Preliminary task: staging my interview

During my preliminary task, I decided to not follow the typical interview layout, with the interviewee being the center of the shot. I decided to leave some space next to the interviewee as I want to make sure that rapport is developed between the subject and the audience as though they have been invited into the home and have a place on the sofa and are a part of the conversation. For my final task, I aim to follow this style. I aim to place still images (older photographs) of myself and the interviewee in this space and fill them within the space. These images will connect with what my interviewee is saying about our relationship and the journey we have been through whilst allowing me to maintain an interviewer, and interviewee distance to follow the conventions of ...

The color of the sofa is dark blue, which connotates peacefulness and calm. This creates an open environment in which all emotions are heard. Dark blue also has a connotation of reliability and trust, therefore, additionally creating an open environment. The mise-en-scene is deliberately neutral to ensure all focus is on the interviewee.

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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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