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Arzu Aliyeva What is the best way to make the best documentary film?

The perplexing logistics aspect of making a documentary is often not discussed by film students. Arzu Aliyeva We've asked Azerbaijani filmmaker Arzu Aliyeva, a few questions to find out more about. Aliyeva is a well-known filmmaker as well as documentary producer, who has faced many logistical challenges in her work. Aliyeva has worked behind the production of films like "Son Iclas" (and "Objective Baku). The Nazis' War on Oil".

This article will discuss and analyze the various "behind the scenes" aspects of documentary filmmaking.

The steps of documentary film production
Filmmaking like other analytical professions like accounting, does not have an "fixed" procedure. Arzu Aliyeva states that every stage of a documentarian’s production are governed by their own vision. She claims that no film is identical to its predecessor. This is just like snowflakes.

However, every production begins with "preproduction." This means that the director must have a clear concept of what the film will look like prior to when the camera starts rolling.

Once you've got an grasp of the story of your movie, it's time to create a plan. Planning is, naturally tiny word with a significant meaning behind it, Says Aliyeva. https://www.pinterest.com/arzush2015/?amp_client_id=CLIENT_ID(_)&mweb_unauth_id={{default.session}}&_url=https://www.pinterest.com/amp/arzush2015/xal/ Planning involves planning, scheduling, budgeting, interview outlines making your schedule and putting together shot lists. All of this should be accomplished before you even start.before the camera is turned on.

Once you've arrived at the stage of production , it's time to put your preparation into practice. Aliyeva reminds movie productions, "Nothing ever goes according to plan." Arzu Aliyeva Although you may make more preparation than a lawyer for the case of a class action the situation can alter rapidly in practice. Aliyeva says that you need to adapt with your film and not go against it.

It's now time to go through the Post-production stage. Once you've shot all of the material and have decided which ones are worth saving. Aliyeva says that the majority of it is left in the editing room's floor.

Did you finish your movie? Great! It is now time to share it with the world. Arzu Aliyeva says that filmmakers do not learn how to distribute. Documentaries aren't in the same popularity as feature films unless they're big-budget epics. You can promote it on the internet or collaborate with big corporations.

Arzu Aliyeva's most Essential Equipment in a documentary
Aliyeva jokes that everything begins by using a camera once she's asked. Whatever the size or budget documentary productions must have two key elements. The film needs to be watched and the viewers must be able to hear it. That means you'll need the most effective camera and audio aids to ensure that viewers can understand the film you just showed.

After you've settled, there's much more equipment to help you in conveying your message. It will all depend on the kind of documentary you're making. It would help if you could have good lighting for a documentary solely based on interviews and archive footage. Cameras and audio stability devices are essential if you want to make a movie that involves a lot of outdoor shooting.

Aliyeva clarifies that it's extremely personal and can be interchangeable dependent on the kind of project you're planning on creating. Pre-production is not complete without considering equipment.

What is the longest time to make a documentary.

According to Arzu Aliyeva the length of your project is something that isn't set in the stone. Projects may take months to finish, or years. Aliyeva says it's all dependent on the subject and the passion you have for it. Documentaries usually focus on important social issues . The documentary can aid you in following their progress. A filmmaker may enter an undertaking thinking that it will take months, but the reality could swiftly extend the time to several years.

Budget is another aspect which can impact the length or shortening of your film. Unexpected budget changes may occur during pre-production and production. Arzu Aliyeva Aliyeva divides it into two main scenarios:

The more likely one:you probably bit more than you can chew , and lost a significant amount of funds in the initial stages of the production. This leaves you with very little or no funds for the rest of your movie. Aliyeva believes this could be a learning experience in the best way to keep your film running without spending a dime.
The less likely option:The less likely scenario could only happen to filmmakers with the most luck, according to Aliyeva. This is where producers and big companies hear about your project, and decide to invest in it in the future. This can be a huge boost for your efforts and provide opportunities that you might not have imagined.
What's the price to make a documentary according to Aliyeva
Like the other aspects mentioned in the article , price of your movie could also be highly project-dependent. Arzu Aliyeva advises anyone who wants to know to be wary of budgeting. It is crucial to be aware of your goals for each phase of the film's production. The length of your film and its length ultimately determine the amount your film will cost.

If you're making a film that is based on stories and testimonials you don't have much need to have a huge budget. The more costly the film is, the higher the cost. https://www.caspianenergy.club/index.php/en/component/k2/item/417-arzu-aliyeva-president-of-baku-media-center The cost of movies is determined by location numbers as well as the production value and overall investment in features.

Aliyeva says that sometimes the cost is what defines your vision. You must ensure that your vision exceeds the cost of your vision. https://www.alamy.com/stock-photo-leila-aliyeva-center-emin-agalarov-and-arzu-aliyeva-during-presentation-22835688.html
Website: https://www.alamy.com/stock-photo-leila-aliyeva-center-emin-agalarov-and-arzu-aliyeva-during-presentation-22835688.html