Principal photography is the component in the production phase of a documentary film that often consists of the actual gathering of film/video content ready for scripting and editing in post-production. It is when the director and the producer puts on their production hat and goes forth in the field to capture a story narrative or a report on a given topic and subject matter. It is here where production dollars are put to good use in the right way to produce the kind of material that would make for a great story. Visual portrayals and the illustrating a given story via the film camera is paramount before the scripting phase begins just prior to post-production. Principal photography must be the heart of what inspires and motivates a filmmaker to have the greatest material and content to work with in time for editing. In metaphorical language—principal photography is the heartbeat of a documentary film. The colors, shot selection, the framing of the camera all make for solid work in principal photography through the production phase of a given film. The right elements used in principal photography are the principles in production.

From an aesthetic point-of-view what really makes for the right look and feel for a documentary film? What are some of the principles to principal photography? How can principal photography done the right way help a film story flow visually and meaningfully? The answers to these questions are the focus that a director/producer and his or her team takes on as they go forth in putting together a documentary. It is how a producer and his team answers this question that would make for the best production value of a documentary film. What works and what doesn’t work out in the field has to all be accounted for in the highest regard for a successful documentary project to come to fruition.

Far too often do the visual aspect and the aesthetic of a film get underlooked treatment as production teams embark in the arduous, patience-demanding endeavor of a documentary film production. Realities like shaky camera work that disrupt the flow of verite-shot scenes, interview subjects not portrayed in their natural element which takes away from the power and focus of necessary commentary, boring footage that slows down the momentum of the film’s narrative and too scripted and too planned scenes and location shooting which hurt the credibility and the understanding of a documentary all occur in principal photography. Yes, it can be argued that a lot of the mishaps that occur out in production of a film can be saved in post-production. However, when the thing(s) that needs to be saved the most for the sake of a storyline become the very issue than ultimately a documentary essentially suffers. There are principles to principal photography that need to be met and adhered to by the research team, the writing team, the producer team, and the director team—however, way the teams don’t correspond or overlap.

Relative are the style, tone, scope, and even depth documentaries take—one after the other. A filmmaker may come at a given subject or narrative from a comedic element and another may take on a more serious, probing approach. Nonetheless—principles must be adhered to for the highest documentary film production value to be met—which, by the way, do not come off as a complicated process. The principles are so-called unwritten rules for documentary filmmakers and their teams. These are the driving mechanism great doc filmmakers have employed in their work using a myriad of elements and approaches. For one—there is a principle to research that is the driving force for where principal photography goes. Without effective researching a producer and director wouldn’t know where to go to shoot the best content of the story. Without proper researching production team’s following of a given narrative may be restricted and limited. After all—all documentary filmmakers ask for is—access; access to time, footage, clearance of materials, and potential interviewees. Another key aspect to documentary filmmaking which can fall under the umbrella of principles needed in principal photography is the timing that footage is shot. Oftentimes, in telling a story with a camera a production team is coerced to let the story breathe by allowing it to flow on its own—with very little recourse or pretension to shape it in either direction. Such “happy accidents”—whether its a surreal soundbite that captures the film’s thematic message or that spectacular thing that is captured during a shot unplanned—all occur in the production mode of a documentary. This reality and tendency add to the flavor and overall esteem of a documentary film project. One can definitely tell when a documentary film production is rushed or not.

Documentary films have come a long way in just a short period of time. Where old, dry, long-winded, sit-down, on-camera interviews may have passed for a specific documentary film a generation ago today graphics, sleek camera angles, voice-over narration, and cinema verite-style of shooting has grown to importance for the documentary film genre. Principles, unwritten rules, and ways of doing business put quality documentary filmmakers time and time again at the successful end of a powerful, important, and great film work. Principles drive the story narrative of a given documentary as well as take it to the level of high quality necessary for a growing, diverse audience as well as a niche market for distributors to exploit. Every and all phases of documentary film from research, development, pre-production, principal photography, and post-production are all vital facets. It is how important in doing it right is for the producer and director that will make a documentary film work and not miss its mark.