Editing Triumph of the Will (section)

===Filming===
[[File:Bundesarchiv Bild 183-2004-0312-503, Nürnberg, Reichsparteitag, Marsch der Wehrmacht.jpg|thumb|Riefenstahl and her film crew in front of Hitler's car during a parade in Nuremberg]]

The film follows a design similar to ''The Victory of Faith'', with the city of Nuremberg scenes, even to the shot of a cat, included in the city driving sequence in both films.{{sfn|Rother|2003|p=58}} [[Herbert Windt]] reused much of his musical score from Victory of Faith, in {{lang|de|Triumph des Willens}}, which he also scored.

Riefenstahl's staff had sixteen cameramen, who all had an assistant of their own, using thirty cameras and four complete sound-equipment trucks. 120 assistants worked on the film.{{sfn|Welch|1983|pp=125}} Riefenstahl shot an estimated 61 hours of footage to create the two hour film.<ref>{{cite news |title=A perfect eye for mythology of the Nazis |url=https://www.smh.com.au/national/a-perfect-eye-for-mythology-of-the-nazis-20030913-gdhdsq.html |access-date=10 September 2022 |work=The Sydney Morning Herald |date=13 September 2003 |language=en}}</ref>

Riefenstahl shot ''Triumph of the Will'' on a nominal budget of roughly 280,000&nbsp;RM (approximately US$110,000 in 1934, $1.54&nbsp;m in 2015).<ref>{{cite web|last1=Barsam|first1=Richard|title=Filmguide to Triumph of the Will|url=https://web.stanford.edu/class/ihum42/filmguide.pdf|access-date=28 February 2015}}</ref> However Hans Saupert, chief of staff for [[Franz Xaver Schwarz]], claimed that the actual cost of the film was 1 million RM. Riefenstahl claimed that the film was financed by her own efforts and a distribution agreement with Ufa, but she received a large amount of financial support from the Nazis directly and indirectly through construction projects for the rally. While being interrogated after World War II, she admitted to having a Reich Party Account, and she was reimbursed by the Nazis for all expenditures.{{sfn|Niven|2018|pp=72-73}}

Extensive preparations were facilitated by the cooperation of party members, the military, and high-ranking Nazis like Goebbels. In 1975, [[Susan Sontag]] claimed that "The Rally was planned not only as a spectacular mass meeting, but as a spectacular propaganda film."<ref name="Sontag_1975">{{cite magazine | first=Susan | last=Sontag | author-link=Susan Sontag | title=Fascinating Fascism | magazine=[[The New York Review of Books]] | date=6 February 1975 | url=http://www.nybooks.com/articles/archives/1975/feb/06/fascinating-fascism/?pagination=false}}</ref> Goebbels wanted film propaganda to be done using subtle methods, but ''Triumph of the Will'', which was the opposite of this belief, was produced against Goebbels' wishes.{{sfn|Welch|1983|pp=125}}

[[Albert Speer]], Hitler's personal architect, designed the set in Nuremberg and did most of the coordination for the event. Pits were dug in front of the speakers' platform so Riefenstahl could get the camera angles she wanted, and tracks were laid so that her cameramen could get traveling shots of the crowd. When the audio from rough cuts was not up to par, major party leaders and high-ranking public officials reenacted their speeches in a studio for her.<ref>{{Cite book | last = Berenbaum | first = Michael | author-link = Berenbaum | title = The World Must Know: The History of the Holocaust as Told in the United States Holocaust Memorial Museum | publisher = United States Holocaust Memorial Museum | year = 2007 | location = Washington, D.C. | pages = 24–25 | isbn = 978-0-316-09134-3}}</ref>