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