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Creative Editing in Documentary Film

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Creative Editing in Documentary Film Creative Editing in Documentary Film Sandi Prasetyaningsih Department Informatics Engineering, Politeknik Negeri Batam, Jln. Ahmad Yani, Batam, Indonesia Keywords: Creative Editing, Documentary, Editor. Abstract: This study aims to describe the exploration of one of the solutions on technical issues that are encountered by the editor during the editing process. Practice-based research will be my methodology as an approach to assist investigate whether the creative editing can help the editor overcome the problems or not. My research will be running through the production of a documentary film and it will be followed by the method which would form the reflection to approach my case study in terms as editing in documentary. There will be an investigation of the basic editing technique like colour grading to support the creative editing process. This research is important since it gives another insight to the editor when they meet the same problems of documentary editing. 1 INTRODUCTION ter as the rules during documentary editing. The ed- itor has several choices to explore their skill to do In the film production, there are apparent differs treat- the editing. An interview section between an editor, ments on editing between documentary and fiction namely Ken Sallow, and Jillian Holt, Ken highlited film. (Reisz and Millar, 1977) argue that the docu- his work experienced; he often worked in unscripted mentary film objective is on an exposition of a theme documentaries and allocated hundreds of hours to meanwhile playing with a plot is the main concern of choose the proper footage. He decided on amount fiction film. This fact brings the editor to encounter of creative works as he used cut out the extraneous immense challenge on employing their skill to cre- material to do some repititions and jump cut. Along- ate attractive story. Moreover, another main focus is side the process, he tried to generate smooth cut by when cutting the footage, documentary film is to more maintaining the continuity (Holt, 2015). Besides, ac- appreciates people and the event that filmmakers try cording to (Cunningham, 2005), Geof Bartz, another to arrange (Crittenden, 1981). However, during the editor, states that he used his experiences to edit the production, numerous issues might happen since doc- documentary; he pointed out the big challenge for the umentary predominantly focused on particular events, editor is to find out the dramatic story of the docu- characters, and social issues. It makes the filmmakers mentary subject since the documentary mostly talks and the editor have a great constraint to work stick on about the real people. the script during filming. As the result, the editor has To overcome several technical issues that occure to work creatively to construct an attractive content during the production, the editor can employ their cre- that can help them to deliver the story and message. ativity to edit the documentary. According to (Byron, There are noticable time consumes needed in 2007), creativity has a relationship with inspiration, terms of editing documentary and fiction film. Fic- institution, ingenuity, imagination, and insight. The tion or feature film needs months of years to finish ability to create is the process of individual or team to the editing; involve two or more editors or an edi- get something that is new and has a probability to ex- tor and assistant. For instance, Crimson Tide (1995) ecute or proper to be implemented (Nemiro, 2004). In spent 148 hours to edit 113 minutes film. On the con- addition, creative activity is about any action, notion trary, documentary editing uses an immense amount or product that alter a remaining domain or modify of time. In film Olympia (1936), the editor required an existing domain to a novel one (Csikszentmihalyi, almost two-year to have the final version of the edit- 1996). ing (Phillips, 2009). On its implementation, as an argument from (Cun- According to (Orpen, 2009), there are no parame- ningham, 2005), editing is fully about the manipula- 265 Prasetyaningsih, S. Creative Editing in Documentary Film. DOI: 10.5220/0009121902650271 In Proceedings of the Second International Conference on Social, Economy, Education and Humanity (ICoSEEH 2019) - Sustainable Development in Developing Country for Facing Industrial Revolution 4.0, pages 265-271 ISBN: 978-989-758-464-0 Copyright c 2020 by SCITEPRESS – Science and Technology Publications, Lda. All rights reserved ICoSEEH 2019 - The Second International Conference on Social, Economy, Education, and Humanity tion; however the editor need to be concern on par- film without any editing stage. The Kiss (1896) which ticular elements when working with creativity. It is one of the well-known films in New York became is neccesary to convey the truth of documentary as an indication of film without editing on its shots. The much as possible based on the real story. Some ethi- film involved one shot which shows the frame of the cal boundaries should be obeyed by the editor during screen kiss between two actors (Phillips, 2009). the process. As an example, the documentary film is The idea of editing last to the notion of exper- made by the actual story that really happen, so that imental editing approach. Edwin S. Porter’s film, the editor will not do the editing to something that did The Life of an American Fireman (1902) and The not happen. Great Train Robbery (1903) tried to execute the cross- Moreover, in the practical thing, creative editing cutting technique which implies in two actions hap- enforce the editor to have a high sense of choosing the pening at two places at the same time and combines suitable materials for both visuals and audios. They the one shot to other shots during the editing stage should select the materials from hundreds of files. (Phillips, 2009). The proper visuals and audios element have a crucial Editing strategies are changing in line with the role to convey the story and message of the documen- cinema development. The filmmaker attempted to tary. Utilizing suplementary elements, such as music explore the editing technique by applying the latest background and transition, also a part of creative edit- technology to find out the suitable technique that can ing to convey the emotion of the documentary subject. be used in their film. (Reisz and Millar, 1977) com- Be advised that papers in a technically unsuitable pared the editing technique used by Porter and Grif- form will be returned for retyping. After returned the fith in their film. The main purpose why Porter used manuscript must be appropriately modified. a cut between shots was usually because it was phys- ically impossible to execute into a single shot. On the other hand, Griffith used the cut for dramatic reasons 2 HISTORY OF EDITING to present to the audience details of the scenes which becomes the height of the drama event at the specified moment. According to V. I Pudovkin, ‘editing is the basic cre- The finding of editing technique in the early dis- ative force, by the power of which the soulless pho- covery of filmmaking arose as the principle of clas- tographs (the separate shots) are engineered into a liv- sical editing. Regardless of that time, continuity and ing, cinematographic form’ (Bordwell et al., 2017). dramatic construction were not the main objective of (Orpen, 2009) highlights that editing is a process editing. Most of the initial films were taken as one comprises three stages: choosing material with each shot. length; collecting and timing the shots, scenes and se- quences; incorporating with soundtrack. Editing is a practice that include shots and other elements focus on establishing a story which fasci- 3 EDITING TECHNIQUE: nate the viewer through a cinematic form. Editing be- CONTINUITY IN FICTION AND comes a media for filmmakers to not only deliver the story, but also present an aesthetic film that bring the DOCUMENTARY FILM audience to feel the story in depth. Editing’s history is inseparable from the cinema Continuity editing is an example of editing techniques growth as a consequence of the practice of editing that is commonly employed by the editor. (Smith, that did not available before the beginning of film- 2005) underlines that by driving viewer’s across cuts, making (Holt, 2015). Moreover, (Fairservice, 2001) in terms of continuity editing, it can be seen as func- also gives similar argument as the Holt; film editing tional purposes. It means that editing gives several in- theory cannot be thought about as separate from the formation about the transition and existing visual on historic evolvement of filmmaking since they are as- film. According to the argument from (Smith, 2012), sociate within the practice. in terms of applying continuity in editing, natural at- However, (Dancyger, 2007) states that editing did tention signs can be utilized; these may involve con- not exist when the earliest motion of pictures was versational turns, off-screen sound, and pointing ges- made. In 1890s which the initial motion pictures com- ture to encourage the viewer’s concertation through menced to begin, filmmakers stood the camera and shift across the cuts. filmed the story until the shot reel (a metal or plas- Furthermore, continuity editing is utilized as the tic spool to hold film) of the film ran out. It is sup- more by which the editor maintains the viewers’ at- ported by early cinema methods, which applied the tention, avoiding them from becoming lost in the 266 Creative Editing in Documentary Film story. Continuity should be presented smoothly to existing shots in creative ways. avoid the viewer from feeling unfocused through the transition of the story. Hence, the audience can get the narration every moment on the flow of the story. 4 METHODOLOGY (Frierson, 2018) reviews that continuity for the fiction film is approached by implying the mise en scene and cinematography that have a series of (Batty and Kerrigan, 2018) argue that screen pro- shots with discontinuous flow and creating continu- duction related to creative practice research enquiries ous through cutting system.
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