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Joelle Alexis
Describing editor’s profession
Golden rules for a good teaser
I put myself in work collaboration: I chose the topics related to my personal life
Practical working method in editing: choose rushes
The dialectic with the director
The importance to see the rushes before the end of the shooting period
The key role of the editor in filmmaking; the “Rough Cut” group
The most beautiful moment in my career
There isn't only one method to choose the right edit
Martin Atkin
Designing NGOs communication strategies
Do your homework!
Etichs in documentary filmmaking
Interactivity vs. Story
Be realistic with the commissioners
Green TV and the evolution of distribution
Mark Atkin
New ways to combine traditional and immersive media
NGOs are using VR for funding: the impact on society
Riot: an immersive project using facial recognition technology and 360° sound
The rapid expansion and applications of VR in the last years
Audience and access: VR public exhibitions, web distribution, funding
Broadcast VS digital distribution: storytelling and characters are the keys
Multiplatform distribution
Public funding is needed to develop new ways of storytelling
Storytelling and technology
An example of virtual reality documentary
Convergent media on the market
Crossover exhibitions: interactive projects at Sheffield Doc Fest 2015
Crossover exhibitions: virtual reality projects at Sheffield Doc Fest 2015
Crossover media annual conference and exhibitions on Sheffield Doc Fest
Differences between films and interactive media
Ethical implications in interactive projects
Get funds for interactive projects
Golden rule, biggest mistake
Increasing importance of common social platforms
Low costs of interactive projects
Presentation and job description
The interest of documentarists for cross-media
To describe Cross-media user experience we need maps
Funding your project in a transition moment
What is “Crossover”
What to do in a website
Engaging the audience is an ongoing process
Focus on how to engage your audience
How convergence influences the creative process
Introducing: Mark Atkin
Mapping the user journey
The challenge to pitch a crossmedia project
Why multiplatform?
Anna Azzolini
The benefits of networks
Jamie Balliu
Development and production strategies in interactive media
Finding the purpose of your project, and measuring its feedback
Funds and funding
Project development in the digital production environment
Understanding the user motivation and ability to raise user engagement
Focus, specialize and talk to your team
Interactivity for social projects
The birth of an interactive story
There are no golden rules. You have to reasearch
What is a crossmedia project?
Creating new models for interactive storytelling
Funding a crossmedia project
Mixing traditional films and new media elements
The changes from the mid 90s: the changing role of the documentary filmmaker
Experience for users
Designing the journey of the user
Teaching the “user journey” at ESoDoc
User experience: storytelling and interactivity
Simone Baumann
Documentaries are my favourite: real story of real people
Market for documentary: distribution, audience, festivals and Netflix...
The market model for Netflix / Amazon
Sebastian Baurmann
Find the right technology for your story
Testing testing testing…
The planning phase; the team; the importance of the user experience
Use only what is needed for the story: responsive design
ESoDoc experience
Financing projects
Golden rules developing projects
How I became an art director in digital media
Prototyping is the core in developing projects
Skills to become an art director in digital media
The film team members of a film project
The graphical development process
The software development process
Time needed to develop projects
Touch devices may be the future
What is digital media; work as art director
Joost Bevernage
ESoDoc in a nutshell
Jan-Dirk Bouw
Reaching a realistic feeling: rotoscoping technique and the sound
The impact of animation on young audience
The team in an animated documentary project
Why I make animated documentary
Sabine Bubeck-Paaz
Advice for young filmmakers
ESoDoc is on the forefront of documentary storytelling
Financing of Web Documentaries
Impact is thinking about documentaries early on
Viewer behaviour on web by age
What makes a good documentary
Whole Interview
Why documentaries are great
Reaching your audience: experimenting and learning from errors
The driving force for impact is good storytelling
The future is collaborative!
There’s still a place for classical documentary in the digital era
Arte Future
Arte on the web
Arte programmes online
ESoDoc and crossmedia projects
Investing on crossmedia projects
Creativity comes from development
The “ESoDoc family”
The rapid development of cross-media
“The Act of Killing”: the commissioning process
“The Brussels Business”: the commissiong process
The impact of “The Act of Killing”
Katerina Cizek
Co-creation in making documentaries
Let’s come together: building partnerships for the good of your project
Managing complexity in the team network
The MIT and the Open Documentary Lab
Phil Cox
Be a flexible filmmaker
Mick Csáky
A tool to decode the world
Co-producations are fun...and valuable!
Today's market: is it the right place for documentary?
Preparing for interviews
The challenges for today's filmmakers
The importance of research and preparation
The role of the filmmaker
Working with international co-productions
Being your own producer
Content. Content. Content.
New channels for NGOs
Kim Daniel Arthur
Gaming, documentary and social change: the impact in society
Love & Passion
The changing distribution models in the gaming industry
What is gaming
Heino Deckert
Differences on producing fiction and documentary films
Golden rule for a producer
How can a project get finances
Introduction and job description
Projects with chances on the market
Satisfactions in my job
Typical mistakes for a producer
Rehad Desai
An “issue” is not enough
The biggest challenge? Finding the right story
The bricks to construct a film
Mike Dicks
Dos and donts in crossmedia
Filmmakers and social campaigns
The new distribution channels
Translating creativity
Using social media, communicating with your audience
Penda Diouf
About writing about personal experiences
From personal history to global events
How to write about a mass grave that does not exist
Speaking about ourselves and powerful fiction
Working with producer and relationship Germany Namibia
About TRACKS an audiodrama based on her play
Max Disbeaux
Learn to be clear
The tools I got at ESoDoc
Maya Eriksson
The cooperation process: interactive projects needs new types of team
The market of interactive media
The mission of Interactive Media Foundation
The process of verification in adaptive workflow: testing and adapting
Sandra Gaudenzi
Interactive vs. Crossmedia: yes, there are differences!
The tricky question: how to fund your interactive project?
Too many terms...too much confusion
Who's the audience of online documentaries?
Adam Gee
Business Models today
Focusing on on-line products: Little Dot Studios
New talents, new angles
Story vs Topic
Multiplatform formats are suitable for campaigning
Lisa Glahn
One example of how PV processes can help to solve social conflicts
The differences between Participatory Video and an amateur film
The methodology of the process in Participatory Video projects
The use of PV tools to make cinematographic documentary
Flora Gregory
Ethical issues in filmmaking
Practice your pitching skills
The rising importance of an online presence
Three Golden Rules for filmmakers
Trends in the global market
Words vs. Visuals when presenting your film
Jörg Grossmann
Connecting NGOs and broadcasters
Yoav Gross
Introducing “B'Tselem”
Michael Grotenhoff
My journey as crossmedia storyteller
Netwars: a multiplatform project
Nora Guicheney
Challenging and successful situations in collaborative environments
Formats and platforms in media communication - the role of innovative tools like VR
How can a filmmaker collaborate with Médecins Sans Frontières
Médecins Sans Frontières ethical rules
Médecins Sans Frontières’ media production
Médecins Sans Frontières’ media strategy
Lucia Haslauer
Connecting new media filmmakers with traditional broadcasters
Cross-media projects currently supported by ZDF
Developments in new media and documentary
Golden rules for young documentarians
Introduction and job description
New chances with cross-media projects
Use of new technologies may give more chances to documentary
Yacine Helali
A receipt for project development
Financing is THE challenge for filmmakers
Tonje Hessen-Schei
“Drone”
Being a documentarian
ESoDoc and Drone
Funding “Drone”
Becky Hutner
Approaching Impact in a four pronged manner
How the project found funding and a professional team
Hutner Advice on the right time for your movie
Personal belief led to the film Fashion reimagined
Presentation of film Fashion Reimagined
Stalin K. & Jessica Mayberry
Chosing and training the “Video Volunteers”
Introducing “Video Volunteers”
The line between “courage” and “stupidity”
Mark Kaigwa
Attention in the new media
Mobile phones as a new platform for storytelling
Using mobiles for shooting
Hanka Kastelicova
Developments of documentary for the future
Introduction and job description
My biggest satisfaction as commissioning editor
Our production's characteristics
Team collaboration for productions: my motivation
The documentary projects we are looking for
Ben Kempass
Criteria to choose projects
Documentaries can change society
Ethical implications
How can we measure the impact of a campaign?
How I became a campaign organizer
Inroduction
Making documentaries, the power is in the story
Reasons why campaign can fail
Reasons why I make this job
Relation with fillmakers
Rules to be a good campaigner
Skills to become a campaign creator
Successful projects has to show more nuances of reality
Teaching at ESoDoc
The market
Katrine Kiilgaard
Co-financing innovative forms of documentary
CPH-Dox: the Industry Platform for co-financing
Documentaries are still a powerful medium to talk to and connect people
How to manage innovation and financing
What CPH-Dox Festival does
Alexander Knetig
ARTE contents: from traditional programming to VR experiences
Commissioning at “ARTE Creative”: digital content for younger people
My most important professional moments
Public services and new media: big changes in society and democracy
The essential skill for cross-media and VR productions? Team working
Kris Krois
Eco-social design: definition and examples
Interdisciplinarity is a “must” for modern projects
Chances for video journalism in the market
Cross-points between documentary and visual communication
Definition of cross-media
Ethical behaviour simply means be honest
Introduction and job history
Meanings of visual communication (for me)
Media for social change
Reflections on media and how visual communication can change society
Some rules and some mistakes
Teaching glocal design / eco-social design
The different backgrounds that make me a visual communication teacher / designer
Sibylle Kurz
Different occasions to present your project = different pitchings
How I deal with people
The importance (and the dangers) of feedbacks
What is “pitching”?
Believe in your ideas
Developing your pitching skills
It is important to believe in your idea
Mike Lerner
Creating universal stories for all audiences
Does the rise of the digital market really impact my film?
Every film is different, and every film needs a different financing strategy
Documentaries today
Finding an audience
The challenges of a producer
Chris Leslie
What I got out of ESoDoc
Chris Leslie
My experience at ESoDoc
Wendy Levy
Creative expression: finding inspiration in the differences
How NAMAC supports projects
If you want to change the world, you must change the stories first
My job and the mission of NAMAC
Matthieu Lietaert
Collaborative networks are the future!
Going hyperlocal to make concrete projects to change society
Internet is a tool to increase cooperation
Think global, act local
Test your ideas!
The Brussels Business
Webdocs: a survival guide for online filmmakers
Christine Loriol
How to prepare for pitching? Breath and communicate!
Introduction and job description
What is pitching?
Angelo Loy
Financing Participatory Video Projects
Satisfactions and disappointments
Working with NGOs
Raimo Lång
Freedom of narration in the documentary genre
Raimos vision for ESoDoc, storytelling, teamwork, truth
The future of documentary is emotional truth and complexity
ESoDoc is always about participants helping each other
ESoDoc provides a creative space to innovate storytelling
ESoDoc teaches a universal toolbox of dramaturgy
Finding motivation makes your story stronger
Finding new ideas for telling a story is a pleasure
How to fit all parts of a project into your story
Raimo Lang is the new head of study of ESoDoc
Telling stories about a complex world
The essence of what you learn at ESoDoc
Chances offered by the mew media
Differences between linear and transmedia projects
Ethical implications on approaching characters or difficulties
Keywords: cross thinking; dirty hands
Positive and negative mess
Reasons why I started doing new media projects
Role of digital gears in developing transmedia projects
Storytelling in transmedia
Subject and theme: the visible and the invisible sides of projects
The “bread hole” as a metaphor
The biggest satisfaction: find the core of a project
The user in transmedia projects
Three golden rules to make interesting cross-media projects
What is a transmedia project
Simon Løvind
Designing a system including the player
Designing systems makes you see systems
Fascination with the world of game design
How to transform documentary into a game
Surviving as indie game designer
What can a gamer teach documentarists
What games teach about reality
Fabio Mancini
Crossmedia and films: a slow journey
The market needs and international co-productions
Kelly Matheson
Ethic in filmmaking
Making films that create change
Rose McCausland
Building relationships with Participatory Video
Filmmaking and Participatory Video
What is Participatory Video?
Ondřej Moravec
How format affects impact
My views on the future of documentary
The documentary influence across the industry
What can be a “human rights” film and how we deal with impact campaigning
Matteo Moretti
Alternative funding: the “Valigia Blu” case study
Audiences on the web: two examples
Funding within public institutions vs independent journalists
Using the data in journalism: quantitative and qualitative data
Visual journalism vs data journalism
Visual journalism: the development process
A visual journalism project: People's Republic on Bolzano
Connections between design and documentary
Ethical implications start from the correct use of data
Interactivity in web based projects
My professional background allows me to became a generative designer
My teaching is web and motion design based on project
Three golden rules
Three mistakes to avoid
We need an interdisciplinary team for visual journalism projects
What's for me a cross-media project
Sarah Mosses
Business tools for an impact distribution campaign
The benefits of financing an impact marketing campaign
Define the target audience
Designing impact strategies: start from the essence of your project
Impact distribution strategy: the business plan
The '1-9-99' rule on audiences
The communication planning is the most important thing
The importance of strategic partnerships
An example of an excellent campaign: Virunga
Ethical approach to projects: we need to believe in them
Ethical implications
Golden rules for the impact producer
How I became an impact producer
Moving emotions in audience is the biggest satisfaction
My job
My only worry is my full email inbox …
Out of region impact of the market
Skills for impact producers
Strategies on distribution and marketing
The ideal team for a documentary with social impact
The role of impact producer
The role of impact producer (… for dummies :)
The role of impact producer in project development
Things to avoid for a successful campaign
We are looking for strong films for emotional projects
Caroline Mutz
(My) Biggest mistake
Artistic changes in documentary
Changes in documentary production
Golden rules for producers
Impressions on ESoDoc
My biggest satisfaction
The biggest problem
Being part of a community
Structuring an idea into a project
The sense of documentary making at ESoDoc
Freddy Neumann
Being a publisher is working as a strategic consultant
Creating an audience: start from the development stage!
The future of the documentary market: we need a new kind of storytelling
Nicolette Nol
Get a lot of expertise in your team
Julie Noon
Be prepared!
Being a woman filming in difficult situation
New storytelling vs. tradional storytelling
Joshua Oppenheimer
How I decide the shooting and film style
How I decide to make a film about Indonesia
Ideas and questions was emerging during the editing process of the films
The impact of The look of silence and The act of killing on the audience
Let's create the reality which is most insightful
Francesca Panetta
As a journalist I always make ethical decisions
Collaborations
Developing multimedia projects is a huge team work activity
From paper to digital media
How and why we finance our projects
How we develop an interactive project
Making sound an important part of contents description
My job history and description
My work as special project editor
My working team
Project life
Pros and cons working in new media
Recommendations: strong stories, do not overcomplicate, work in team, testing
Skills to become a special project editor
Social role and implications of interactive projects
The audience of the Guardian
The Guardian
The role of interactivity
Leena Pasanen
Are there financing possibilities for transmedia projects?
Changes in financing for documentary
Introduction and job description
The artistic way (for me) to make documentaries
The future for Dok Leipzig Festival
What are the changes in the documentary scene
Shreepali Patel
Diverse partnerships might lead to diverse funding
ESoDoc’s treasure: diversity
Story Lab: our mission and vision
The multi-modal model
Charlie Phillips
Crossmedia: is it really a must?
Crowdfunding: creating an audience, creating a distribution strategy
Funding in the UK
The changes in the audiovisual markets: where's the money now?
The key elements of a pitch
Understanding crowdfunding
Hanna Polak
Campaigning with your film
The impact of your film: a fine balance between winning and losing
The story is still the most important part of your project
You can be happy
Hugh Purcell
My “key elements” for a documentary
Pitching
BBC: how has it changed
The grammar of camera: how has it changed
Diego Quemada-Diez
“La Jaula de oro”
Liz Rosenthal
Adapting storytelling for different platforms
Engaging your audience on various platform
Introducing: Liz Rosenthal
Social stories and crossmedia: the essential approach
Fernanda Rossi
There are principles in storytelling, but no fixed formulas: dynamic storylines
Two stories model: plot-driven vs narrative. The story structure continuum
Two ways to see storytelling
We need to balance passion and intellect
Be ready to collaborate with a writer
Changes in productions
Ethical implications
For me there is only one rule: listen
How i became a story analyst
Introduction and job description
The pitfalls in projects
The way we can improve our projects with story analysis
Allow yourself to do it wrong
Pitching: there are no golden rules, but be ready to adapt yourself
Remember the last time you falled in love with your project
The atmosphere at ESoDoc
Bruno Smadja
Experimenting with digital media and the importance of public funding
The evolution of Cross Video Days
The role of TVs and the new digital world
Audrius Stonys
“The Bridges fo Time”: why do we do what we do
Curiosity is the keyword in documentary filmmaking
Growing in the Golden Age of Lithuanian cinema
Openness: from local to global
The uniqueness of different cinematic languages around the world
Cinematic language needs to change constantly
Audrius Stonys
Facing the market
My pitching experiences
What is filmmaking for me
Stefano Tealdi
A good pitch might not mean “a good film”
Training documentary professionals
Hook your funders...or die trying...
Producing a documentary film
Deliver your project with passion
Moderating the pitch
Social change and the market: the partnership between ESoDoc and Documentary in Europe
Paulina Tervo
Children access the 360 Life Stories from around the world to enhance their learning experience
Content strategy for immersive storytelling for school children
Democracy in storytelling working with local filmmakers
How interactive storytelling became the immersive learning platform Lyfta
How to submit an idea to Lyfta
Innovations in storytelling connecting with learning material to enhance school curricula
Jouth as an audience for documentaries, jouth documentaries
Lyfta: a learning platform to experience the world through life stoies for school children
The educational market as opposed to the documentary market
Working with Lyfta as filmmakers, training in 360 and commissioned projects
Florian Thalhofer
Cross-media is just a word
Interactivity in Korsakow software
My biggest problem
My biggest satisfaction
My motivation to start new projects is to discover the hidden side of things
Projects with challenges on the market
Storytelling is my interest
Tendency for the successful projects
The golden rules to create a Korsakow project
The Korsakow software
The market, from my point of view
Typical mistakes using the Korsakow software
Lena Thiele
Changing in the way of thinking projects
Digital storytelling
Financing strategies
How to start a transmedia project
Is it worth “going transmedia”? It depends from your goals
Technology as a tool to tell good stories
The changing media landscape
Developments of the market for transmedia projects
Differences between linear and transmedia projects
Frustrating moments: funding and expectations
Interdisciplinarity: skills for transmedia projects
Introducing ourself
Motivations push us to do transmedia projects
Our professional history
The need of marketing tools for web documentary
The process of developing a transmedia project
Three golden rules to develop transmedia projects
Three mistakes developing transmedia projects
User experience and contents leads us to develop interface as a tool
What is a transmedia project
What we do in our profession
Work on important topics in an interdisciplinary team: that are our satisfaction
Georg Tschurtschenthaler
"The Cleaners": a once-in-a-lifetime project
My professional path
The collaboration with online platform in a changing industry
The distribution strategy of "The Cleaners"
The future is a fight for talents and new forms of collaboration
Working in a changing market: broadcasters, cinema and digital market
Danielle Turkov
Everything you do with film is politics
Impact production today
To achieve impact you need collaboration
What makes a good impact film?
Marek Tuszynski
Create engagement
Finding stories in data sets
How to interest audience in your topic
Narratives without protagonists to explain complex topics
Presentation Marek Tuszynski and Tactical Tech
Tachtical Tech mission and goals
What is Tachtical Tech
Esther Van Messel
First Hand Film – describing my Job
How we find projects
Our working process
What does it means for documentary the development of the new media
Nicole Van Schaik
Films do generate impact!
New funding schemes
Shifting to foundations
Different format for different use
Introducing “GoodPitch”
Iikka Vehkalahti
Take the risk!
Think global, think universal
Emily Verellen
The Fledgling Fund: what are we looking for
Moniek Wester Keegstra
The importance of working in team
Robert West
Connecting filmmakers and NGOs
Funding documentary films
Working on a distribution strategy
Erik Winker
How to think about producing a project
Motivation for producing
Production company corso film
The ethics of documentary filmmaking
The future of creative documentary
Three things you need as a producer
What Erik Winker does
Work in different segments of documentary market
Margje de Koning
Difficult moments with filmmakers as Commissioning Editor: some useful advises
Distribution on many platform can help to get impact and financing for the film
Program streams in Dutch Public Broadcasting
Type of documentaries we are looking for
What is leak in the documentary productions
Fany de la Chica
Connecting with the audiovisual industry at ESoDoc
Focusing on developing your project at ESoDoc
Corinne van Egeraat
Impact and participatory video
Respect, time and immagination
Maarten van Rouveroy
From “news packages” to “creative productions”
Greenpeace's film units
Targeting your audience
"Riot": an immersive project using facial recognition technology and 360° sound
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