Documentary Courses at Open City Docs School
Filmmaking, Film Theory and Radio Courses
Since 2014, Open City Docs School has been running short courses covering documentary filmmaking from all angles; from film theory lectures, practical camera training, film editing and workshops with award-winning documentarians.
Below you will find courses that we are currently taking booking for the courses listed below. Previous courses are also listed below and we anticipate that many of these will be running again.
If you would like to register interest or book a place on our current courses please email firstname.lastname@example.org
- Practical Documentary Filmmaking
Course Tutor: Pinny Grylls for ANTHGS20 and Dieter Deswarte for ANTHGS25
Course Dates: ANTHGS20 from the 12th of October 2018 and ANTHGS25 from the 10th of January 2019
The course is led by award-winning directors Sandhya Suri (I for India, Around India With A Movie Camera) and Dieter Deswarte (Saints) focuses on self-shooting skills, with a focus on the fundamentals of observational filming. Students will shoot, record sound, edit and direct their own film, learning to respond to an undirected actuality and structure their footage into a compelling film.
You will acquire the technical skills needed to complete a 10 minute video project using the cameras, workstations and facilities in the department's visual laboratory. Students will acquire practical, analytical and intellectual skills in using moving image and sound recording equipment and discover how new technologies create new methodologies. During the course students will examine and deploy a range of the technical, aesthetic, and representational dynamics involved in documentary construction. By doing so, participants will become more informed as well as practically experienced commentators on the 'truths', 'fictions', styles, genres, ethics and modes of filmmaking. You will recognise the potential of film to document research, and have explored issues of representation and audience reception.
Students undertaking the course in either term 1 or term 2, will have full access to the UCL Anthropology Audio Visual Lab with Premiere CC and Adobe Creative Suite enabled machines as well as professional camera kits (shared one between two students) for the duration of the course. Students will have a further five weeks at the end of the course to complete their film project.
You can see examples of films made by previous students at our testimonials page.
A reduced lab fee is required for those taking the course for UCL credit (please contact email@example.com for more details). This course is available to external candidates for £1600.
Please note participants are also required to bring two external hard-drives on the course. Cameras are shared with one other person. Students using UCL Anthropology cameras are responsible for any loss, damage or repair costs. Any failure to reimburse the department will result in a debt to UCL.
- Investigations And Appropriations In The Ethnographic And Documentary Film
Course Tutor: Helen De Witt
Course dates: 29th October to the 17th of December 2018
This short course will investigate strategies of exploration and representation of the physical world, the imaginary realm and the transient experience of human life through experimental, ethnographic and documentary film. From the earliest reels of the Lumiere Bros, cinema has sought to capture and, on occasion, provoke a human reaction to the environment. Sometimes naively observational and at others deliberately interventionist, filmmakers have provided vivid interpretations of the world and its people through numerous visual strategies from cinema verite to rich experimentations in the creation of self-image. The course will combine introductory lectures, screenings and group discussions.
Course leader Helen De Witt:
Helen de Witt is an independent lecturer and curator. She teaches at Birkbeck University of London, University of the Arts London, and the National Film and Television School. She is a programmer of the BFI London Film Festival Experimenta section for international artists’ moving image. Previously Helen was Head of Cinemas at the BFI, and BFI Festivals Producer for the BFI London Film Festival and BFI Flare. Helen is also a director of The Service Co-op, an independent production company dedicated to making films about social justice, the arts and creative collaborations. She has published on independent cinema and artists’ film.
Course Content over eight sessions:
1. Early ethnographic experiments in reality and transformation: From Lumiere Bros to Jean Rouch, Margaret Mead and Gregory Bateson via Dali and Deren.
2.Totalitarianism’s destructions and constructions: Vertov’s Kino Pravda, Pudovkin’s Storm Over Asia and Riefenstahl’s Olympiad
3. Whose life, whose voice? British documentary from the Griersons through Jill Craigie and Mary Field to Molly Dineen
4. Rivers of no return: The peoples of the Amazon and of the Danube through the lens of Ciro Guerra (Embrace of the Serpent) and Annik LeRoy (Vers Le Mer)
5. African heritages: post-colonial versions from Zora Neale Hurston and Ousmane Sembene to Raoul Peck and Yance Ford
6. Anthropology is where you find it: Frederick Wiseman’s Follies and Agnes Varda’s Gleaning
7. Aesthetic explorations from Chris Marker Sans Soleil to Harvard’s Sensory Ethnographic Lab’s Leviathan
8. Migrating bodies, changing identities: In This World (Michael Winterbottom); After Spring (Ellen Martinez, Steph Ching); Fire at Sea (Gianfranco Rosi); the Otolith Group
Course fees: £150 / £125 Student / £110 UCL Student
- Film Theory: Experimental Ethnographic and Documentary Films
Course Dates: TBC
This eight-week evening course, lead by TBC, provides opportunities to watch and discuss classic and experimental ethnographic and documentary films in order to critically engage with the politics of image making.
Starting from silent cinema of Robert Flaherty and use of montage of Russian filmmakers in the 1920s to visual video diaries in New York by Jonas Mekas, French cinéma vérité and indigenous filmmaking in Brazil, the course will give a historic overview on how the genre of ethnographic film has changed from seemingly scientific accounts to staged authenticity, fiction films and from experimental modes to collage, made out of found footage.
Below is an indication of what topics and films will be covered over the eight sessions:
- Silent cinema and early ethnographic film
- Peoples without Land: Pastoral Nomads in East Africa
- Jean Rouch and Cinéma Vérité
- Slow Cinema
- USA - Observational Mode and Visual Diaries
- Visual Anthropology and the City
- Experimental Cinema and the Essay Film
- Participatory Video Making
Maximum 25 Students
Price: £125/ £115 Student/ £105 UCL Student
- Shooting Documentary: An Introduction
Course Tutor: Isis Thompson
Course dates: Sat 30th June, Sat 7th July and Sat 14th July 2018
Over three Saturdays you will learn the camera skills essential to shooting in the documentary style. Through a series of camera exercises of increasing complexity you should will learn the following skills:
- hand held shooting technique using professional video camera
- using a tripod
- intelligent use of automatic controls
- getting good sound for interviews
- filming a sequence
- filming uncontrolled action
- filming for the edit
Isis will go though the editing process with Editor Helen Lawson who is cutting her current project. They will go though Isis' raw material and explain why certain choice were made in the brining together of a scene.
Course costs: £300 / £270 (student) / £250 (UCL student)
- Making Radio Documentary
Course Tutor: Chloe Hadjimatheou
Course Dates: Wednesday Evenings 7-9pm from 24th October -14th November 2018
This course is targeted towards people who want to make the move from video to radio documentaries, those who want to make their first ever documentary and people who are just passionate about listening to radio programmes. This course aims to give you the basic skills you need to get out there and start recording and putting together your own doc. We will study techniques and industry tips and listen to lots and lots of great radio. This is an opportunity to pitch ideas and develop them throughout the course. For those who want to have a go, there will be practical exercises to get you to lose your inhibitions and start recording.
The following topics are only indicative:
Where to go for ideas and inspiration
How to choose equipment
Structuring your doc
Editing using free programme Audacity
Where to take your ideas
Chole Hadjimatheou is an award-winning BBC reporter and producer whose work includes: Islamic State’s Most Wanted, Searching for Tobias, No Place to Die, America Revisited, Why Do People Hear Voices?
Maximum 12 participants
£180 / £160 for students / £140 for UCL students (Please note student places are limited)
'This was a brilliant introductory course to radio documentary making - informative, practical and inspiring. I'd highly recommend it.' - Ellen Wiles
- Documentary Storytelling
Course Tutor: Catalin Brylla
Course Dates: TBC
This course is targeted towards documentary practitioners who are either preparing, shooting or editing their documentary, scholars who want to analyse or write about documentaries, and people who are simply passionate about non-fiction films. Keeping the balance between the theory OF practice and the theory IN practice, each session will include discussions of how theoretical concepts relate to formal considerations in documentary filmmaking.
The following topics are only indicative:
- Documentary elements
- Soviet montage and conceptual watching
- The Poetic Documentary
- Spatial and emotional impact of shot sizes
- The immersive actuality of continuity
- The Observational Documentary
- Character profiling through interviews
- The function of cutaways
- The Interactive Documentary
- Participatory documentary formats
- Brecht and defamiliarising the audience
- The Reflexive Documentary
- The Hybrid Documentary
- Memory, identity and rhetoric through the archive
- The Expository Documentary
- Narrative structure: story and plot
- Narrative point-of-view and subjectivity
£150 / £140 for students / £130 for UCL students (Please note student places are limited)
- Documentary Concepts and research
Course Dates: 20th June to the 28th June 2018
This course is for documentary practitioners who want to critically frame their filmmaking in order to produce thought-provoking films that have social and cultural implications. It also addresses a broad range of conceptual methodologies that offer a good springboard for practice-led research (e.g. practice-based PhD, visual ethnography, experimental filmmaking, video art, etc.). Although no prerequisites are required, it is generally recommended that participants first do the “Documentary Storytelling” course. At the discretion of the tutor, participants can bring their own material for discussing their research.
Course Tutor: Dr. Catalin Brylla, practice-led film scholar and Senior Lecturer in Film at the University of West London
Indicative Course Outline:
Session 1: The Mediation of Space and Time
Observational documentary as a record of time
Memory as trace and event
Session 2: The Essay Film
Session 3: Narrative Voice and Embodied Experience
The formal, open and poetic voice
The performative documentary
Session 4: Representation
Social schemas and spectatorship
Case study: undoing disability stereotypes
- Summer Film School 2018
Dates Monday 2nd July - Friday 20th July
SUMMER FILM SCHOOL - Over Six Weeks
Course Dates: Monday 2nd July - Friday 20th July (Core Teaching) - Experience Level suggested - Beginner to intermediate.
Over the course of six weeks you will aim to complete a short documentary film of 5 to 10 minutes. The course is suitable for beginners who have had no formal filmmaking training, however it would also be beneficial for those wishing to expand their skills into the self-shooting mode or those who wish to brush up on their filmmaking skills.
In the first three weeks we will focus on building the technical and analytical skills needed to complete a documentary film project. Through a variety of a practical exercises you will learn to produce, direct, shoot and edit. These are the four core skills you need to master to become a successful self-shooting director. In addition we will have an in depth look at the art of filmmaking and you’ll have the chance to learn from some of the best in the field through several guest lectures.
After an intensive three week course you will then have three weeks to complete your final film. During this period you will have access to the equipment and edit suites available at Open City Documentary School at UCL. Your required commitment following the core course teaching is two one-on-one meetings in weeks four and five with the course tutors to support the making of your film. In the last week of your course you will screen your rough cut on one day and then on the last day, there will be a final screening where students can share their work on the big screen.The course leader for the 2018 edition will be Katharine Round and the senior tutor is Marc Isaacs.
Course costs: £1600
Please note that you will be required to bring two external hard-drives with you on the course. For further information on the course please visit Open City Docs School at UCL
- Introduction to 360° Spatial Audio Production
Course Tutor: Jack Reynolds
Course Dates:12th November to the 10th of December 2018
The course leader is Jack Reynolds MEng EEE IET. BBC R&D Interactive and Immersive content. Specialist 360 audio engineer at SohoVR, CEO of Reynolds Microphones, musician and sound designer. President of the UCL Audio Engineering Society.
The course will cover all practical and conceptual aspects of 360 spatial audio recording, mixing and exporting for delivery on multiple platforms such as Youtube, Facebook, and the GearVR. It will concentrate on sound for 360 video production and will appeal to those with some filmmaking knowledge or previous audio engineering knowledge who wish to explore the creating soundtracks for 360 videos.
Over the five weeks, you will learn practical techniques to capture spatial audio, Using industry standard tools including Sennheiser microphones, Zoom field recorders, the Facebook 360 Audio suite of audio tools and Reaper digital audio workstation. You will learn how to record, edit and mix ambisonic spatial audio then combine the finished mix with a 360 video, ready for delivery. The course will be part lecture, part practical exercises, with an emphasis on you being able to create a finished project as quickly as possible.
Week 1: Fundamental concepts of spatial audio
Week 2: Recording audio for 360 video
Week 3: Editing and manipulating 360 audio
Week 4: Spatial mixing, Immersive sound design, Music and Headlocked stereo
Week 5: Exporting, Encoding, and Muxing for Delivery
Course contents overview:
Fundamentals of spatial audio.
Basics of human hearing and psychoacoustics
Key differences between spatial and traditional audio
Ambisonics and other spatial formats
Learning how to identify ‘good’ and ‘bad’ spatial audio
Critical listening exercises and understanding what the medium can offer.
Using 360 Audio as a creative storytelling tool for increased immersion.
Learning outcomes: Familiarity with the basic concepts and advantages of spatial audio as well as commonly used terminology.
Materials: These discussions will be covered via slides that will be provided to people attending the course with further detail via links to reference resources including examples of various spatial audio formats.
Recording audio for 360 Video.
Onset, wild-track, and spatial sound design techniques (Sound Particles).
A-Format, and lapel radio microphones and using field recorders.
Spatial foley recording.
Use of voiceover and headlocked stereo (diegetic vs non-diegetic).
Learning outcomes: An understanding of the different approaches required for producing audio for 360 video, with some practical hands-on experience using industry standard 360 audio recording equipment.
Materials: Slides and reference resources will be provided as well as useful links which may further illustrate the topic
Introduction to editing spatial audio with Reaper (Digital Audio Workstation)
Introduction to the Facebook Audio360 Workstation suite of plugins and tools.
Learning outcomes: Familiarity with the layout and toolsets available within Reaper and the FB360 workstation, editing some basic audio examples to fit with a 360 video
Materials: Reaper sessions with preset layouts and example audio and video files will be provided, plus links to video tutorials and additional reference materials.
Spatial Mixing and automation in Reaper
Immersive sound design techniques and resources
Use of reverberation for increased realism
Basics of binaural headphone delivery and speaker arrays
Learning outcomes: mastering the basics of the more detailed controls within Reaper to automate an audio source to follow an object within a 360 video, implementing room simulation and gaining a deeper understanding of the signal flows required for ingesting, editing, spatialising and automating the movement of audio sources in the 360 soundfield.
Materials: Slides and video tutorials will be provided along with example Reaper session files.
Exporting master audio mixes from reaper.
Target output levels, optimisation, and good monitoring practices.
Encoding and muxing for multiple delivery platforms including Youtube, Facebook, and Samsung Gear VR
Uploading, sideloading and checking before final delivery.
Future developments and ways to stay current.
Slides and video tutorials will be provided as well as example movie files, audio files, and Reaper sessions
Learning outcomes: A finalised 3d audio mix will be joined with an example 360 video and loaded onto a Samsung gearVR and uploaded to Facebook and Youtube, showing the variations between the platforms and the considerations which must be taken into account during the creative process, in order for the finished product to perform optimally on the desired target platform. Limitations and some of the difficulties in delivering and publishing will be discussed and methods for keeping up with the fast pace of a newly developing field will be given.
Course costs: £250 / £225 for students / £200 for UCL students
- Introduction to Interactive VR 360° Film
Course dates: From the 29th of October
Course Tutor: Jeremiah Ambrose (M.Sc, M.Phil, BA (Hons))Working in the areas of digital art, media futures and experimental practice, Jeremiah’s research ideas explored in both his M.Sc in Interactive Digital Media and his M.Phil in Film Theory and History.
A quick overview and access to Gear 360 cameras will be provided on this course.
● (Session 1) Unity Basics
● (Session 2) Creating a 360° Film Scene
● (Session 3) Making an Interactive 360° Film Project 1 (Key Concepts)
● (Session 4) Making an Interactive 360° Film Project 2 (Practice)
● (Session 5) Building and Publishing an Interactive 360° Project
Course Contents Overview:
Session 1 - Unity Basics
● What is Unity?
● Main Windows
● Game Objects
● The Asset Store
● Publishing Builds
● Why Build 360° Film in Unity?
Learning outcomes: Familiarity with the basics of the Unity interface and common terms used in
relation to this software.
Materials: These discussions will be covered via slides that will be provided to people attending
Session 2 - Creating a 360° Film Scene
● Video Sphere - Importing a suitable sphere and positioning it for your scene.
● Shaders - Making a shader that will allow you to view inside of a sphere.
● Main camera - Explaining how the virtual camera becomes the user’s body.
● Video Player - Understanding how its components work and playing a scene.
Learning outcomes: Understanding the central components involved in building a scene and
applying these by creating your own 360° scene.
Materials: All of the relevant scripts will be provided along with comments for people to
understand how they work. These will be discussed to give a brief insight into programming
Session 3/4 - Making an Interactive 360° Film 1/2 (Key Concepts/Practice)
● Virtual Gaze Interaction - Define and explain in the context of this course.
● Ray Tracing - Brief overview to contextualise VGI.
● Mesh Colliders - Explain how these work and their role in relation to VGI.
● Scene Activation - Show how to trigger a scene change.
● Build settings - Covering how scenes need to be added to the build.
● VR Reticles - Defining and discussing different reticle approaches.
Learning outcomes: Introduction to the theory and practice of virtual gaze interaction and
applying it to a scene to create movement between a series of 360° videos. This will be done
with invisible object interaction, imported 3D models and discussed briefly in relation to script
Materials: You will be provided with a project folder that will include 360° videos to work with, but this could be combined with material shot from other workshops at UCL.
Session 5 - Building and Publishing an Interactive 360° Project
● Mapping a Scene
● Non-linear / Linear Narratives
● Platforms & Building
● VR Analytics
● Gear VR Publishing
● Key Processes and Troubleshooting for App Building
● OSIG and Application Signing
● Publishing Platforms
Learning outcomes: Either previous work or an example provided will be published as a Gear
VR app. This process will demonstrate the nuanced considerations and processes involved for
error checking and publishing an app this way. People will also be made aware of how the
exporting of an interactive project and its desired platform will impact the overall project design.
Critical considerations of the available platforms will also be introduced.
- Introduction to 360° Film Production Workflows
Course Dates: TBC
This course is targeted at people with at some experience in film post-production, preferably with Adobe Premiere or After Effects. The course covers the technical workflow for monoscopic 360 film, focusing on stitching (Autopano Video and Giga), editing (Adobe Premiere), and compositing (Adobe After Effects).
Course Tutor: Anatole Sloan who is the managing director of Zoya Films in Soho, London.
Introduction to 360 cameras
Stitching, parallax, and multiple cameras
Current technology and industry trends
Rules and grammar of VR filmmaking:
Basic elements of 360 storytelling
Blocking in 360
Camera movement and editing in 360
Working with 360 in Adobe Premiere
Intro to 360 post-production workflow
Working with 360 videos in Premiere
Working with ambisonic sound in Premiere
Adobe / Skybox VR effects and transitions
Basic masking in Premiere
Stitching 360 videos with Kolor Autopano
Ingesting and preparing footage
Principles of stitching
Creating and refining a stitch
Intro to 360 in After Effects
Premiere to After Effects workflow
Intro to After Effects tools and layout
Adobe / Skybox tools and workflow
Basic compositing for 360 in After Effects
Removing tripods and crew using masks and paint tools
Working with 2D assets in 360
Delivering 360 video for different platform
Working in the areas of digital art, media futures and experimental practice, Jeremiah’s research cements ideas explored in both his M.Sc in Interactive Digital Media and his M.Phil in Film Theory and History. Currently he is in the final stages of a practice-based PhD looking at emergent narratives and interaction aesthetics in VR and interactive 360° film at the University of Brighton. He has been involved with talks, workshops and installations at the Brighton Digital Festival, London Science Museum, VR Diversity Initiative and the British Science Festival, amongst others.
He also lectures on the University of Brighton’s MA in Digital Media Arts, guest lectures on UAL’s MA Games Design and tutors on the UCL Immersive Factual Storytelling (VR/AR) Studio on the Open City Docs MA Ethnographic & Documentary Film.
Catalin is a Senior Lecturer in Film at the University of West London and holds a doctorate in Media and Communications from Goldsmiths, University of London. His research aims for a pragmatic understanding of documentary spectatorship with regards to experience, empathy and narrative comprehension. In a larger context his work also advocates for the filmmaker’s understanding of how audio-visual and narrative representation impacts on society’s understanding of stereotyped groups, such as disabled people, women and African cultures.
He is currently editing two books, “Documentary and Dis/ability” (with Helen Hughes) and “Cognitive Theory in Documentary Film Studies” (with Mette Kramer). As a practice-led researcher he has just completed two feature documentaries about blindness and the everyday, and another feature documentary: “Zanzibar Soccer Dreams” (with Florence Ayisi), about Muslim women playing football.
Dieter is an award-winning documentary self-shooting filmmaker and editor based in London. His intimate approach leads to a low-intervention kind of filmmaking that captures human stories with sincerity, creativity and cinematic beauty. For several years now he has dedicated part of his practice to working with local and international charities and arts organisations, ranging from short documentaries on wildlife conservation projects in Zambia to short animations for research on disability related bullying in the UK.
In the past two years he has been working with another charity where he led several collaborative filmmaking projects alongside a number of community groups. He worked with youth offenders, parents who had their children removed from their care, women who suffered domestic and sexual violence, and young people in care. His personal work has gained him awards and screenings at several festivals and galleries worldwide. His most recent film “St Helena, An End to Isolation” was broadcast on BBC News. He also teaches on the MA in Ethnographic & Documentary film at UCL, leading Studio 3: Cinematic Documentary Storytelling.
Axel is a freelance Immersive audio designer and producer, who has worked on international 360 and VR projects. Some of his recent clients are Mixed Immersion, Visualise, Picture This Production, 1.618 digital, Pebble Studios and more. He is also currently tutoring at the UCL Immersive Factual Storytelling (VR/AR) Studio on the Open City Docs MA Ethnographic & Documentary Film.
Pinny Grylls is an award winning documentary filmmaker and
ethnographer. Her short documentary "Peter and Ben" has had over
350,000 views on YouTube and won a number of awards such as the FourDocs
Best Documentary, Best Documentary at Aspen Shorts Fest and The Grand Jury
Prize in SXSW Click. Her other much loved documentaries include "Mr and
Mrs Smith", "Who Do You Think You Were?" (Channel
4). Specialising in the Arts, Pinny has also made a variety of
commissioned documentaries for clients such as the Guardian, BBC, Channel 4,
The Arts Council, The National Theatre, The Royal Opera House, and the Tate, as
well as commercials for British Gas, Dove and Aldi.
For the last 10 years Pinny has also worked as a freelance video ethnographer for both Ipsos Mori and the U.K. government, filming everything to gypsies and travellers to young carers for studies that have influenced government and corporate polices. She was part of the pioneering and award-winning team at Ipsos Mori Ethnographic Centre for Excellence that developed the use of video for researching and understand human behaviour for both the public sector and commercial brands. Pinny also co-founded the Birds Eye View Film Festival in 2002 and is a published children's author.
Chloe is an award winning BBC reporter and audio producer whose work includes: “Islamic State’s Most Wanted”, “Searching for Tobias”, “No Place to Die”, “America Revisited”, “Why Do People Hear Voices?”
Marc has made more than 10 creative documentaries for the BBC and Channel 4. His films have won Grierson, Royal Television Society, and BAFTA awards as well as numerous international festival prizes. In 2006 he had a retrospective at the prestigious Lussas Documentary Film Festival in France and his work has been included in numerous documentary books and academic studies. Marc received an honorary doctorate from the University of East London for his documentary work. Marc is a guest tutor at the London Film School, the National Film and Television School and Royal Holloway University.
Helen is a London based filmmaker and editor creating observational documentaries about the arts industries. Her work has been broadcast on Channel 4, ITV & MTV, and featured on homepages at The Sun, The Telegraph, MySpace & Amazon. In 2011 Helen was commissioned to direct, shoot and edit “A Summer Hamlet”, a feature-length documentary following Shakespeare’s Globe’s pan-European tour of Hamlet. Other clients include Jessie J, Jamie Cullum, Florence and the Machine, Billy Idol, Historic Royal Palaces, Hampstead Theatre, Restorative Justice Council, Island Records, the Royal Shakespeare Company and Somerset House.
Nina is a composer and audio producer who has been writing music since she was a child. She has been commissioned to compose music for broadcasting, film and performing arts, and is also a published singer songwriter and composer. Since becoming a BBC Radio Drama Composer-in-Residence in 2003, she has also produced radio features for the BBC and international broadcasters (NPR, Radiolab, ABC Radio National Australia, CBC Canada), and in 2012 co-founded the co-operative production company Open Audio Ltd.
She is also a practitioner-researcher and senior lecturer in audio production at Bournemouth University, with a PhD by Publication titled "Music, Narrative, Voice and Presence: Revealing a composed feature methodology".
A well regarded audio specialist, Jack holds a MEng Electronic and Electrical Engineering qualification. He works in BBC R&D Interactive and Immersive Content department, and is a Specialist 360 audio engineer at SohoVR, the CEO of Reynolds Microphones, and a freelance musician and sound designer. He is also President of the UCL Audio Engineering Society.
Katharine is a filmmaker and artist with over nineteen years experience in creative documentary for broadcast and cinema. At the production company she runs with journalist and filmmaker Leah Borromeo, Disobedient, she has worked with the V&A, Netflix, Al Jazeera, The Guardian, and Forma Arts. Her work spans broad themes of economics, society and science, often told through the prism of psychology and character driven narratives.
She directed the critically-acclaimed “The Divide”, a feature length film on the psychological impact of income inequality, inspired by the book ‘The Spirit Level’, which received critical acclaim, a UK theatrical run and a release on Netflix, as well as short films for the BBC, Channel 4 and Discovery. She has had work exhibited at leading international film festivals in galleries and at the European Parliament. Katharine is also an accomplished producer and regularly gives masterclasses on film production. She is the co-founder of leading professional documentary filmmakers organisation Doc Heads, supporting documentary through curated events, masterclasses and commissioning opportunities.
Anatole is a co-founder and managing director at Zoya, a Soho based film production company specialising in creative advertising and digital content. I teach production and post-production of virtual reality (VR) documentary films, tutors on UCL’s VR Strand on the practice-based MA in Ethnographic and Documentary Film.
Sandhya is a British-Indian writer/director based in London. A graduate in pure mathematics, she received a scholarship to study documentary at The National Film and Television School. Her feature documentary “I For India” premiered in the World Competition section of the Sundance Film Festival, screened at over 20 international festivals and garnered several awards before being released theatrically to critical acclaim in the UK and the U.S. In 2016 she was selected for both the Sundance Screenwriters’ and Directors’ Lab with her first fiction feature “Santhosh:. Sandhya has recently completed her fiction short “The Field”, a Film London and Canal+ co-production produced by Thomas Bidegain and Balthazar de Ganay, and her latest feature documentary ”Around India With a Movie Camera” has just been released theatrically by the BFI.
Isis is a filmmaker and audio producer who has made work for BBC and Channel 4, and had films shown at festivals around the world. She also belongs to Kitchen Sink, an established filmmaking collective that seeks to support, provoke and encourage independent filmmakers.
Helen de Witt
Helen is an independent lecturer, writer and curator who teaches at Birkbeck University of London, University of the Arts London, and the National Film and Television School, amongst others. Previously, Helen was Head of Cinemas at the BFI, and BFI Festivals Producer for the BFI London Film Festival and BFI Flare. She's a programmer of the BFI London Film Festival Experimenta section for international artists’ moving image. She's also a director of The Service Co-op, an independent production company dedicated to making films about social justice, the arts and creative collaborations, and has written extensively on independent cinema and artists’ film.
Filmmaking Facilities & Services at UCL in the Open City Docs School
Cameras and Filming Equipment
Students on the MA Ethnographic and Documentary Film will be supplied with:
- Sony HXR-NX3 Full HD Camera Kit
- Sennheiser Radio Mic Kit
- Røde Shotgun Microphone
- SD Cards
- Lishuai Lighting Kit
- Professional Sony Headphones
- E-image tripod
Students on our short courses and term-length modules will be supplied with one of the following kits:
- Canon XF100 Camera Kit
- Panasonic HMC41E Camera Kit
(Please note: these kits are normally shared one between two)
We also have available for borrowing and rental:
- Canon 700D DSLR Camera Kits
- Additional Sennheiser Radio Mic Kits
- Additional Lishuai Lighting Kits
- Shotgun Microphones
- Boom Poles and XLR Cables
- SteadyWings Hand-Held Camera Mounts
- Monopods and Tripods
- Pistol Grips
- Other Equipment
Students on courses have access to:
- 60 iMac workstations complete with Adobe Creative Cloud suite
- A 52-inch flat screen playback monitor
Equipment (such as tripods and radio mics) can be booked out by any student taking our courses. They are subject to availability and should be booked at lest 48 hours in advance. The booking form can be found at: Equipment Hire Request Form.
Equipment can also be hired from the department at a cost by those not taking one of our courses. Please contact firstname.lastname@example.org for more details.
Video & DVD Library
The department holds a large collection of DVDs of important documentary films that students and researchers can borrow. We have a large number of streamable films that you can see online. The catalogue for this library is available at the Dept. of Anthropology reception desk.
The great majority of items in the library have been purchased with income raised through subscriptions and ‘laboratory fees' paid by students on the filmmaking masters modules. Without this income, the library would not exist. Therefore, all users, with the exception of students paying ‘laboratory fees', are asked to pay a subscription. Current rates are £25 for all terms, £15 for one term.
All subscribers will be asked to register by completing a simple form with contact and programme details, as appropriate. All subscribers are required to give an email address. Registration can only be done during normal office hours only.
& Opening Times
Dept. of Anthropology, Reception Desk, 14 Taviton Street, London W1.
The Library is only open during normal office hours. Loans are possible over the Easter and Christmas vacation, but the library is closed during the summer.
Users with borrowing rights are only allowed to check out 1 item at a time.
Items must be returned to the receptionist during working hours.
Items may be renewed (if there is no hold on it) but they must be renewed in person, during opening hours, with the item present.
Anyone who has an outstanding fine will not be allowed to check out another item until the fine has been paid.
Fines will be £5.00 per item per day. With 'days' counting as opening days.
Sharmin Ahammad - Summer Film School - 2017
UCL Summer School was a fantastic way of learning the skills of filmmaking and editing. You learn from incredibly inspiring, insightful and talented filmmakers and editors. I came away from the course with an enthusiasm and love for making films and equipped with the skills to do so.
Sarah Saey - Practical Documentary Filmmaking 2016
'Great introductory course that didn't seem to basic. While the course started from the basics the tutors didn't pitch it too low but instead really challenged us. Great value for money compared to other similar course.'
Here are examples of some of the films made during some of the Open City Docs School courses:
Love and Dementia by Dominic Sivyer
Dominic Sivyer’s grandparents are coming to terms with his grandfather’s early onset of vascular dementia and Alzheimer’s disease. His sense of humour remains intact, but the deterioration of his memory is putting a strain on their relationship. Sivyer’s honest account offers a glimpse into a 50-year marriage, filled with pain, love and laughter. Love and Dementia was acquired by The Guardian in 2016.
Dominic is now part of the prestigious BBC documentaries new directors initiative and has made an hour-long film for the BBC following on from his short film called Granddad, Dementia & Me which was broadcast in July 2017 on BBC One
Waste by Min Min Wu
Yanin Ma is an 11-year-old girl living with leukaemia. Her hometown in Shantou has become one of the most heavily polluted cities in the world and is now infamous for its electronic waste recycling industry. The family-run workshops that cover the city burn electronics sourced from all over the world in order to extract the rare metals they contain, a process that fills the atmosphere with dangerous toxins.
The film documents Yanin’s recovery having spent the last month undergoing chemotherapy in Guangzhou City. Yanin wants only to go home for the annual Children’s Day celebration, but some believe the pollution in her hometown could be the very cause of her illness.
Winner of the prestigious 2017 One World Media Student Award. Min Min is now working in Shanghai developing new projects.