Preliminary task: production plan

This weekend I plan to film an interview for my documentary with one of my closest friends who I feel would give a greater insight into my topic. I plan to conduct the interview on the 12th of February 2023. The venue will be his house. Firstly I plan to set up the lighting, depending on whether he is anonymous or not. I plan to ask him a list of open-ended questions including-

How do you believe the scaling issue of declining male mental health can be resolved?

Why do you think this issue is rising so rapidly?

However, I would also like to ask some more personal questions about his recent experiences that may have had an effect on his mental health. Of course,
any piece of information he wishes to not be disclosed will not be made public.

Comments

Codes and conventions of documentary

Preliminary task: editing using Premiere Pro

Although I have already decided that for my preliminary task, I will be editing using Davinci Resolve due to it being more accessible, while I'm at school, I decided to edit the preliminary task with Premiere Pro as well just to compare the results. I used Premiere Pro last year to edit my tasks but in my opinion, I found it far harder to use than Davinci Resolve, however now I am getting more comfortable with this software and would like to start using it more by practicing on it.

Vertov

Dziga Vertov was a pioneering Soviet documentary film and newsreel filmmaker as well as a cinema theorist. He was born in Russia, with the name David Abelevich Kaufman but he often went by the name Denis Kaufman. He was born on 2 January 1896 and died on 12 February 1954. His filming techniques and theories influenced the Dziga Vertov Group, a radical filmmaking collective active from 1968 to 1972, as well as the cinéma vérité style of documentary filmmaking. His most famous film was Man with a Movie Camera (1929). This film portrays a day in a Russian city, however, it was filmed in several cities over 4 years. Vertov was heavily influenced by Eisenstein's use of montage and his aesthetic was driven by his political beliefs as a communist. Vertov believed that film truth should be captured, which is fragments of the actuality that, when organized together, have a deeper truth that cannot be seen by normal people. Vertov's Kino-Pravda focused on everyday experiences, eschewing ...

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