Metcalf Institute on LinkedIn: L.A. Times and Sypher Studios to Premiere Environmental Documentary… (2024)

On Sunday, the documentary 20 Days In Mariupol won the academy award for best feature length documentary at the 2024 Oscars. This week on LinkedIn I am sharing 12 lessons about the craft of documentary filmmaking to be learned from this film, which can help us all take our work to the next level. See the full list on my Youtube Channel!LESSON 5 - Shooting for news and shooting for documentary is different.As it dawned on director/cinematographer Mstyslav Chernov that his footage could make for a documentary, he had to shoot differently. In general, when you shoot for news, you shoot much shorter shots. A scene here, a scene there. And especially when you’re sending dispatches, they don’t really need to connect in any way. And the main question you are asking in news is, “what is happening?” When you’re working on a documentary, you film a lot more and your coverage is a lot wider. You have to make sure that your scenes are connected and that there are transitions. And the kinds of questions you ask people are different. It’s not just about what is happening, but it’s also about what people are going through. Their feelings, their emotions, and the context of their lives. That’s not usually what news has time for, but thankfully, documentary does. LESSON 5 - You don’t always have to sanitize your footage.This documentary is heavy. It is very intense. It is unflinching in its depiction of war and atrocities. Anytime I see a film like this, I just know that there were long discussions in the edit room about what images to show and what not to show. And in my research for this video I found a quote from Chernov where he shared his perspective. He said, “It is crucially important for the war coverage not to be sanitized in any way because if people see only, let's say, a light version of the events, they tend to accept war, and it's just unacceptable. We didn't sanitize anything when we were editing.” The lesson for all of us filmmakers is to not shy away from documenting the hard moments. The moments that may really challenge the viewer or make them uncomfortable. When you are making your decisions in the edit, think about the function of those moments in your film. Is it purely a shock factor? Or is it an undeniable reality that leads to a more honest telling of your story?Stay tuned here for more lessons from this Oscar winning documentary! #documentary #filmmaking #documentaryfilm

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A year ago we finished our documentary.A year later, life remains the same except for our skin and our bellies. If anything has changed besides our external appearance, it is the way we see things. "Alaska Denali The Last Frontier" is a movie, and so what? There are so many movies out there, and many more will come. Numerous documentaries have been made, and many more will be made. The viewer learns to relate to certain values and ideals that a movie touches upon when watching it. If the film manages to stay with them amidst all the fast and infinite information they receive daily, they might label it "good," even if they can't precisely define why. After all, no one asked them to justify why they like the movie. They watched it, felt something, and the next day discussed it either with themselves or someone else. Over time, the viewer faced events somewhat similar to those in the film they watched and might have recalled a scene from that "nice" movie that resembled a real-life event—or maybe not. Either way, something stays with you from everything you do or see in your life.Like all of you, I face daily challenges in all aspects, and often, I remember the last phrase Kostas Maragos said right before the scene faded out in the editing room and the movie ended: "After all, at some point, we all have to climb a difficult mountain." Of course, I am not an objective judge because, like many others, I made the movie, so it is impossible for something not to stick with me after watching it repeatedly until we finally said it was good enough to stop. No, it is certainly not possible; some images and phrases are etched in my mind.Because I've spoken a lot once again, where I wanted to conclude is that, for me, it doesn't matter if you are a producer, director, 3D artist, cameraman, receiver, transmitter, or anything else. What matters is that whatever you do in your life has an impact, positive or negative. For most of the documentary team, I want to believe that what we did had a positive impact on our lives, and maybe I want to believe this so I don't admit that some mistakes were made along with the right decisions. I may not be so objective, but after a year, I am happy.Our documentary hasn't stopped its journey yet through international film festivals, and we eagerly await its return. However it returns, we will love it because it is our child, and the journey is what matters, not the destination. I hope that when it returns, you will love it too because it has been through a lot out there.I always thank God for giving me the daily opportunity to fight with challenges like this project.I also thank Kornilios Sarantioglou, Krinanthi Ioannidou, and the whole team that worked to achieve this result regardless of its quality.I warmly thank the 3D production team that stepped into the ring and fought like Mike Tyson until the bell rang.I hope I always have the opportunity to fight, to live, and to feel intensely.#neverstopdreaming

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On Sunday, the documentary 20 Days In Mariupol won the academy award for best feature length documentary at the 2024 Oscars. This week on LinkedIn I am sharing 12 lessons about the craft of documentary filmmaking to be learned from this film, which can help us all take our work to the next level. See the full list on my Youtube Channel!LESSON 2 - Find what you are drawn towardsWhen the war started in Ukraine, Chernov, a photographer, and a producer drove to Mariupol when everyone who could was getting out.They stayed inside the siege for nearly three weeks, until the very last moments that they could. Now I know it can be difficult to relate our films to those of war correspondents, but stay with me. This team was drawn towards this story when everyone else was moving away from it. Their experience as conflict reporters, their Ukrainian heritage, their connections on the ground.. All of these led them where no one else was going. Therefore, they were able to tell a story that no one else could tell. The lesson for us is to think about what stories we are drawn towards that most people turn away from? Because that can lead us to truly unique stories that we are best suited to tell. And it doesn’t always have to be dark or scary. Maybe you are obsessed with stand up comedy, and while most filmmakers don’t want to go on the road with a comic, filming late night bar sets while they are on the come up, maybe that fires you up. So notice what you’re drawn towards that other people turn away from.LESSON 3 - You don’t have to know what final form your story will take before you begin. Just start.When Chernov started filming in Mariupol, he didn’t go into it thinking he was going to make a documentary. He was doing so as an AP journalist, gathering news footage and making news dispatches that were distributed across the world. He only realized that there might be a longer form story when a maternity hospital was bombed and the moment felt so symbolic that dispatches couldn’t fully capture the moment. But still, it wasn’t until Chernov was able to escape the city with 30 hours of footage filmed — of which only 40 minutes had been published, that he realized, oh wait, I may actually have a film here. So with whatever project you are working on, don’t worry if you aren’t sure what it is yet. Whether it’s a short, a series, a feature, or anything else. Sometimes you just have to start and stay open to what the story turns into.Stay tuned here for more lessons from this Oscar winning documentary! #documentary #filmmaking #documentaryfilm

Ted Alkemade is the director behind 'Thunderdome Never Dies,' a documentary that earned 'Crystal Film' status in the Netherlands. Ted's talent isn't just limited to documentaries; he also excels in commercial directing, where his human-centric approach and deep connection to his subjects stand out. We spoke with Ted about the artistry of documentary filmmaking, his working methods, and how his experiences influence his commercial work.💬 What is it about documentary filmmaking that you enjoy so much?“Creating a documentary feels like sculpting. It’s very much in the moment. You start with a vision of the final product and all the conceptual ingredients, then you chip away everything that’s noise. You mold the story in an iterative and intuitive way until the story tells you it’s finished. That journey is addictive.”💬 Do you have a personal method that helps you in the process? How would you describe ‘your way’ of working?“I stay very close to the research and deeply connected to the main characters, even without the camera. Additionally, I like to be able to explain the concept of the production in one sentence. This helps me always remember the power of the basic idea, especially when deviations threaten to creep in.”💬 What was it like to make a docu-series for the Ministry of Defence?“In the preliminary interviews and casting with the participants, I discovered a layer of vulnerability within this alpha world that felt very genuine. The cliché image of camaraderie gained much more depth when I truly spoke with the military personnel. It felt very urgent and not staged. That eye-opener became a goal for me to share with others through these films.”💬 How do you ensure that everyone is so open in front of the camera? The world of the armed forces seems like a closed world, especially when it comes to emotions.“Entering a room with true interest in others is half the work, then I really listen closely to the things they have to say, big or small. Try to place yourself in their perspective. But, in this case, I wanted the so-called buddies to interview each other. After all, what’s more honest than talking about friendship, when you have to ask it to your best friend yourself? I provided only a bit of direction.”💬 Does making documentaries influence your process as a commercial director?“Yes, in part by being very involved at the script level to ensure that the simplicity of a certain idea can be captured in a spontaneous environment where the people in front of the lens feel comfortable. I try to maintain that energy on set. It’s taught me that this approach yields the most gifts, which I can then continue to sculpt with.”💬 If you had to choose: would you make commercials or documentaries?"Haha, that's an impossible dilemma. I wouldn't give up either of them for anything!"/ produced by Big Shots/ agency SteamTalmark/ creative David van Hoorn

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Title: We Filmed 20+ Interviews for This Documentary | Built to Last Documentary | Behind The ScenesDescription:Go behind the scenes with Two Stories Media in "We Filmed 20+ Interviews for This Documentary | Built to Last Documentary | Behind The Scenes." Dive into the intricate process of creating a compelling documentary as we share the experiences, challenges, and insights gained from conducting over 20 interviews with industry experts, thought leaders, and everyday heroes.Whether you're a documentary enthusiast, an aspiring filmmaker, or simply curious about the behind-the-scenes magic of documentary production, this video offers a fascinating glimpse into the hard work and passion that goes into telling stories that matter.Subscribe to our channel and hit the bell icon to get more updates and behind-the-scenes content from our documentary projects and other filmmaking adventures at Two Stories Media.🔔 Join us on the journey of bringing the "Built to Last" documentary to life and discover the art and effort of filming 20+ impactful interviews. Experience firsthand how each conversation contributes to a larger narrative designed to engage, inform, and inspire.We hope you’re enjoying this type of content from us! We’ve got a ton more coming your way. We’ll release videos every Wednesday at 3pm, and bonus content coming out at the best times for you!We’d love if you hit that big red button 🔴 and subscribe! If you’re really loving us then smash the 🛎 to get notifications every time we drop a new video!And as always leave us comments on the types of videos you want to see next from us. Need a commercial? Visit our website and bring your story to life: https://lnkd.in/eqiK4d23 We work all over the country (United States) to bring everyone's story to life! Looking to learn more about film making and production in general? Make sure you’re subscribed to hear our professional team share their how-to’s, things not to do, best practices, and more!

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In the fast-evolving digital age, where misinformation can easily spread, documentary filmmakers bear a responsibility to uphold the integrity of their narratives. By cross-checking facts with firsthand witnesses, they not only preserve the truth but also honour the people and stories that have shaped history.In documentary filmmaking, authenticity is paramount, especially when portraying historical eras or influential individuals. Relying solely on secondary sources like archives, books, or previous studies, though informative, often falls short of capturing the nuances and personal experiences that only firsthand witnesses can provide. Cross-checking facts with individuals who directly witnessed the events or knew the person in focus adds layers of accuracy, emotional depth, and human perspective that cannot be replicated otherwise.Firsthand witnesses offer insights that can deepen the documentary's narrative, helping to avoid oversimplified or one-dimensional storytelling. These individuals often recall specific details, subtle emotions, and unique personal anecdotes that are not found in written records. For example, someone who personally interacted with a historical figure might share intimate details that reveal aspects of their personality, work ethic, or beliefs that no official biography can capture. Such contributions can help filmmakers craft a more authentic portrayal that resonates with audiences on a personal level.Memory can be fallible, and witness accounts may vary. Therefore, cross-checking with multiple sources is crucial to verify details and filter out inaccuracies or personal biases. Gathering perspectives from multiple witnesses allows filmmakers to present a balanced view, ensuring that a wide range of experiences and viewpoints are represented. This not only strengthens the documentary's credibility but also fosters trust with the audience, who rely on documentaries to provide an honest, well-rounded portrayal.A behind the scene photograph from my upcoming documentary film. More details coming on Film Karigar

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WE NEED MORE FEATURE FILMS AND LESS SERIES Filmmaker Mathew Zel has issued a compelling call to Zambian filmmakers, urging them to shift their focus towards producing more feature films and fewer series. Zel emphasizes that in a small industry like Zambia's, prioritizing feature films is crucial for fostering growth and expanding opportunities.The Zambian Film Industry, though small, is in need of abundant content. While series may seem appealing, Zel argues that focusing too heavily on them could impede the industry's progress, prolonging its development trajectory. By investing primarily in series production, filmmakers risk limiting opportunities for aspiring industry professionals and slowing down overall growth.Feature films, on the other hand, offer distinct advantages in the current market landscape. They are more readily marketable and serve as potent tools for promoting the Zambian film industry globally. A well-crafted feature film has the potential to attract attention and investment from international stakeholders, propelling the industry forward.Beyond economic considerations, feature films play a vital role in generating employment opportunities. Their production requires a diverse array of talents and skills, leading to job creation and economic empowerment within the community.Moreover, feature films have the unique ability to showcase Zambia's cultural heritage and diverse narratives to audiences worldwide. Through compelling storytelling, Zambian filmmakers can amplify their voices and contribute to global discussions on culture, identity, and humanity.Zel's call to prioritize feature films serves as a rallying cry for Zambian filmmakers to embrace the potential of this medium. Together, they can chart a path towards a vibrant and thriving film industry that celebrates Zambia's unique identity and contributes to its cultural legacy._____________Follow: Elias L. Mulenga Zambian Film Blogger, Film/Content ReviewerCreative Script Writer and Film Director, for more updates and insights on the vibrant Zambian film scene. 🎬✨

Film production is a paradox: a meticulously planned chaos, a controlled explosion of creativity. Take, for example, the iconic shooting of The Godfather. In one scene, as Marlon Brando's character was delivering a pivotal monologue, a stray cat wandered onto the set, seemingly disrupting the carefully orchestrated scene. Instead of chaos ensuing, director Francis Ford Coppola embraced the unexpected moment and seamlessly integrated the cat into the scene. This unplanned event added an extra layer of depth to the scene, highlighting the tension between Don Corleone's power and his vulnerability.Working with an actor like Marlon Brando, known for his idiosyncrasies and unpredictability, also illustrates the challenges of filmmaking. Brando's refusal to adhere strictly to scripts or direction often tested the patience of directors and crew. Yet within this struggle lay opportunities for innovation and collaboration. Through negotiation and compromise, filmmakers found ways to harness Brando's raw talent, resulting in performances that transcended scripted lines and touched the essence of humanity.In these instances, the paradox of filmmaking becomes apparent: despite meticulous planning, unforeseen disruptions and the complexity of human behaviour introduce an element of chaos into the process. Yet it's in this chaos that the true essence of creativity emerges, turning challenges into opportunities and elevating the art of filmmaking to new heights.

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How to Become a Movie Critichttps://ift.tt/A2WrJtHI don't know about you, but I spent the majority of my youth watching Siskel and Ebert, Leonard Maltin, and scanning IMDb to see what movies I should watch over the weekend. I would scan the Arts & Entertainment section of the Philadelphia Inquirer to see who got four stars and beg my parents to take me if what I wanted to see got a good write-up. Thanks to all that reading and watching, I learned a lot. Film criticism is not just fun to read, but it's an amazing skill to have, especially if you want to work in Hollywood. It can teach you how to speak about the things you like in films. You can learn lessons about what you would want to add to your films, and just have a conversation with people.We've covered some film theory on this site before, but today I want to focus on criticism. But how do you become a film critic? And how do you learn how to talk about films in an educated way when making an argument on whether or not it's good? Let's talk about it. Want to Learn How to Become a Movie Critic? Are you the person your friends go to before Rotten Tomatoes? Maybe a career in film criticism is right for your future.As we mentioned before, it’s not about “good” and “bad” but having a breadth of knowledge that allows you to compare a movie/TV show to the pantheon of entertainment that came before it. You have to analyze character and plot development, performance, cinematography, directing, editing, and writing. You can comment on how the lighting changes the tone. Or how the director’s control of the edit makes the movie too long, too short, or just right. Or you could even make a YouTube channel where you blow all that up and focus on nitpicks.Film criticism is really about trying to figure out if the film accomplishes what it set out to do.So where do you learn movie critic skills? You can develop them in college by taking courses on analysis in film and literature. You can even get a degree in journalism. If you don't want to make this your concentration in school, you can spend some time reading as many different critics as you can. No matter what, you need to learn to be a good communicator and have a natural curiosity about the world and work. Then, no matter if you got to school or not, you have to sit down and actually write some reviews. Take notes as you watch the films and really dig into the symbolism, meaning, and themes. Write an opening that draws them in and come to a conclusion that's fair and balanced. You should write lots of reviews, and if you are serious about becoming a critic, maybe start your own website or try to submit to magazines or newspapers that take them. Make sure you read the briefs from these sites so you know you're writing in the style accepted by them. As you get published or self-publish, you'll begin to get a portfolio that you can use to get other work. The Three Kinds of Movie Critics 1. Amateur An amateur cr...

There are endless ways to design your career as a documentary filmmaker. That’s why a set of “rules,” or principles to guide your decision making, can be helpful. This week on LinkedIn I am sharing 10 controversial rules of documentary filmmaking, according to master of the craft, Victor Kossakovsky, and responding to each RULE with my thoughts. 2 rules each day. Here we go on day 4!RULE #7: Shots are the basis of cinema. Remember that cinema was invented as one single shot – documentary, by the way – without any story. Or story was just inside that shot. Shots must first and foremost provide the viewers with new impressions that they never had before.This rule is about the beauty and meaning of a single frame, and how that frame makes you feel. When you think back to documentaries you’ve seen before, what is the first thing that comes to mind? Probably not a plot summary. It’s usually a single shot. A single moment that captured what that story was about. That is what we should be after when we are out filming.RULE #8: Story is important for documentary, but perception is even more important. Think, first, what the viewers will feel while seeing your shots. Then, form a dramatic structure of your film using the changes to their feelings.This is a great guide for editing. Don’t just think about story or plot. As you put together your story, constantly think about what an audience member is feeling at any given moment, and make sure you bring them on an emotional journey where they change over time.Stay tuned for more tips! #documentary #documentaryfilmmaking #filmmaking

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