Fiction filmmakers acknowledge that at least half the meaning of a scene, and often more, comes from the soundtrack. But the documentary soundtrack is often ignored, left as a technical aspect of post-production or caught up in debates about the differences between different styles of documentary production – observational, single-shooter, personal essay, reality, current affairs, and so on. So clearly there is a feeling that sound for something that has its basis in real life events must be different than that for fiction filmmaking. So, how should the documentary filmmaker work with sound?
By Graham Lanktree Interactive reports that hold short-attention spans online are the holy grail for web editors. Loc Dao, an executive producer and creative technologist at the National Film Board of Canada’s digital studio, has come up with a few recipes for success. At the Frontline Club on Wednesday 8 October, Dao shared the lessons learned […]
By Lisa Dupuy Where there are borders, attempts will likely be made to cross them in the hope of reaching greener pastures. But the individuals who try are not necessarily welcomed by those who live on the other side. Fences, walls and legislation are thrown up to at least regulate the influx of migrants. And in some cases, borders are […]
This one-day workshop will address the challenge of storytelling in documentary.