Ideal for Students of Film and to expose students earlier in their communications courses to documentary filmmaking. This program is a chance to hear from emerging and seasoned filmmakers as they discuss technical, legal, ethical and business issues of documentary film. Thirty filmmakers discuss the art and craft of documentary filmmaking covering everything from finding a story, starting the process, shooting, editing and considering legal and ethical...

This module will teach you lighting to post, how to set the height and angle of the background camera, match it to the foreground camera; teaches matching the colour, direction and intensity of the subject's instruments with the background natural light; delves deeper with an action scene that teaches you how to blend action elements with proper direction for actor eyelines. The final part of the module teaches post production compositing and also...

Australia's most internationally renowned documentarists (Kildea, O'Rourke, Connolly/Anderson) are part of a group of expatriates who honed their documentary filmcraft while residents of Papua New Guinea. Their films, brimming with wit and character, capture the energy and contradictions of a country in transition from a backward colony, to a young nation in the modern world.

At a street festival in West Africa, a young girl is delighted to discover a video camera trained on her. But her exuberant display is quickly cut short when she recognizes that the cameraman has already lost interest in her. But all is well: he has a document of the moment. Video has tipped the balance in another human interaction, and turned it into a curio.

Stoney says he has dumb luck. His grandfather was the doctor on the island in Ireland where the legendary maker of documentary film, Robert Flaherty, shot his film Man of Aran. So Stoney's film, exploring the effects Flaherty's film had on the island and its people, is digging into his own roots as an individual while simultaneously studying the work of his intellectual mentor as a producer of nonfiction films.Robert Flaherty's 1934 classic Man of...

Jean Rouch and His Camera in the Heart of Africa provides an in-depth look at the film work of Jean Rouch and his associates from Niger who participated in the production of many of Rouch's Niger-based films. Most of the camera and technical work was accomplished by Niger filmmakers.

The director, Dominique Dubosc gives Jean Rouch the opportunity to improvise a new commentary for his first film made in 1947, In the Land of the Black Magi (Au pays des mages noirs) of a Songhay possession dance in Niger. Rouch explains the sacrifices he made due to the producer that took on his film and the “monster” thus created; his footage was re-edited with a new ending, new titles, stock footage, “tropical muzak,” and a newsreel-style...

Jean Rouch filmed this loving and humorous portrait of anthropologist and filmmaker Margaret Mead in September 1977 while he was a guest of the first Margaret Mead Film Festival. As both a friend and colleague, Rouch reveals a glimpse of the legendary Mead in her later years. (Fellow filmmaker John Marshall was the sound recordist.)

The Video in the Villages project introduces video among the Enauênê Nauê Indians, a group still isolated in the north of Mato Grosso. The 10th group to have been visited by the project, these Indians are very extroverted and respond with surprising, high-spirited performances.