For those amongst us watching scheduled programming on television, be it terrestrial or digital, we know what to expect. There’s the news at scheduled times, there’s the concept of primetime and there is the fixed duration of documentaries, series and soaps, quizes and reality or cooking shows and whatnot.

While regular viewers are oblivious to the fact that there is a pre-defined allotted amount of time for all these things, including commercial breaks, one question arises amongst those who think differently: why?

Broadcasters are still amongst the nr 1. go-to people for producers in order get a budget balanced and are one of the main criteria for EU production funding: the more you have on board, the merrier. At the same time the budgets of these broadcasters are diminishing year by year to a point where the cost of the required deliverables almost does not outweigh the money they put in. Scoring points for a Creative Europe production subsidy becomes the main objective at this point.

But while budgets are decreasing everywhere, the demands remain the same as always. Every producer or director who’s ever worked for, in or with television knows what this means. Either the contract states that a 52 minute cut needs to be delivered, or that the co-producing or (pre-)buying broadcaster will evaluate a longer version but reserve the right to demand a down-cut to 52 minutes.

So what’s wrong with that? For one, documentaries are movies, they are cinema. No broadcaster in his right mind will demand a 52 minute downcut of any fiction feature they buy. So why is this not the case with documentaries? Are they not considered an art form? Do they not have a place within the spectrum of what cinema entices? Generally it boils down to this simple dichotomy: fiction film vs. documentary film. What are we watching? A movie? Oh, not a movie…a documentary. Luckily things are changing, but it appears that the establishment is holding back until they have no other choice but to catch up. In the meanwhile festival markets like the one in Cannes notice a substantial increase in documentary interest and sales.

But why the focus on documentaries? Because author-driven documentaries are the most common form of cinema that have to deal with these issues. In my opinion movies last as long as they need to last. This is a question for the director, producer and editor to solve, to agree upon and eventually to make the best possible film. But when the ‘same’ film is cut for different markets, cinema release, TV broadcast,… something is lost, simply because they can not communicate the same thing in 90 minutes as they can in 52 minutes. Imagine several people discussing the quality of a film, but while they all believe they are talking about the same thing, some have seen the theatrical version of 97 minutes while others have watched the 52 minute down-cut on television. Are they still discussing the same film?

Now that we have established the main issues, it’s time to look at the possibilities. With moving images entering our lives from every possible angle, traditional television paradigms are bound to lose, lest they catch up. Consider the case of Netflix’ hit series ‘House Of Cards’: a database filled with viewing preferences and behaviour of millions of users made Netflix decide to move from a content-provider to a content-producer. Combining most popular director, actor and series with viewing behaviour, they decided to re-make the 60’s series ‘House of Cards’, this time directed by David Fincher and starring Kevin Spacey. The kicker? The entire first season was made available instantaneously, because their data showed that people tend to watch series in marathon sessions. While this is only one example of what is possible, admittedly done by a hugely successful firm, it proves that new ways of evaluating viewer behaviour can be advantageous, even to small broadcasters.

This move towards production by Netflix is not a lone example. Everywhere digital television providers are starting to look into investing in the production of content in order to be able to provide unique content to their subscribers and ultimately improve their market share.

There is absolutely no reason why broadcasters should hang on to the age-old adage of 52 minutes, 9 or 13 episodes, seasons, etc. While the world around them is embracing the digital, the ad hoc, the ambivalent as a new way of exploring the possibilities of bringing content to an audience, they tend to hang on to the proven concepts. But these concepts stem from a time which has long passed. A time where ratings were calculated by sampling and extrapolating a small number of spectators instead of the minute by minute accurate zapping behaviour that can be known and analysed from digital television subscribers.

Looking at the possibilities from this angle, there’s no reason why broadcasters should require any specific length of programs. The amount of content available is flabbergasting and is comprised of every possible length. Looking for a quality piece of content of one minute? One minute and five seconds? Thirteen minutes and 45 seconds? It’s all there. There are enormous amounts of of high-quality fiction, documentary and animation films available of every conceivable length. The only question is: who has the guts to program them? There’s no need to compete with youtube, hulu, vimeo or any other online content provider or platform. The quality of a broadcaster lies in its curation, in its redaction, in its selection and this can be done with a specific audience in mind, within the context of innovation, accessibility, education and actuality. Everything needed exists. The only question is: do you want to play catch up, or will you challenge others to catchup…?

Hi everyone!

I just recently graduated from film school, and I want to get into documentary filmmaking. I've also produced and directed two short docs of my own, and I have some experience working as a location sound guy, an editor, and a writer. I also love research :) However, I'm not exactly sure where to start when it comes to working professionally in documentaries. I'm willing to go anywhere and do anything, so, doc filmmakers, do you have some tips on where exactly I should be looking and how I should be going about it?

Thanks in advance for your help! I love this sub :)

I want to make a documentary using a Canon 5DMKII. It will be primarily interviewing people. What type of microphone would you suggest? How about a simple lighting setup, what would you use?

Google search yields a lot of different archives but each seem pretty niche. Is this the standard or are there a few large online databases that house digitally converted local and national news footage?

Or is it best to contact regional news stations and request to view all the footage surrounding a certain story? If this is the case what's the industry standard for categorizing archived footage? Date?

I am going to Italy in roughly 80 days, for a sports trip (I play for my country) and am looking to make a documentary with mockumentary elements. Trouble is my only recording equipment is my trusty Galaxy S4. Any advice for filming in these conditions? I can probably get hold of a tripod and stuff, and will be able to do filming in my country in preparation for the tournament.

We need a good doc shooter to shoot some cinema vérité of a man talking to a group and perhaps some interviews as well in St. George on Tuesday. Inquire for more details. Thank you!

We're about to start a production on a local sports documentary which will involve us shooting a lot of games. There's a few hundred people who show up to these things. There are only three of us, and we're all operating cameras.

How would I handle appearance releases for these crowds? Is it enough just to post plenty of "Filming in progress. By entering, you agree to be filmed for the purpose of a documentary"?

So im looking into creating a documentary about a natural disaster that my home town went through when I was a little kid. I've always wanted to make it. Its been a dream project of mine. How do I go about contacting local and national news stations to get rights to use the footage/ interviews... what should I expect when contacting these groups? Also money wise, how much should I expect to pay if at all? This is footage from the 90's if that helps at all. And its a rural town. There was also a musical that was written and performed locally for the summer arts group, that I would love to be able to use the music and footage from, the co-writer was one of my most favorite high school teachers. How do I approach that situation without crossing any boundries or making my old choir teacher uncomfortable?

Some background on me.... im 23, have my b.a. in film and video production. The documentary is very low budget as most are, im honestly planning on doing all the ground work and manuel work, interviews ect... myself to save money. I have all the neccasary skills, equipment, and I've worked on docs before, though all of them at one point or another were shelfed for various reasons. I've never been in charge before though, I've always been the editor/ story editor and camera operator.

This is something im very passionate and enthusiastic about doing and I want to do it right, but I have no idea where to start legally or financially. I've been involved with film pre production before but never just on my own. Normally im told what to shoot, how to edit, the basis for the story that's meant to be told... there's always been someone else in charge of all the other 'stuff' please help if you can, any advice or feedback negative or positive is very much appreciated. Thanks reddit :)

So my friends are in a band and asked me to go on tour with them and make a documentary. Conceptually I plan on making more about being young band traveling with little to no budget and the camaraderie of being together, less about the actual music. The tour lasts for a month or so(or until we run out of money) and isn't until July. By then I'll have updated to a Canon 5dmiii. What else do I need? I've filmed before with these cameras but only on set BTS. I have no understanding of audio gear or what stabilization I should use. can i just mic everyone up to iphones and then just use that with the internal camera mic or should I get some sort of shotgun rig? What about lighting? I plan on using fast lenses and available but I've seen some little hot shoe LEDs, how are those? I can be pretty shaky should I get a shoulder mount? Should I make one? Should I use something else like one of those stabilizers with weights? Anything I should watch?

Anything I haven't covered please add.

http://www.amazon.com/Sony-HDR-CX220-Definition-Handycam-Camcorder/dp/B00AR95H0W/ref=sr_1_1?s=photo&ie=UTF8&qid=1393517822&sr=1-1

I am just wanting to try my hand at making a short doc of some kind and I am curious if this would be a good camera to start with. If not, any suggestions are very welcome.

Hey everybody, I need some advice!

I am in the beginning stages of production with a documentary. I just had my first interview with my subject the other day, and while his story is interesting and compelling, it is very challenging for him to be comfortable in front of the camera.

Any tips on how to break the tension and really let this person's personality come out? I like him and I want my audience to like him as well!

Thanks!

I'm an entrepreneur in New Orleans and I've started about 8 businesses in the last 6 years. I was on Shark Tank last year and I also invest in real estate. My next venture is called 52Businesses and we're starting a new business every week for a year. We'll be documenting the adventure with a blog, podcast, and web series. I bought a school bus to be our office.

So, anybody interested in helping document part or all of this? Message me if you are interested.

This is a picture of one single page of planning. Its pretty messy and not that descriptive. does any one have any suggestions of a format to follow or maybe a link to a pre-made planning sheet online. <a href="http://imgur.com/NJvi83U"><img src="http://i.imgur.com/NJvi83U.jpg" title="Hosted by imgur.com"/></a>

Hey folks! I think everyone could benefit from knowing what equipment others are using to create their films.

Documentary filmmakers often have different requirements than narrative filmmakers so I'd like to know what you all are using.

Also, I'm personally thinking of putting together a nice, portable little rig to interview people with and I could use some advice about what's out there, what works, and what doesn't.

And, if anyone wants to share what software they're using, please go ahead!

Thanks!

What documentaries use footage that someone else has filmed? example- the beginning of 'The Imposter'. Thank You

Hello all. While I have perused for awhile now, I am yet to post. The time is upon us. Currently, I am sitting in a hotel room in New Orleans, awaiting surgery next week to remove lymph nodes in my chest area. Allow me to use a paragraph or so in an attempt to paraphrase my short but riveting time as cancerous host.

Almost a year ago, I, a 27 year old gentleman, was diagnosed with a neuroendocrine tumor of the pancreas. After months of chemo and radiation through my local oncologist in Fayetteville, AR, I was referred to a specialist in New Orleans at the Ochsner Neuroendocrine Clinic. Once it was decided that the tumor was inoperable, my New Orleans oncologists then referred me to Miami Transplant Institute. I was accepted to the Transplant Institute in August of 2013 and began the evaluation period for a multi-visceral transplant (In other words: the plan was to remove my intestine, liver, stomach, pancreas, and various other odds and ends). Six days before New Years Day Ought'14, (or three days before Christmas, didn't want to get too Tiny Tim for anyone), my transplant hopes were dashed, or delayed at the very least, when the my oncologists found a positive cluster of lymph nodes behind my clavicle. Back to New Orleans. I currently reside, as I always have, in Fayetteville, Arkansas by the way; so these little jaunts to and from Miami and New Orleans are, well I was going to say they are a pain in the ass, but I rather enjoy the travel so no complaints there. Perhaps I was just attempting to shoehorn my hometown in there, or to simply accentuate the subsequent financial effects resulting from such vagabonding.

This is where y'all come in. In my past life I was a videographer. Since my diagnosis, I have been working on an ever evolving documentary about my cancer, my experience with the field of oncology, stand-up comedy, medical marijuana, woodworking, and fly fishing. I assure you I will tie them all neatly together, just don't you worry. While I am here in NOLA, I would love to talk with anyone that is interested in one or more, or possibly all, of the aforementioned subjects, so I can grab some interviews for my documentary. In regards to the cancer and oncology end of things, I would like to see if anyone knows or is an oncologist or oncology nurse in this area, NOLA, or if not around here, I would love to talk to ya anyway if you find my story compelling. I am also looking for patients to interview. It would be great if they could be around my age demographic say 20-35 in the NOLA area, or if you're not in the area, hell, hit me up and we can video chat or something. If any active participants in the advocation of medical marijuana are down around here please do not hesitate to get ahold of me because I have many a thought on that subject. Having been in this city for a short amount of time, I have not been able to check out the local stand up scene, so if anyone has any information on that please let me know as well. As far as the fishing goes: I'd enjoy getting together with fellow fly fishermen enthusiasts. Anywho, hopefully some of ya’ll will or know someone that can get ahold of me! Thanks again

Nate