r/documentaryfilmmaking

So now, some right leaning brainwashed "diggaj" will arrive and try to convince everyone that "tHiS iS amOvE iN tHe rIgHt DiReCtION" that this lady actually cares about "jUsTiCe" for her daughter, the victim of one of the most brutal rape murders btw. Yeah she definitely looks sad, definitely looks like she is fighting for justice, not for easy fame, money and power, sure.

Sure, she is not cashing in on her daughter's heinous crime, yes, totally.

Totally, bJ party is the ideal party for her cause. The way they curved the laws to bail Asaram and Ram Rahim, they will curb the laws to give her justice. Yes man, sure.

Lojjajonok, shameful and very very tragic, khub dukkhojonok bepar. Chee.

Let us all talk in hindi, give up on our favourite maach mangsho, make a mandir at Park Circus, definitely looks like Bengal's bright future.

Doc maker here. After years of renting/using them, I’m thinking of finally pulling the trigger on a lav set up and these are on sale for $599. Any reason to not move forward with analog in 2026? As well, can anyone speak to their experience moving from these to the new Sennheiser EW-DP ME 2? Weighing convenience of USB-C charging vs proven durability. These will primarily be for talking heads.

For the last couple of years I was making a lot of videos — semi-professional stuff.

The biggest pain in the ass was always finding good music and a soundtrack. I was absolutely shocked how low the average quality and creativity is, even on top platforms like Artlist, MusicBed or Epidemic Sound. It made my ears bleed.

And this is where things got interesting. I'm a musician and sound engineer, but didn't work in the industry for a while. I did some side hustles from time to time. So I did a test — made something for myself, then scored a couple of projects for videographers I knew. Both landed perfectly. One of those led to a high budget trailer. They took it exactly as it was.

Now here's why I'm writing this: I don't do it for money. I do it because I love great videos with perfectly fitted soundtracks. And what comes my way doesn't always tick all the boxes. I'm hungry for a good video that needs a soundtrack. I won't be throwing links to my profiles here or showing you anything I've done. If you have an interesting video, movie, trailer, clip, short — anything that needs a soundtrack, and you're done with what's available online — show it to me. Write me a message. I'll watch it, and if I feel it, we can talk.

It's not an offer, promotion or anything like that. I'm just a guy hungry for a good video adventure.

From the Movie “Poetry In Motion II”

G&E Productions

Haunting recollection -Alan Walowitz
From the Movie “Poetry In Motion II”
A G&E Production
Gregory Gioffi- Director

Hey r/FilmFestivals!

I’m Clint Bowie, Artistic Director of the New Orleans Film Society.

Every year I review hundreds and hundreds of films from around the world for the New Orleans Film Festival, French Film Festival and other NOFS programming initiatives. The New Orleans Film Festival is Oscar-qualifying in the Animated Short, Documentary Short, and Narrative Short categories. Last year we had 5 alums on the Oscar shortlist and one (The Devil is Busy) nominated for Best Documentary Short. We’ve also been on MovieMaker Magazine’s Top 50 Film Festivals Worth The Entry Fee for 15 years running!

Join me for an AMA on r/filmfestivals Wednesday, May 13 from 1–3 PM ET.

I’ll be talking about:

• what makes a submission stand out
• programming strategy
• festival trends
• navigating the festival circuit
• AI in film and film submissions
• dealing with rejection

As a thank-you to the community, we’ll also share an exclusive $10 FilmFreeway submission discount code during the AMA.

Looking forward to your questions and conversation.

From the Movie “Poetry In Motion II”

A G&E Productions flick

Tana Forte- thrashing…

Gregory Cioffi- Director

There's a UK show called The Assembly where celebrities get interviewed by a group of autistic and neurodivergent people. No pre-agreed questions, no research, no professional interviewer performance. And they have some of the most honest celebrity interview footage I've ever seen — far better than anything comparable on Netflix.

I've been trying to work out exactly why, not just the obvious fact of the audience being neurodivergent. It's that the interviewers don't perform the interviewer role — so the subject has nothing professional to mirror.

There's a psychological mechanism called communication accommodation that explains this: we match each other's register below conscious awareness. When a professional interviewer sits down, they set a register, and the subject matches it. They perform "documentary subject." They're not being deliberately dishonest — they're being accurate about what kind of interaction this is.

Curious how other doc filmmakers think about this — whether anyone has found a way to maintain enough technical control while genuinely stripping back the professional register. Particularly on non-observational shoots where you're still sitting across from someone in a formal setup. Full video here if it's useful: https://www.youtube.com/watch?v=_S8ckaU6Cxo

Hello everyone,

My name is Jaime Cornejo, and I'm the director-producer of my thesis documentary, RUSTED. I've been working on this project for the past 5 years, and I'm reaching the point where I need to enter post so I can deliver it by December 2026.

Rusted is a historical portrait of Holyoke—a city frozen in time by the brutal process of deindustrialization. Through the collective memory of its diverse immigrant working-class, the film reconstructs the 1960s and 1980s, when Holyoke’s factories went silent, and the community endured decades of economic decline, disinvestment, and stagnation that continue to this day. I'm trying to draw a direct connection between this collapse and the rise of neoliberal policies that left a path of destruction not only in Holyoke but throughout America's Rust Belt.

This is how the project unintentionally started

About five or six years ago, after finishing my B.A. in Global History at UMass Amherst, I began a historiography project for my Master’s application in Latin American history. I loved the research and reading, but writing was my biggest challenge. As someone with dyslexia, I struggled a lot with this part. English isn’t my first language—Spanish is—so I face these difficulties in both languages, which makes pursuing a career in History even harder.

At that time, I was working as a video editor, a skill I picked up at my first job in the US back in 1999. I started to ask myself why I should spend 5 to 7 years in a field that would force me to face my biggest struggle, when I could use my video editing experience to approach history in a new way. That’s when I thought about pursuing a Master’s in Film or Documentary. In February 2021, just after the pandemic, I found an opportunity at the Integrated Media Arts program at Hunter College (CUNY) in New York City.

I filled out the application forms, but I needed a portfolio. Mine was short because I didn’t have a photography project, which left a big gap. So I started looking for a good camera and began learning about different lenses and cameras.

I bought a used Canon 5D Mark III with a 50mm lens, got permission to enter an abandoned paper mill in Holyoke, and spent half a day walking through the factory taking pictures. By the end of the day, I had a huge collection of photos and found myself drawn not only to photography and cinematography, but also to Holyoke’s history. Without realizing it, the project that started my filmmaking career has now become its foundation. As I keep working on my thesis project, RUSTED, these early photos mean even more to me and help keep me connected to the story as I go through the emotional journey of making a documentary.

Now I’m sharing some of the photos I took. You might have seen a few of them in other posts on the Rusted website, but this is the first time I’m showing them in this way. I hope you enjoy them, and I’d love to hear your thoughts or comments.

Thank you!

The 16-year-old Bob Marley records that almost vanished. 🇯🇲

Most stories are lost through the sands of time, but thanks to Roger Steffens’ dedication to preserving Reggae history, we can still see these rare 1962 Studio One gems today, recorded two years before Bob Marley & The Wailers.

📽️ Get early access to the film and weekly archive stories: https://www.livicated.com

Hi all,

I have just recently started my YouTube channel focusing on true crime documentaries. I have posted a link to my most recent video to view at your discretion. Be warned to the content and images that are discussed in the video are NSFW. ALL feedback is welcome as I am completely new to this thing and I am older of age so I am not the best with technology.

Regards