In cinema that works with reality, writing is a continuous process and as essential as in fiction. However, it has its particularities and, as it happens in general with the creative process of each film, there are several ways to approach writing and, consequently, to elaborate the script of a documentary. An attempt at a writing methodology will start with the identification of the motivation or seed that generates the idea, the in-depth research of the subject of the film and the adoption of a point of view. All of these are necessary steps to think about the device from which to construct the film. From this point, the script is proposed, narratively and formally, taking into account the ethical issues involved in the representation of reality.

The shooting is a milestone in which the effort made during the development, writing and pre-production of the film is concretized. Working with reality, filming in documentary cinema is particular, often unpredictable and difficult to plan, even long-lasting or dispersed in time. It is therefore essential to reflect on the strategies that allow to capture the reality sought/dreamed, both from the point of view of the direction/production and from the point of view of the photography, camera and direct sound equipment. At this stage, the type of tools, techniques or materials used necessarily mark the planning, the staging, the light or the sound universe of the film.

Creation in documentary filmmaking is a continuous and open process in each of its phases. The final cut of the film closes with the rewriting that takes place in the editing, so its importance is decisive. As in other itineraries, there are different practices and methodologies, depending both on the type of film and the filmmakers who carry them out. Likewise, editing is complemented by image and sound post-production processes -color, graphics, VFX, sound ambience, music, mixing-, which must add coherent expressive layers to the film, intensifying the aesthetic-artistic proposal.

Personal circumstances and quality of life are part of the private conversation among filmmakers but rarely transcend into public discussion or relate to creative processes and production. This itinerary proposes a transversal and intersectional view that provides a broad and human vision of documentary filmmaking. It will address aspects such as learning, training and the filmmaker's experience; the wellbeing of documentary practice in relation to health, care, conciliation or economic remuneration and the geographies of creation that condition production and the development of communities and networks.