Editing
INTINERARY
3
Creation in documentary filmmaking is an ongoing, open process that extends across every stage. The film ultimately finds its final form in the edit, where a kind of rewriting takes place, making this phase especially decisive. As with other parts of the process, there’s no single method; approaches vary depending on the film and the filmmakers behind it. Editing is also closely tied to post-production, where image and sound processes such as color grading, graphics, visual effects, sound design, music, and mixing come into play. These elements add new, coherent layers to the film, deepening and reinforcing its aesthetic and artistic intentions.
- directing
- editing
- color
- graphics
- sound design
- mixing and music
Scriptwriting for documentary films ends in the editing room. At this point, the filmed material or compiled archive has become unique, and it must be revealed as new material in order for the film to be completed. Thus, viewing and listening to the material, step-by-step rewriting in editing, and the dialogue between images and sounds allow us to create various versions of the film that evolve over time. The process that leads to the final cut is undoubtedly laborious and complicated.
In this chapter, director Lynne Sachs, editors Diana Toucedo and Sylvie Gadmer, and others talk about the editing process in documentary filmmaking. They explore how they prepare and organize material, whether starting from a script, building sequence by sequence, or working with a loose structure that takes shape over time. The conversation moves into the interplay between image and sound. They also discuss working with archive footage, color, and graphics, and knowing when the film is finished. Through their experiences, they share how feedback from collaborators and producers helps guide them toward the final cut.
During post-production, the image montage is amplified at various levels. The second phase of photo design involves colour correction and grading, where light and colour interact as aesthetic elements to reinforce the film’s intended message. Similarly, the graphic elements and the use of visual effects (VFX) must enhance the expressiveness of the work without distorting it. As with the image, the second phase of sound design closes with post-production, including sound ambience, voice interpretation, and the use of a musical soundtrack or sound effects to enhance editing work. Finally, the mixes provide the subtlety of the sound planes or layers, as well as the film’s sensory dimension.
In this chapter, the cinematographer Lara Vilanova, directors Aïcha Boro and Messaline Revardy, and others talk about the final stages of post-production in documentary filmmaking. They explore decision making and how collaboration between directors, cinematographers, and colourists shapes the visual aesthetic.
