder, Celtx, WriterDuet, Highland, Final Draft, Fade In, Movie
Magic Screenwriter. Storyboarding is more prominently done on software like Moviestorm, Frameforge,
ShotPro(iSO), StoryBoard Pro, StoryBoard Fountain, Storyboard Composer, Make Storyboard, Clip Studio
Paint, TV Paint, Paper. Softwares like Shot Designer and Camera Storyboard are used for planning visuals and
the use of cameras. PreProCloud and Movie Magic Budgeting and Movie Magic Scheduling are considered the
industry standard for managing the budget. KitSplit, ShareGrid, LensRentals, Parachut are options for getting
equipment on rent. LAcasting, Backstage, Breakdown Services are known for databases for crews and talents
along with location details. Shooting schedules, crew lists, equipment lists, checklists, etc. are done on digital
diaries and digital planners. Booking of location, permission, etc. can be done formally on e-application online
instead of offline application on different venues and offices. Booking of studios, checking of outdoor
locations, etc. are done online. Recce of locations can be replaced with a virtual tour. Moreover, the feedback
contents (i.e. pictures, videos, reviews, ratings, etc.) shared on digital platforms like Facebook and Instagram
are of real help as those are on ‗self-experienced‘. Bloggers and reviews of equipment have eased out to choose
the pertinent equipment in terms of budget, quality, user experience, drawbacks, shelf-life, etc. Jack Picone
rightly expressed, ―The production and subsequent post-production processes of a movie can be shorter, longer,
or about the same, but neither can exist without pre-production—the work that goes into a film before any
images are recorded.‖
Importance of pre-production
 This stage is the backbone of documentary film.
 Feasibility of the project can be predetermined at this stage
 Arrangements of every essential (technical & non-technical staff) are done
 This is the only trial and error stage before going for the production stage
Production: The production stage is where the rubber hits the road, in short, it is the stage of collaboration of
all ideas and equipment. Production is conducted according to the shooting schedule under the guidance of the
director. The writer, director, producer, and other creative minds gradually see their expectations taking visual
shapes on the ‗reel‘. The production of Indian documentary films is dated back to the pre-independence era. ―In
1888 a short film of wrestlers, Pundalik Dada and Krishna Navi at Bombay's Hanging Gardens was filmed by
Harish chandra Sakharam Bhatwadekar. This was the first recorded documentary film in India. In the 1930s,
filmmakers D.G. Tendulkar, who had studied motion pictures in Moscow and Germany, and K.S. Hirelekar,
who had studied culture films in Germany, brought the latest concepts of documentary film and laid the
9
foundation of the documentary movement in India‖ (Bhuvan Lall, 2004). But the methods of producing
7
City-symphony: a city-symphony film is a form of cinepoetry being shot and edited in the style of a
"symphony".
8
9
https://www.documentary.org/feature/bollywood-long-rich-history-documentary-india
documentaries have evolved a long way. ―The nature of documentary films has expanded in the past 20 years
from the cinema verite style introduced in the 1960s in which the use of portable camera and sound equipment
allowed an intimate relationship between filmmaker and subject. The line blurs between documentary and
narrative and some works are very personal, such as Marlon Riggs's Tongues Untied (1989) and Black Is...Black
Ain't (1995), which mix expressive, poetic, and rhetorical elements and stresses subjectivities rather than
10
historical materials‖ Wikipedia.
In the assessment of technical elements, ―the arrival of sync sound did not instantly revolutionize
documentaries, as it did fiction films, because early sound-recording equipment was extremely difficult to bring
on location and because filmmakers were slow to make significant use of it in the studio. Instead, the first great
revolution in documentaries came only in 1960, after lightweight sync-sound equipment was developed, to go
with lightweight cameras. The result was cinema verite, or direct cinema, as exemplified by Jean Rouch and
Edgar Morin‘s Chronicle of a Summer and Robert Drew‘s Primary. Yet this revolution quickly led to a
paradox. ... On the other hand, the power of lightweight sync-sound equipment and the relative ease of its use
fostered a countervailing type of cinema, one that, in ostensibly observing and recording events objectively,
rendered filmmakers even less visible and audible than before—the so-called fly-on-the-wall approach to
11
documentary filmmaking‖ (Brody, 2020). Earlier, the 16 mm spring-wound Bolex “H16” Reflex camera was
a popular choice among professional productions. With the coming of financially affordable and
technologically superior film apparatus, the old and outdated ‗look‘ of the documentary started to get redefined
in the 2000s. HD video and affordable digital single-lens reflex cameras (DSLRs) have not only made
filmmaking easier and accessible but have also radically changed the materiality of the documentary form.
Then some of the contemporary industry favorites came up, like Blackmagic Pocket Cinema Camera 6K, Nikon
Z6 II, Sony a7S III, Panasonic Lumix S1H, Canon EOS R5, Sony Alpha 1, Blackmagic URSA Mini Pro 12k, 7
Canon C300 Mark III, and ARRI ALEXA Mini LF. Tools like Helios Sun and Moon Position Calculator, AJA
DataCalc, Sun Seeker, pCam Film + Digital Pro guides the cinematographers in learning about the current
lighting situation, storage capacity, cinematographic corrections, etc. The affordable digital cameras and editing
apps have encouraged contemporary documentary filmmakers.
The first documentary to take full advantage of this technical revolution was Martin Kunert and Eric
12
Manes‘s Voices of Iraq (2004), where 150 DV cameras were sent to Iraq during the war and passed out to
Iraqis to record their activities. ―Developments in technology like smaller and lighter cameras that used 16mm
film stock (as opposed to its 35mm predecessor), and portable sync sound allowed for a much less obtrusive
way of filming events on-site as they happened. The major film crews could be significantly downsized, editing
became much more unnecessary and the hand-held cameras could ensure a closer, more authentic look at the
13
subjects in question‖ (Nam, 2015). ―The first great period of documentary filmmaking ran from 1960 to about
1980, when, relying on new equipment, filmmakers responded to—and advanced—social progress by fusing the
personal and the political in their art (as in ―Symbiopsychotaxiplasm‖ and ―Joyce at 34‖). New video
technology helped: it enabled filmmakers to record for longer periods without interruption and with even
14
smaller crews‖ (Brody, 2020). ―When lightweight digital video—on cameras and cell phones—became
available, it sparked the recent and ongoing second revolution in documentary filmmaking, making the camera a
virtual extension of the filmmaker‘s body and integrating filmmaking with daily and private life. The
outpouring of astoundingly creative and personal documentaries in recent years is the result of those
technological advances and of a renewed and deepened sense of the inseparability of the political and the
personal, the breaking down of the barriers between the public and private realms. Documentary filmmakers are
15
creating new forms that pursue political progress through (and even despite) the morass of new media‖
(Brody, 2020).
10
https://en.wikipedia.org/wiki/Documentary_film
11
https://www.newyorker.com/culture/the-front-row/sixty-two-films-that-shaped-the-art-of-documentary-
filmmaking
12
The Voices of Iraq, gave birth to a new genre of film-making termed as ―documentary swarm‖. In this genre,
the technique of creating audiovisual content for documentary films combines the work of the documentary
filmmaker and the work of citizen journalism. The Voices of Iraq used this technique where 150 DV cameras
were sent to Iraq during the war and used by Iraqis to film themselves.
13
https://www.nyfa.edu/student-resources/cinema-verite-vs-direct-cinema-an-introduction/
14
filmmaking
15
filmmaking
Along with this affordable data and connectivity (network) has also made a huge contribution in the
genre. Lucy Walker on this well expressed that ―with portable cameras and affordable data and non-linear
digital editing, I think this is a golden age of documentary filmmaking. These new technologies mean we can
make complicated, beautifully crafted and cinematic films about real-life stories‖. Also to remember that
documentary films cannot be exactly scripted. Consequently, a documentary filmmaker should be prepared to
accept a new narrative: basically, the content directs the filmmaker. Probabilities are there that the narrative
might not meet up the expectation and sometimes the filmmaker might record the never expected angel of a
narrative. In this regard, Hirokazu Kore-Eda said well that ―When you make a documentary, you have to adapt
to what reality imposes upon you‖. To be at the right time with the right equipment crafts the right documentary
narrative. In such a genre, the best is that the filmmaker should be active with core equipment, as the narration
can progress at any moment. But, there are documentary projects based on certain topics where the subject is
‗silent‘. In such topics, the filmmaker can be ‗rigid and loyal‘ with the script. Documentary films on topics like
tourism, monuments, architecture, art and craft, etc. can be have scripted narration. Also in certain projects, the
narration is enacted, staged, or in another language, one can say it is recreated (recreation of the truth). In such
cases, the filmmaker can adhere to the script which has been made to depict the exact incident which has
happened, for instance, Errol Morris‘s The Thin Blue Line (1988). But, despite winning several awards, this
documentary has received criticism also as the critics felt that the re-enactment of truth has no place in the
documentary format.
In the context of time consumed during the production stage, in case the film has any deadline to meet
then the production has to adhere to the prescribed and scheduled time. On the other hand, without a deadline to
meet, the filmmaker can stretch the production stage to years. To mention, Nikita Mikhalkov‘s Anna:6-18
(1993) was shot for a period of thirteen years, from 1980 to 1993. Steve James‘s Hoop Dreams (1994) was
originally planned for 30 minutes production, but eventually, it took five years of shooting and 250 hours of
footage. Tony Kaye‘s Lake of Fire (2006) shooting duration was for 16 years and the release was in black and
white. Jeff Malmberg‘s Marwencol (Village of the Dolls) (2010) production time was from 2006 to 2010 using
a combination of DVCAM video and Super-8 film format. The synchronization of technical and non-technical
aspects is a must for a successful project, as certain emotions, events, and reactions cannot be re-acted and re-
recorded. This stage is crucial as any technical glitch, damage of content, or loss of data happens then it cannot
be retrieved, as documentary films deal with truth and cannot be redirected. During this stage, capturing the
subjects (A-roll) as well as the supporting visuals (B-roll), are essential. This stage requires constant vigilance
on the use of equipment, management of time and crew, content recorded, and expenditure.
Chart 3. The stage of production16
Importance of production for making a documentary film

 In this stage, the script comes to reality: reality meets the lens
 Synchronization of all the technical and non-technical elements brings the finest output in this
stage.
 The production stage determines the quality of the narration as the content recorded at this stage
shall make the film.
 Recording adequate audio and visuals at this stage help the editor to draft out a fruitful narration.
Post-production: After the shooting is completed, the next stage is post-production, where raw footage is edited
to build a concrete narration. This stage is commonly known as editing. ―The first type of editing in the film
was simple cutting: physically cutting the still images before planting them into the Kinetograph17. Physical
cutting editing was first introduced into the editing world in 1895-1917, this type of editing was known as
16
17
Kinetograph
"cutting and sticking" and was the first type of editing within the film industry‖ 18 (Molyneux). The Corbett-
Fitzsimmons Fight (1897) and Nanook of the North (1922) were the productions where the traditional means of
editing were used. By 1970, ―CMX systems were a huge boost within the editing industry as it gave editors
much more freedom in what and how editors can edit. For the first time in editing history, editors could now
locate a frame within seconds and go back and change something or create another edit using CMX systems. ...
By the year 1975, the ECS-1 was very much cherished by editors as it was a way of making editors working
lives a lot more easier. The ECS-1 increases the effect of films as there is less of a chance of mistakes
happening, this is because the ECS-1 uses dual joystick remotes resulting in the editing process becoming more
accurate and easier to use. ... Editing Platforms such as Adobe, released in 1991 and created by Randy Ubillios,
allowed students and other people to edit their own footage at home and even create there own short films.
Since the release of home editing software such as Adobe in 1991, higher quality software has been introduced
into the market industry such as Final Cut Pro, purchased by Apple in 1999, with Apple going on and
improving this software in 2011 creating Final Cut Pro X and FCPX‖19 (Molyneux).
20
Between the stage of production and post-production, logging of the footage is done and tools like
Adobe Prelude make the process of logging very straightforward. Also, it includes ‗in and out‘ points and
comments on each clip. It shall not be wrong to state that the actual arc of the film is given at this stage: the
content drives the storyline. The content recorded has its rhythm and synchronical to be placed in a sequel to
narrate a representation. It is said that the final narrative takes place in the post-production stage and not in the
script. The script is around but possibilities are always there that the narration might completely reverse or a
completely new representation might develop. This is the beauty of documentary film: it takes its own shape.
But yes, there is a certain narration like historical documentary projects where the filmmaker has the scope to be
loyal to the script and the editor has to follow the script, and edit the content: basically, here the script shapes the
narration. In what manner the stage of post-production draws the graph of a film is well articulated by Martin
Campbell when he said ―I like pre-production and post the best. I don't like shooting at all. I find it grueling
and tough, but I love post and the whole process of seeing the film finally come together. You start ironing out
all the rough spots, and the really bad bits you just throw away. So from day one of post to the last day, you see
nothing but improvements‖.
In terms of the procedure of post-production, it can begin while the shooting is still going on. To
mention the treads, the footage is transferred and is reviewed by the editor along with the filmmaker. The raw
dialogues are stitched together and a significant narration is woven. Multiple shots are assembled in the editing
timeline so that it comes alive into a story form following the three-arc structure: the beginning, middle, and the
end. Initially, the meaning of editing was to remove the unwanted content and bring the raw footage to a
meaningful narration. But technological advancement has facilitated much more. Shots are weaved together to
narrate a scene, and gradually into sequences to evoke emotional punch and have an impact on the audience
with multiple graphical ‗ornamentation‘. In the contemporary technically advanced phase, the meaning of the
editing process has expanded from its original sense. It has a wide palette of functions for implication: from
color correction to noise deduction, from adding graphics to application of various transition styles, from sound
designing to animation. Softwares like Final Cut, Wipster, DaVinci Resolve, Adobe Premiere, etc. are
commonly used for editing purposes around the globe. Once the rough cut is developed into the assembly cut
than further it is trimmed to the fine cut, subsequently follows the addition of music, mixing of sound, visual
effects, adding of transitions (audio and video), subtitles are added (if required), etc. and the project is ready to
move towards the master cut. The mood and tone of the documentary film are designed in this phase.
To a certain extend, production glitches can be managed (like color correction, reduction of noise, etc.).
But at the same time, one needs to understand the possibility and amount of rectification that can be done, cause
documentary film deals with veracity. Not to forget, every error in the production stage is not rectifiable in
post-production. Moreover, if good editing can build a narration then bad editing can destroy a narration also.
It has been aptly believed that a good ‗cut‘ is not seen, and if the edits are visible then it is not a good edit. In
the context of editing, Kosalalita Anggiyumna Ranangsari and Qiu Fuquan have rightly communicated that
―Film editing in terms of its activities can be divided into 3 aspects, namely technique, skills, and art‖
(Dancyger, 2011:86)‖. But as the palettes of editing options are increasing, another question is also on the rise:
is using artificial effects diluting the truth? Is this technical ornamentation required? Probably one can consider
that it is the ‗choice‘ of the filmmaker. Another aspect that the filmmaker should keep in mind in this stage is
the language of the film. It is very essential that the editor is familiar with the language of the content and if not
18
https://www.sutori.com/story/history-of-editing--4GFACxgMyEMWxhKVquX2GpEV
19
https://www.sutori.com/story/history-of-editing--4GFACxgMyEMWxhKVquX2GpEV
20
Logging
then a translator must be a part of the post-production stage. Subtitles become mandatory, especially if the
project is designed for a miscellaneous audience.
Chart 4. The stage of post-production21
Importance of post-production for making a documentary film

 The strength and meaning of the raw footage can be practically visualized (especially after placing
it with other footage).
 It is in this stage that the shots are placed together in order to create expressive representation
(either in a linear or non-linear manner).
 Technical errors/glitches (like color correction, etc.) can be rectified (to some extend) which
ultimately helps in shaping and modifying the film.
 The final narration of the project takes shape in this stage when all the efforts of the three stages
are combined together.
Marketing & Distribution

Hardly documentary projects are made with a profit motive. The narratives mostly deal with topics
based on the need of the hour and/or on a subject that is appealing for the filmmaker. After the completion of
the project, the priority is to make it available for its targeted audience and also to stretch the project‘s shelf-life.
But, one cannot deny that the filmmaker deserved to get the basic return-on-investment. And for that, marketing
& distribution is the final stage in a project for the producer/filmmaker. Without a rigorous and robust
distribution strategy, the other stages of production shall be unrewarding. On the verge of analyzing change,
this genre has undergone notable variation in this stage also. Tracing back to the 1980s, free from the
compulsions of bureaucratic procedures and approvals, filmmakers could now distribute their films
independently. ―The VCR allowed mobility to VHS copies and helped in grassroots-level circulation. VHS
copies could be easily distributed through informal and private networks by filmmakers who found no place in
22
state-enabled production support and distribution systems‖ (Gulati, 2017). Over the time, hand-held home
video cameras were welcomed, the ‗rawness‘ of these videos represented actuality. Exploring and circulation of
more self-stories began. Personalization of technology and expansion of screening platforms has increased the
documentary narratives. And especially within India, during the early 1990s, the boom in satellite television led
towards state broadcaster Doordarshan’s two-nation terrestrial channels in India. These two channels were the
only television networks where the screening of documentary films was happening. Subsequently, in August
1995 and 1998 launch of channels like the Discovery Channel and the National Geographic created further
opportunities for documentary filmmakers in India, especially on wildlife and environment issues. With time,
channels like NDTV, DD National, and Lok Sabha TV opened up broadcasting opportunities for commissioning
as well as for serval independent documentary projects. But still, the broadcasting of documentary projects was
limited until the digital wave of the new media. It did bless the production as well as the marketing and
distribution aspect of documentary production at a much larger scale.
Crowdfunding became more strong, the number of funding institutions and organizations grew. An
Insignificant Man (2016) is a documentary project succeded by crowdfunding. Strategies and platforms for
marketing and distribution were on another level. Along with funding and producing, the marketing and
distribution aspect of documentaries were also taken care of by prime organisations like India Foundation for
the Arts, Ford Foundations, the Ministry of External Affairs, Public Service Broadcasting Trust, etc. The rapid
growth of online platforms has built a turning point for these prime organizations also. The new media has
21
22
https://www.sahapedia.org/the-radical-impulse-of-documentary-practice-india
helped in introducing foreign funders and collaborators, especially with social media platforms like Facebook,
Twitter, YouTube, Instagram, etc. and social media handles like hastag, tags etc. Prevailing possibilities has
grown much more strong, like avenues for international online distributions, online streaming and distribution,
etc. Moreover, in terms of theatrical release, to mention documentary films like Hubble (2010), Under the Sea
(2009), Celluloid Man (2012), Gulabi Gang (2014), Katiyabaaz (2013), 21 Years: Richard Linklater (2014),
City of Gold (2015), The Vatican Musuem (2014), He Named Me Malala (2015), CodeGirl (2016), Blue Planet
II: One Ocean & the Deep (2018) and more had managed for it.
Well-planned and strategic marketing (both online and offline) includes many approaches and elements
like trailers/promos, posters, billboards, instagram accounts, facebook page, hastag, social media handles, etc.
Digital literacy has allowed people to use digital media to the fullest and connect at the fastest of time. Social
media has been a boom in the context of promoting an idea, a concept, or a product. Distribution and
marketing, both for fiction and non-fiction productions have been relying majorly on social media especially
after the pandemic. Social media tools and facilities like the hashtag, Instagram stories, reels, highlights,
tagging, etc. allow a major scope to multiple the reach of its targeted audience and also to trend within a very
short time with very low financial investments. The sharable characteristic of one content in multiple platforms
like Whatapp, YouTube etc. has encouraged producers to republish the same content in multipe platforms at the
same time. This option of sharing or forwarding the content on different social media platforms like Signal,
Messenger, etc. have made distribution and marketing much more effective. The availability of a smartphone
along with the internet has made things much straightforward and hassle free especially for the digitally literate.
Focusing especially on the distribution aspect, distribution in big screens like PVR, broadcast in
television networks like BBC, streaming in OTT platforms like Netflix, Amazon Prime Video, Disney Hotstar
and collaboration with educational & research institutions like TISS, museums like IGNCA, or related
organizations and NGOs like CRY has been successful for meeting the targeted audience. With the digital age
and rapidly converging technologies, viewers are watching content in new and different ways on different
23
‗screens‘ , denoting that the distribution phase is constantly evolving. Although distribution is the final stage
of the project, the channel of distribution and marketing of the project is better to be planned in pre-production.
―Companies such as Quiver and Distribber distributes film to digital platforms like iTunes, Google Play, Netflix
and Hulu often for a flat rate. ... Platforms like Vimeo On Demand and Bittorrent Now, lets one sell their digital
24
file directly to consumers‖ (Studiobinder, 2018). In the current scenario, one of the flexibility that
documentary projects have witnessed is the freedom for peaching for funds in various private and non-private
organizations. Even there are platforms like Docedge, where they help from the scratch: conceptualization of
theme, scripting, storyboard, technical assistance, the final output of the narrative till distribution. There are
crowd-sourcing options that can be started at any phase of the production. The institutions and organizations are
freely willing to pitch in at any stage of production: either in pre-production, production or post-production.
Technology has facilitated marketing and distribution jobs to be done more effectively in the digital platforms as
digital content works on the multiplier effect. Digital options have a much wider scope for marketing and
distribution: online television, CDs & DVDs, digital streaming, etc. Distribution can also happen through
exhibition, synergy, and convergence with production house and cooperates. In today‘s scenario, Netflix is one
of the popular distributors. Projects like Period. End of Sentence. 2018 has been successfully distributed on
digital platforms.
Conclusion
Documentary filmmaking has traveled a long way and in this context, Richard Brody has well stated that
―the idea of what a documentary is has shifted according to what has and hasn‘t – been possible during the past
hundred years. But the artistic preoccupations of their creators have not changed radically in that time‖.
Filmmakers have always been brave enough to keep their straightforward narration among their viewers woven
with aesthetic sense and technological experimentation over time. As a form of communication, it has amused
its limited viewers and has never stopped experimenting and giving up during the testing phase for its existence.
Time again it has adapted to the various technological as well as non-technical changes that have come and have
maintained its space of existence with embracing its limitations. Every area in the map has used this form to
make its narrative reach the other parts of the world: some has used to express its agony and some to boost its
23
Screens: Variation of screen size has evolved over time and in this context some of the aspects need to be kept
in mind while releasing the master copy.
24
https://www.studiobinder.com/blog/how-to-make-a-documentary/
royal heritage, whereas some to record its struggle while some to make their poetic narrative immortal. But no
part in the map have kept this form unadapted. With the ‗miracle‘ growth of technology, the possibilities of
easy and quick product dissemination have made this form more vital. This genre has grown as a form of art
and also as a business as the availability of this genre has been at ease with e-platforms like online film festivals,
websites, and other digital platforms. The air of rejection of injustice, the strength to voice up for the right, and
the growing inquisitiveness to know more and see beyond what is just visible has given the lens many
possibilities to capture numerous portraits, face, and their powerful emotions.
Bibliography
[1]. Nichols; Bill. Introduction to Documentary. Bloomington: Indiana University Press, 2001.
[2]. Kosalalita Anggiyumna Ranangsari and Qiu Fuquan- Production of documentary film Driving
Awareness. Tung Fang Design University, Taiwan. P-86, p-87. Vol.11 No.2 July 2020. ISSN 2338-428X
(Online).
[3]. Marfo, Amma. The Evolution and Impact of Documenatry Films. University of Rhode Island:
DigitalCommons@URI, 2007, P:3.
[4]. Kustusch, Christopher Michael. A Paradigm Shift For The Science Documentary. Montana State
Universtiy, 2007.
[5]. Wright, Peter Lee. The Documentary Handbook. Routledge, 2010, p: 316.
[6]. Cassell, Catherine. Grandy, Gina. Cunliffe, Ann L. The Sage Handbook of Qualitative Business and
Management Research Methods. 2017, ISBN: 9781526430243, 152643024X. Sage Publication
Web references
[7]. https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/Documentary-is-not-a-threat-
to-Bollywood-Sanjay-Kak/articleshow/11847669.cms
[8]. https://www.documentary.org/feature/bollywood-long-rich-history-documentary-
india#:~:text=In%201888%20a%20short%20film,recorded%20documentary%20film%20in%20India.
[9]. https://www.nyfa.edu/student-resources/9-stages-of-pre-production/
[10]. https://www.newyorker.com/culture/the-front-row/sixty-two-films-that-shaped-the-art-of-documentary-
filmmaking
[11]. https://www.thehindu.com/news/cities/mumbai/entertainment/all-about-asif/article8428631.ece
[12]. https://www.sutori.com/story/history-of-editing--4GFACxgMyEMWxhKVquX2GpEV
[13]. https://www.studiobinder.com/blog/how-to-make-a-documentary/

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International Journal of Latest Research in Humanities and Social Science (IJLRHSS)

Volume 05 - Issue 08, 2022

Stages of Documentary film production: analysing the changes

Chart 1. Stages of Documentary Film Production2

Chart 2. The stage of pre-production8

Chart 3. The stage of production16

Importance of production for making a documentary film

Chart 4. The stage of post-production21

Importance of post-production for making a documentary film

Marketing & Distribution

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