Compressing Time Through Cinematography

A Peek into My 4-Month Documentation of a Land Rover Conversion

This project was completed and released almost three years ago. While I was only just beginning to understand what I know now, it still holds a special place in my heart. More than that, I think it achieved something unique—something I don’t see often. That’s what I want to highlight in this first post: seamless temporal compression.

Sounds a bit pretentious, right? What I mean is finding a way to condense a long, complex process into 13 minutes—without using timelapses or making it feel like a disjointed montage. The goal was to maintain continuity, ensuring that every action naturally led to the next, preserving the sense of real-time progression.

The video itself follows the four-month construction and assembly of an intricately crafted wooden interior for a Land Rover 110 Defender. It was filmed intermittently over that period, without spoken words or direct acknowledgment of the camera. You can watch the full video or check out the snippets I’ve scattered throughout this post.

cinematography vs editing

What I’m sharing here could be considered editing advice—but it starts long before the edit. An editor can only work with what they’re given, and sometimes being a good documentarian means knowing what building blocks to capture in the first place. Learning to shoot for the edit was one of the most impactful shifts in how I approach filming.

techniques for compressing time

The following techniques are all aimed at creating a seamless, time-compressed experience that still feels natural. Here’s how I approached it:

implied processes

When capturing an object being made, show it being placed next to others. If multiple objects are being created and you want to convey that without repeating shots, simply film one being made, then end the scene by placing it alongside a pile of similar or identical objects. This subtly implies that the rest followed the same process—without redundancy.

In this example, we see a drawer sliding into the cabinet alongside the other finished drawers. This moment makes it clear that, while each drawer is different, they all followed the same process. Because of that, we don’t need to show each one being made individually.

The key is capturing the pile shot. If you don’t show the drawer being placed with the others—or whatever object being added to a group—you risk the audience missing the connection. Later, when they see the completed cabinet, the continuity may feel disjointed, creating a jumpy viewing experience.

variation 1: sandwich actions

Building on the same idea of implying repetition, a smaller but frequently useful technique is sandwiching actions. This means showing the very first step of a process, then skipping ahead to the final step.

In this example, a box drawer is being assembled. We see the first panel of the drawer bottom being slid in, then cut straight to the last panel being inserted. By bookending a repetitive process with just the start and the end, you maintain the satisfaction of the action while cutting unnecessary filler.

As a side note, this trick can also be used to substitute objects. While I didn’t apply it in this project, you could start with one item and finish with a different one to convey more information without breaking continuity. For instance, instead of showing one box being made from start to finish, you could show two different-sized boxes that follow the same process—starting with a panel being inserted into a small box and finishing the assembly with a larger one. If you need to show each variation while keeping things concise, this is an effective way to do it.

variation 2: you only need endings

This approach feels a bit less seamless, but if you don’t need to show a process in full, the final step is often enough. While the beginning and middle can add context, they aren’t necessary for maintaining continuity.

For example, notice that the only board being glued is the last one. Similarly, we only see the final clamps being tightened, and the act of wiping the wood is conveyed simply by a rag cleaning the last spot needed.

On the other hand, if you were to show only the middle or just the beginning of a process before jumping forward in time, the transition would feel disjointed. The key is that endings naturally imply everything that came before.

the 30 degree rule is your best friend

So far, everything has been about implying information without showing it outright. Now, here’s a trick for shaving off seconds while still getting full coverage: capture 2–3 angles of every action whenever possible. Most importantly, film the start of an action from one angle and the end from another.

For example, if someone is sawing a board in half with a handsaw, I’ll get one angle of the saw making the first cut and a different angle of it finishing. This allows me to compress time in the edit. A single uninterrupted shot of the entire action would take too long, but cutting between angles lets me cheat time without losing clarity.

I follow the 30-degree rule like gospel. Even if a shot looks beautiful from one angle, I force myself to switch perspectives during every action. This was essential for maintaining continuity and keeping the entire 13-minute video from feeling like a montage. Seconds add up.

conclusion

In cinematography, compressing time is a deliberate exercise in storytelling through visual continuity and thoughtful coverage. By capturing key moments of a process and implying the steps that came before, you maintain narrative flow without losing your audience with repetitive content or leaving gaps. The tricks I’ve discussed offer ways to create a seamless yet time-compressed experience that still feels natural. As a documentarian, understanding how to shoot for the edit and anticipate the needs of your final piece is just as important as the editing process itself. Often, filming a process goes one of two ways: you either capture too much and end up missing the crucial parts you should’ve focused on, or you take a “let’s get what we can get” approach, which can lead to a montage of disconnected actions. Both are fine in certain contexts, but when the focus is on the process itself, how can you balance it all? Hopefully these simple tips can help with that.

additional backstory

This project began through my freelance videography work with Sonoran Rovers, a company that imports and customizes classic Land Rovers for off-road camping—along with a variety of other Land Rover-related builds. My brother, Arjuna Steen, was deeply involved in their carpentry work and was leading the design and execution of a deluxe camper interior. Seeing an opportunity, we pitched the idea of a video documenting the entire process—a docu-advertisement showcasing the craftsmanship behind a build like this, with the goal of attracting more clientele. The idea was approved, though the budget was limited for covering the full four-month process.

Luckily, since the entire build was happening on our family property, production costs were minimal beyond my own commitment to filming and making it happen. I knew it would be a strong portfolio piece, so it was well worth the effort.

And with that, I got to work—armed with just a Lumix S5 and a Sigma 28-70mm Contemporary.