Research On The Application Of Virtual Means Of Documentary

It is well-known that the fundamental principle of documentary creation is the need for "reality" and the use of objective shooting lens as far as possible to record and express our real world."Reality" is the source of life for documentary films.Without "reality",documentary films lose their fundamental value.From the day when the documentary was produced,full attention was paid to the "real" topic of the documentary.From Flaherty to the eyes of the film,from Grierson to the objective truth film,to the final new record film movement,authenticity has gradually become a topic in the discussion of documentary theories.However,along with the launch of the new documentary movement in the early 1990 s,a whole set of documentary shooting techniques was produced.In the past,the “trueness” of documentaries was no longer discussed in depth for a long time and it seems to be handled and solved.With the advent of the 21 st century,the concept of documentary creation has been continuously updated and improved,and its techniques of expression have shown a variety of developmental trends.The virtual mode in documentaries has become more and more bold and virtual images have taken an increasing proportion.Among them,there are not only a lot of real reproductions performed by performers,but also the use of digital special effects to achieve restoration of historical scenes.Under the context of the digital age,high-tech means are gradually reconstructing documentary creation and photography.Therefore,issues such as authenticity and fiction,true reproduction and computer special effects,documentary and fiction,etc.,have once again returned to the theoretical analysis and practical innovation of television documentaries.This paper closely describes the theory and analysis of the creative design of the graduated design Dissolute Ariel Photographer Liu Jianfeng,and it is divided into four parts: The first part is the overall overview of “virtual” and “real” in the documentary,which is mainly divided into “documentary is not true”,“Reenactments are not fiction” and the principles and bottom line of the use of virtual means in TV documentaries distinguishing the philosophical meanings of “virtual” ‘ ' and “real” in documentary creation;the second part is the classification and form of virtual elements in documentary films,which is demonstrated mainly from seven aspects: bullying and reenacting-a specific historical product;nonbullying and reenacting-the use of normal means;playing-people-oriented choices;film and televisionmaterials-similar or the same scene of evidence;news,documentary fragment-the re-use of video material;music sound-the rendering of the second channel;and computer virtualization technology-the theoretical changes brought about by the technological leap.Taking the graduated design,Dissolute Ariel Photographer Liu Jianfeng,as the main analysis object,taking into account some of the representative documentaries,the use of virtual elements in the documentary is classified and analyzed.The third part is the use and reflection of the virtual means in documentaries of different themes,mainly including the use of virtual means in historical documentaries,virtual means in documentaries of natural science and technology and virtual means in documentaries of anthropological themes.Through the analysis and interpretation of some typical works of different types of documentaries,the differences and similarities between the application of virtual instruments and elements in different types of documentaries are summarized,and the rules and practical significance of these documents are better discovered.