Noted is her first work, a complete re-editing of Charlie Chaplin's 1916 film "Carmen", which was the first Chaplin film ever to be seen in the Soviet Union. Shub’s intensive experience at Goskino, reediting pre-revolutionary and foreign productions as well as new Soviet features, helped cultivate the journalistic style of filmmaking she is well-regarded for. Her method of editing had a substantial influence on both Dziga Vertov and Eisenstein, two of her most prominent peers. In 1927, Shub released her first documentary, "Padenie dinastii Romanovykh" (). She was commissioned to commemorate the tenth anniversary of the October Revolution. It was released at the same time as Eisenstein’s "October". However LEFists critiqued his film for being too personal, deeming the impersonality of Shub’s work more exemplary of the Revolution. Soviet film theorists praised Shub’s invisible authority as truly revolutionary, for it was consumed effectively as propaganda. In the making of these films, Shub collected an extensive amount of footage from old newsreels. The way in which she catalogued everything enabled the establishment of a filmic archive for the Russian Revolution. Shub’s extensive efforts and technical approach to filmmaking reveal her technological, political, artistic expertise. Sergei Emolinsky, a constructivist critic associated with Soviet art journal, LEF, praises both Shub and Vertov equally for their different attitudes towards documentary film. He explains that while, “Vertov ‘threw himself on the given material, cutting it into numerous pieces, thus subordinating it to his imagination…Shub regarded each piece [shot] as to a self-sufficient, autonomous entity’.” This first-hand critique of the two methods indicate that Shub’s dedication to journalistic cinematography was the catalyst for what documentary film classifies today, compilation film. "Fall of the Romanov Dynasty" (1927) is one of Shub’s most famous surviving films and what many film historians classify as the first compilation film or Soviet montage. Shub traveled to Leningrad in 1926 to obtain the footage she needed for the film. She spent two months examining more than 60,000 meters of film (much of which was damaged) and chose 5,200 meters to take back to Moscow. She made the film because there was no visual record of the Russian Revolution.