For several days in November, the nation’s eyes were turned to Columbia, Missouri, a modest-sized, leafy town between St. Louis and Kansas City, and the home of the main campus of the University of Missouri. In response to several incidents of racist harassment on campus, which many black students viewed as merely the tip of the iceberg, a group called Concerned Student 1950 — a reference to the first year black students were admitted to the university — began a series of public demonstrations. Catalyzed by student Jonathan Butler’s hunger strike on November 3, and the football team’s threat to stop playing five days later, the president of the Missouri university system, Timothy Wolfe, resigned on November 9. As protestors celebrated their victory in a tent city on a university green, a secondary conflict arose between supporters of Concerned Student 1950 and members of the media, many of them students at the university.

As debates mushroomed in the news and on social media, a small group of student filmmakers began capturing the entire series of events from the inside. The first students in the Documentary Film sequence at the new Jonathan B. Murray Center for Documentary Journalism, studying under department director Stacey Woelfel and filmmaker Robert Greene (Actress), these junior-year students grabbed their cameras, gained access, and captured footage that no other outlet could, operating — and learning — utterly on the fly. Field of Vision spoke with the three credited directors of “Concerned Student 1950” — Varun Bajaj, Adam Dietrich, and Kellan Marvin — about the challenges of access, collaboration, emotional investment, and making a film about their complicated university community.

When did you start tracking the developing story on campus?

Varun Bajaj: We had all heard about the incident with Peyton Head, our student body president, being called a racial epithet on campus. We’d all heard about the swastika that was drawn in a bathroom, we’d heard about our LBC court — which is the Legion of Black Collegians — being berated with racial epithets by drunk men. And so there were all these things happening on campus, and I think people in the black community on campus were really getting fed up with what was going on. The protests started, and the rest of campus didn’t really start putting together that this was going to be something bigger until JB [Jonathan Butler] started his hunger strike.

Adam Dietrich: I remember it was Tuesday, November 3. Bill Ross, who worked on Western and 45365, was doing guest lectures in all of our classes that week. Stacey [Woelfel] brought up the hunger strike that had started a day earlier, [and he said] to Bill, “What would you do? How would you go about shooting something like this?” And [Bill] said, “I would literally get up out of class right now, go get a camera, and start shooting immediately.” So as soon as we were done with class, that’s exactly what I did. I grabbed Varun and we headed out toward the campsite. At first they were really apprehensive to let us do anything. They just brushed us off and said, “Here’s an email address, let us know later what you want to do and we’ll get back to you.” They really didn’t seem like they were going to give us access at all. So I spent the next 24 hours asking through friends of friends, looking for someone I knew that might be able to connect me with some of the people that were part of the original organizers of the protest. Finally I found a girl I work with who was able to send a text message to Jonathan Butler himself and say, “Hey these guys are serious and they’d probably do justice to the story and try to tell it right.”

Bajaj: Once Adam got the access through JB, they just opened up to us and allowed us kind of free reign. We just hung out at the campsite for a few days — we weren’t even really rolling, we were just meeting people. And from then on, I didn’t really have any problems with anyone. Everyone was just so welcoming and open once they realized that we weren’t just there to stick our cameras in their faces.

Did you discuss that specifically with them?

Bajaj: Yeah, they had conversations with us about how they felt more comfortable with us. And after a few days, they started to put up “No Media” signs at the campsite, until they just had us [around]. Then as things started to escalate and protests started to happen, they were giving us the protest routes to help us with our shooting. The daytime media wasn’t getting that — I think right off the bat everyone knew we were doing something longform, something deeper. They trusted us, and we are so grateful that they did. Because there’s no way we could have gotten the story without that.

Dietrich: It wasn’t so much a First Amendment approach that we took. They really understood that we’re not from some newspaper or website trying to get a few pictures to put on the internet and make a paycheck. They really understood that we were there to be there, to really absorb as much as we could. And then Kellan kind of took a different path.

Kellan Marvin: I was just there, camping out and going to prayer groups and everything. One night, everyone made Adam and Varun go home and actually get some sleep, so overnight I filmed some stuff. Then Adam approached me because he said they needed an editor because I guess have a reputation for that, and so I started filming with them more. And it was easy for me — people recognized me around camp. But there’s still so much footage of people coming up to us and being like, “Can you guys not be here with your camera?” And I’m like, “I’m with Adam.” And they’re like, “Oh! Adam. OK.”

You got some great footage, a lot of it at close range. Not only did you get access, you were able to capture the sort of intimate, close-up shots needed for this kind of storytelling. Did you have to negotiate that degree of proximity, or did it come naturally as events unfolded?

Dietrich: It was a bit more natural. Earlier on they’d come to us and say, “It’s really cool that you’re doing a documentary. What kind of stuff are you looking for?” Then [at other times people would say], “This is a really emotional time for a lot of us and we’re all probably going to be crying.” And we were very upfront, saying, “Well, if you’re crying, I’m going to bring the camera and put it in your face because those are moments we need to tell your story. But also, if you’re ever at a point where I’m in your face and you’re letting me film you crying, and you’re like, ‘This is too much, I just need a second,’ just say, ‘Adam, go away.’” And I’d turn the camera off and walk the other direction to let them have their time. I can only imagine how grueling some of these things were for them, emotionally and mentally. It was a combination of acquiring access for moments like that and also just being human.

Bajaj: We weren’t afraid to put our cameras down. We filmed a few prayer circles here and there, but there were other times when we joined in on the prayer circles, and times when we cried with them. And cried while we were shooting.

I don’t think there’s a right answer to this, but I’m curious about the degree to which you felt like you were participating in what was going on. You needed to be somewhat removed from it in order to do your job, but you’re also there as a person and fellow student.

Bajaj: I actually think I got a little bit too involved. I’m a student of color, I’m of Indian descent, but I don’t go through nearly the same things that the black students on our campus go through. But we were spending 18, 20 hours a day with them, so it was impossible, for me at least, to not consider myself part of the movement. But I did understand that I had a different role in the movement than anyone else because we were there as filmmakers. I still consider the people we met to be some of the greatest people I’ve met at Mizzou, and some are great friends now. For me, it got very, very personal.

Marvin: Actually, one of the original members of one-nine-five-oh is in sociology class with me. We would have conversations about this all the time, so I felt way more involved in all of the activism from the beginning, and kind of had a hard time when I was I expected to be a student journalist, because I saw how many journalists were out there just hoping it was their big break. Obviously, I’m never going to be able to entirely separate myself from how I feel about these issues, and the fact that I actually do want to participate in being part of the change, not just capturing it.

Dietrich: There were a few things that I did intentionally through the process to keep myself as objective as possible. You know, I’d put the camera down and hang out and sit with them and just be another student, and then I’d pick the camera up and use the lens as a shield between me and them, to keep me a little bit more objective. But it was really hard. There were a lot of times, especially early on, when it was really emotional. Varun and I would have to pull each other back. I’d see him crying and chanting into his microphone, and I’d go to him and say, “You know, take a second, go calm down so you can appropriately shoot.” And he’d do the same thing for me.

Bajaj: This was such a huge thing on campus. This involved a university president, the highest educator in our university system, so this consumed campus. I didn’t really get to see my friends, [but] when I did talk to them, like via text, I would say, “I can’t talk about anything other than one-nine-five-oh. Is this affecting you guys in the same way?” And everyone was like, “Yeah. No one is talking about anything but this.”

Lets shift over to another aspect of this, which I would imagine was a real challenge considering the personal and emotional toll this was taking on all of you. Amid the developing events, were you strategizing for shot making? Were you considering yourselves, like, camera one, camera two, and camera three — planning out how to cover events on particular days or during particular moments?

Dietrich: Very quickly, Varun and I got really good at talking without talking. We’d see each other in the middle of a crowd and give each other this little look or hand gesture. But we also planned things out beforehand. We established our main eight or 10 characters who were going to pull this thing through when we [got to] the editing process. Depending on the event that we were shooting, Varun would say, “OK, I’m going to take characters. Adam you’re going to take the crowd as a whole and shoot reaction-type stuff or large group shots.” And then when Kellan came on a little later in the process, we would put her on detail stuff — hands, leaves, tightly focused stuff. So we did a lot of talking about it, but it’s really hard to plan how to shoot a protest when they’re marching through campus and the entire thing is live and happening in the moment.

Bajaj: Adam’s great at finding the right people in a huge crowd and getting their eyes, getting what they’re feeling. Kellan is amazing at detail shots and inserts and things that are more metaphorical. For me, I was definitely not afraid to be up front, and to be in the rest of the media’s photographs, so I was inches from people’s faces while they were leading the protest. After a little while, I think all of us realized our strengths. But everything goes out the window once [the action] starts. Then we just do our best, and try to feel the moment.

Marvin: Yeah, I hate group projects, but this actually worked out really well.

Do you feel any anxiety about putting this out there now? A sense of responsibility because of the access that you received?

Dietrich: Definitely, there’s a big feeling of responsibility. Because at this point, I feel it’s our job to do a really good job of telling this story. And then there’s this kind of backhanded piece to it, where I’m a white guy and I don’t want my voice to speak louder than theirs, because that completely dilutes their message, you know? I don’t want this to be whitewashed in any way, I don’t want to be able to see our fingerprints on it very much. I want to tell their story the way they’ve been telling it, because that’s literally the point of their movement.

Marvin: My anxiety is whether or not it’s as clear as we think it is. I’m with my grandparents right now, and I’ve been having a lot of conversations about this, and no matter how clearly I think I’m putting everything, as black and white as I can make it, it’s still not changing minds, it’s still not changing hearts. And so I’m just concerned that we’re not doing as big of a favor as we would like to.

Bajaj: For me, the anxiety comes from the fact that they didn’t want the media there because they knew students were only there to get their big break, and now we’re putting our names on this project. That’s something I’ve had to grapple with every day while working on this. I still don’t know how to feel about that. But this is my role in the movement, getting this footage out there. I guess I feel, the word I would use is a little dirty, that we’re being interviewed right now rather than them. But that’s something that I’m just going to have to deal with.

Everything you’re working through sounds just like the issues at play for filmmakers who’ve made numerous documentaries — the logistical challenges, the personal struggles, the dynamism of collaboration, the anxieties over doing your subjects justice. Yet since all three of you are new to nonfiction filmmaking, what do you feel that you’ve learned? Are you different filmmakers than you were just a few weeks ago?

Dietrich: Every other project, even in the documentary class, has been four- or five-minute short pieces where I could really visualize what the end result was going to look like before I even shot anything. Then one night, Varun and I were unsure of ourselves — like really, really unsure of ourselves. It was the first night that national media had gotten on the scene and CNN was in town, and the New York Times was there, and we started to feel like small fish again.

Bajaj: It was when we found out about the football team [threatening to refuse to play]. We were just like, “What are we doing?”

Dietrich: Then we got on the phone with Robert [Greene] and he’s like, “You guys were stupid enough to pick up the camera and get started on this thing, so finish it.” And that was the thing that we needed — to understand that we didn’t know what we were getting into. Even though I thought I did, I truly had no idea, and to think that I would have some idea of what the outcome would be when I started was just ignorant of me. So I learned to take projects like this in bite-sized pieces, truly just one step, one day at a time. You know — let’s pick up the camera and figure this out. I’m going to shoot here, Kellan’s going to do this, Varun’s going to do that. To spend more time behind the camera, more time with subjects and people that we’re working with, more time working in a team. The kind of things they want to teach us in school, but at this point, I believe you can’t learn that stuff in a classroom, you have to just go out there and do it.

Marvin: There were two big things for me. The first one was — and this is such a cliché — I learned what I need to learn. I need to learn how to shoot like Varun and find the real action, and I need to learn from Adam how to get access to people who might not necessarily want to be on film. And the other thing for me was, before documentary was even an option at Mizzou, I was like, I guess I’ll just work at [local TV station] KMU and eventually go from investigative into documentary making. I spent a lot of time in that newsroom, which is a very stressful environment, but it’s also very routine. I guess my problem with it was that you never got to develop those [close] connections. But documentary is very different from journalism, and it’s kind of re-learning everything I’ve come to think about what capturing real life should be.

Bajaj: This was the hardest thing I’ve ever done in my entire life. They were grueling days — it was emotionally and physically exhausting. But I found my passion through this process. I didn’t know that I knew how to shoot. I found that out while I was out there. We started this program in August, four months ago. I had no idea what I was doing. I had taken one multimedia journalism class. I’d watched a bunch of documentaries and I’d gone to True/False [Film Fest], but I didn’t know it was something that I could actually do. Adam and I always talked about projects that we wanted to do, and they always seemed so huge and impossible, but now I know that they’re not going be impossible, they’re just going be very, very hard. But if you put your head down and work your ass off, it’s something that you can do. So for me, I have the confidence that I can be a part of something that can mean something. I mean, the story literally landed on our front door, and we just picked up our cameras and went.

IF/Then Shorts, in partnership with Hulu Documentary Films calls short-documentary filmmakers based in North America to take part in the Inaugural IF/Then x Hulu Short Documentary Lab. This lab will channel Hulu and IF/Then’s shared vision of creating a new pipeline of diverse talent and incubating strong voices who will be the next class of non-fiction storytellers.

Program Details:

Four filmmaking teams will be chosen to participate in a one-year lab focused on short-documentary production and career training. For the first six months, filmmakers will be individually mentored through production by IF/Then staff and take part in monthly virtual cohort trainings, consisting of keynotes from industry heavy-hitters and edit consultations. Upon rough cut of their projects, filmmakers will be invited to debut their works-in-progress to an invitation-only audience and receive feedback. For the remainder of the program, filmmakers will finalize their cuts and receive high-level festival and distribution strategy consultations, along with guidance creating their publicity materials, and pro-bono legal support. Hulu will have the right to review the projects for potential acquisition or further development.

Each team will receive a $25,000 grant to use for the production of their film.

This opportunity will be open to individuals living in/from North America, with an emphasis on Black and/or Indigenous filmmakers, people of color, women, LGBTQ+, recent immigrants, and individuals who identify as having a disability. We will welcome any and all stories from underrepresented voices, with a strong preference around subjects related to gender, the LGTBQ community or issues unique to the BIPOC community.

Project Eligibility:

  • In addition to the identity eligibility of the maker and the theme, eligible IF/Then Shorts projects must meet the following criteria:
  • Be an original short documentary with a final duration of 10-20 minutes
  • Be completed within six to nine months of receiving the IF/Then Shorts grant
  • Be factually accurate, follow best practices in documentary ethics, and be designed for a U.S. audience
  • Be driven by (a) compelling character(s), with access to the character(s) secured
  • Be presented in English or subtitled in English
  • Have no prior distribution attached and be able to participate in the IF/Then Shorts distribution initiative
  • All stories and storytellers coming from countries and territories in North America. This includes the United States and its territories (Puerto Rico, Guam, US Virgin Islands, Northern Mariana Islands, and American Samoa,) Canada, Greenland, Belize, Costa Rica, El Salvador, Honduras, Mexico, Nicaragua, Panama, and Venezuela, and countries in the Caribbean: Anguilla, Antigua and Barbuda, Aruba, The Bahamas, Barbados, Bermuda, Bonaire, British Virgin Islands, US Virgin Islands, Cayman Islands, Clipperton Island, Cuba, Curacao, Dominica, the Dominican Republic, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Montserrat, Saba, St. Andres and Providencia, Saint Barthélemy, Saint Kitts and Nevis, Saint Lucia, Saint Martin, Saint Pierre and Miquelon, Saint Vincent and the Grenadines, Sint Eustatius, Sint Maarten, Trinidad and Tobago, and Turks and Caicos Islands.


The application portal will open on January 15, 2021 and close at 11:59pm EST on Feb 15th.

  • January 15, 2021: Open call for IF/Then x Hulu Short Documentary Lab
  • March 31, 2021: Finalists announced
  • April 5, 2021: Virtual Program Kickoff


Submissions are now closed.

Please direct any questions regarding this application to

Starting July 22, IF/Then Shorts has a new home at Field of Vision. Joining Field of Vision will be IF/Then Shorts Program Director Chloe Gbai and Supervising Producer Caitlin Mae Burke. Founded in 2017 with support from the John D. and Catherine T. MacArthur Foundation, IF/Then Shorts is a fund and mentorship program that supports storytellers in breaking barriers to access, exposure, and sustainability in the media landscape. IF/Then works with creators who experience inequity based on factors such as race, gender, class, sexuality, ability, ethnicity, age, citizenship, and/or geography.

IF/Then Shorts taps into the need for broader geographical representation in the stories that get told through its regional pitch events. It holistically supports short documentary storytellers in their creation of compelling, character-led, community-inspired stories that embody the breadth and diversity of the people and places they represent.

The program addresses the imbalance of representation, perspective, power, compensation, and career longevity among independent filmmakers and media artists. IF/Then Shorts leverages access, expertise, network, and brand to address these challenges. Through grants, mentorship, industry connections, and professional development, IF/Then Shorts helps to ensure that storytellers from a multitude of backgrounds have access to the resources and tools they need to tell their stories, connect with audiences, and thrive in their careers. IF/Then Shorts was previously part of the Tribeca Film Institute, which is planning to pause operations indefinitely in September. "IF/Then Shorts is an incredible program, and one that’s vital to the field," said Charlotte Cook, Field of Vision's Co-Founder and Executive Producer. "We’re so glad that they can find their new home with Field of Vision. The program’s values align perfectly with Field of Vision, and further our overall commitment to shorts and advocating for filmmakers. Chloe and Caitlin are phenomenal, and I feel so lucky that they’ll be joining our team."

IF/Then Program Director Chloe Gbai said of the move: "We’re so excited that thanks to the MacArthur Foundation and Field of Vision we can keep this funding and development pipeline open to diverse, creative nonfiction talent past TFI’s pause this September. This program will have a new life and is ready to uplift the voices that we need to champion during these interesting times."

Supervising Producer Caitlin Mae Burke added: "As a former Field of Vision filmmaker myself, I know how beneficial it is to work with these trailblazers in the short documentary space. I'm overjoyed that all of our active projects and future supported filmmakers will benefit so immensely from this move, and we look forward to the tremendous growth potential for IF/Then possible under the Field of Vision umbrella." IF/Then is currently holding an open call for the North Shorts Grant and Fellowship, in partnership with Points North Institute, The Screening Room, Jigsaw Productions, and the LEF Foundation, for regional filmmakers in the American Northeast. About Chloe Gbai Chloe Gbai is the Director of IF/Then Shorts. Previously, as the POV Shorts and Streaming Producer, she launched POV Shorts, which earned POV its third documentary short Oscar® nomination, two News & Doc Emmy nominations and an IDA Awards nomination for Best Short Form Series.  She has previously worked at Teen Vogue and Viacom, as well as served on review panels and juries for the National Endowment for the Arts, Sheffield Doc/Fest, ITVS, IDA Awards, Black Public Media, Creative Capital, and various other film organizations. She is a member of Brown Girls Doc Mafia and a member-in-residence of the Meerkat Media Collective.

About Caitlin Mae Burke Caitlin Mae Burke is an Emmy-winning producer. Her films have screened and won awards at top tier festivals including Sundance, Berlinale, and Tribeca Film Festival and have been broadcast across the US and around the world. Her work has screened at MoMA, The Museum of the Moving Image, and in movie theaters internationally. She is an inaugural inductee to DOC NYC's "40 Under 40" and alumna of Berlinale Talents. IF/Then currently has funding opportunities available for filmmakers. Please find more information here.

Field of Vision has partnered with Doc Society and Sundance Institute to launch Independent Documentary: Filming in the Time of Corona, a new Risk Assessment Guide for independent documentary filmmakers who are considering starting or resuming production during the COVID-19 crisis and beyond.

Many filmmakers are asking themselves — and others in the documentary field — the big question: Should I be filming at all?

As our field discusses and debates this particular question — and its ethical and and public health implications — Field of Vision, Doc Society, Sundance Institute, and our co-signatories are offering a “living document” that provides guidelines, a checklist, and questions for independent documentary film teams to ask themselves, each other and their partners. It is our hope that this guide will help filmmakers make informed decisions and help keep everyone safe.

We’d like to acknowledge our gratitude to all of the the co-signatories of the Risk Assessment Guide, who helped consult on, and improve the guide: Asian American Documentary Network (ADoc), Asociación de Documentalistas de Puerto Rico (ADocPR), ACOS (A Culture Of Safety) Alliance, Ambulante, American Documentary/POV, Black Public Media, Brown Girls Doc Mafia, Center for Asian American Media (CAAM), Chicken & Egg, DOCUBOX, Impact Partners, Indian Documentary Foundation, Latino Public Broadcasting, National Association of Latino Producers (NALIP), Pacific Islanders in Communications, Perspective Fund, Scottish Documentary Institute, Topic, Vision Maker Media: Native Stories for Public Broadcasting, and others.

This is a rapidly changing situation as well as a long-term reality. Those of us in the documentary field will need to be mindful, flexible, and diligent as our risk assessment continues to evolve in order to keep not only our community safe but also the communities we collaborate with in the stories we tell. This new normal is unprecedented, but our documentary community is nothing if not committed to responding to this profoundly unique situation.

The guide will be updated as the situation develops and as we receive additional feedback from filmmakers and support organizations.

The final round of funding is now closed.

For this final round of funding, we will continue prioritizing providing support to filmmakers of color and filmmakers from other marginalized communities that have been disproportionately impacted by the COVID-19 pandemic.

Field of Vision and Topic Studios have created a $250,000 fund to provide grants for freelancers working in the Documentary field. The fund will distribute unrestricted grants of up to $2000 to support personal financial needs during the COVID19 pandemic to freelancers who have experienced hardship from loss of income or opportunity as a result of the pandemic

Dates and Deadlines


The fund will be open for applications from Wed April 8th from 9am ET until Friday April 10th at 6pm ET or until we reach 1,000 applications. You can find the link to the application at the bottom of this page.


The fund will be open for applications from May 6th from 9am ET until May 8th at 6pm ET or until we reach 750 applications.

Notification of grant approval will be within 20 days of the fund closing, and payments will be processed within 30 days of notification of a grant. June The fund will be open for a final round of applications from June 10th from 9am ET until June 12th at 6pm ET or until we reach 500 applications.


Be able to demonstrate work as a freelancer within the documentary field in roles such as:

- Directors - Producers (This includes Associate Producers) - DPs - Editors - Sound Recordists/Designers - Researchers - Assistants - Critics & Writers who have covered documentaries - Publicists

Other freelance roles will be accepted if they meet the rest of the criteria

Provide a link (examples - IMDB page, Film Review, Direct link to project) that shows professional work in the field.

The fund is eligible for artists internationally, however you must be able to receive funding electronically (we are not able to issue checks), and priority will be given to countries and regions of which there isn’t government freelance assistance that you are eligible for. If you have not been eligible for government assistance, please state that in your application.

Students who are currently enrolled are not eligible.

People who are currently in employment are not eligible.

Please note: We have made every effort to reduce the amount of information, paperwork and requirements for funding and have tried to make the fund as open and accessible as possible. We are largely operating on a trust-based system and really urge you to work with us on being able to maintain this. It’s extremely important to us to be able to get funding to the freelancers that need it the most. Please answer all questions thoroughly and accurately so that we can ensure the funds are allocated to help as many people in need as possible.

Information Needed:

- Demonstrated professional work within the field - Usual income source - Description of situation - Maximum amount requested - Minimum amount requested - What the funding would be used for - Location

Please note: It’s important to include a maximum and minimum amount requested. Also, please note that grants may be taxable as income under the law that applies to you. We will issue Form 1099s for grants of more than $600.

The Process

As always, it is important to us that filmmakers lead how we operate and respond, and so the process will begin with a blind review of applications by a panel of filmmakers and producers, with a simultaneous review by the Field of Vision and Topic Studios teams. Those recommendations will then provide the recommended list for funding, which will then be reviewed once more before contacting the fund recipients.

We will only be contacting those who have been allocated funding.

On receipt of the grant acceptance please expect up to 30 days to receive payment. In order to issue the grants we will need a W-9 or W8-BEN tax form and an invoice which includes wire transfer details.

UPDATE: Our first 200 meeting slots have been booked. However, you can still sign up for the waitlist at the links below as we work to add additional appointment times. Coming this spring, the Field of Vision team will again offer a virtual "office hours" service for the documentary community. As we’re in a moment of uncertainty, we want to make ourselves available to filmmakers in any way we can. We understand that the industry is experiencing a lot of upheaval, and that this is a particularly difficult time for freelancers and people working independently.

We will be allocating time every weekday to have video meetings and calls. We’ll be prioritizing filmmakers who’ve been affected by festival postponements and production changes, but will also be available to offer a range of mentorship and consultation around a variety of areas.

At Field of Vision we like filmmakers to lead and improve how we work. We were inspired by Jeanie Finlay, who has opened her time to mentoring after an upcoming film shoot had to be cancelled. Jeanie is working on a new film that we’re extremely honoured to be supporting. 

We are a small team and will try our best to make ourselves available to as many filmmakers and producers as possible. If any other members of our community would also like to donate their time, we are happy to facilitate this as well, so please feel free to reach out to us.

The areas which we would like to offer consultation on are below: 

  • General mentorship
  • Feedback on proposals and grant applications
  • Project Development
  • Online Distribution
  • Digital Engagement
  • Partnerships
  • Pitch Training
  • Editing
  • Technology & Digital Security
  • Distribution
  • Editorial Feedback
  • Festival Strategy
  • Career Guidance

This is not just open to filmmakers wanting to submit work for us to review, or filmmakers we have worked with before. If you feel you would benefit from time with our team on any project you’re working on please feel free to reach out. There are more details on how to take part below.



If you would like to have a virtual meeting about any of the above, please follow this link to book a time:

(We will also be adapting to demand, and will create a waitlist, and/or increase availability if needed.)

Submissions & Pitches

While we are still managing and prioritizing our regular submissions system, we would also like to make time for project and pitch meetings.

To sign up for a pitch meeting with us, please make sure you have submitted through our system prior to the meeting, using the link below:

Once you have submitted through our submissions form, please sign up for a meeting slot here. NB: We won’t be able to take any meetings around potential projects until you’ve submitted through the system. If you’re not ready to discuss a specific project, or are looking for more general advice, please use the first form.

Please bear with us as we begin rolling out our virtual office hours service. This initiative came together very quickly, so there may be hiccups. We just wanted to offer something to start. 

As we navigate these uncertain times, what is certain is that we are a strong community of creatives and storytellers. We have shown time and again how resourceful we are, how dedicated we are to our craft, art form and field, and how supportive we can be of each other. 

Please stay safe everyone, The Field of Vision Team


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Duterte’s Hell (8 min.)

Aaron Goodman and Luis Liwanag

Conditioned Response (6 min.)

Craig Atkinson and Laura Hartrick

Our 100 Days 4/7

Here I’ll Stay (10 min.)

Lorena Manríquez and Marlene McCurtis

Our 100 Days 3/7

An Uncertain Future (11 min.)

Chelsea Hernandez and Iliana Sosa

Our 100 Days 1/7

An Act of Worship (9 min.)

Sofian Khan and Nausheen Dadabhoy

The Moderators (20 min.)

Adrian Chen and Ciaran Cassidy

Clowns (7 min.)

Alex Kliment, Dana O'Keefe and Mike Tucker

Project X (10 min.)

Laura Poitras and Henrik Moltke

Hopewell (3 min.)

Lorena Manríquez

The Vote (12 min.)

Mila Aung-Thwin and Van Royko

Like (9 min.)

Garrett Bradley

Concerned Student 1950 (32 min.)

Adam Dietrich, Varun Bajaj and Kellan Marvin

Peace in the Valley (15 min.)

Michael Palmieri and Donal Mosher

Homeland is not a Series (7 min.)

Arabian Street Artists Heba Y. Amin, Caram Kapp and Don Karl aka Stone

#ThisIsACoup 4/4

Surrender or Die (16 min.)

Theopi Skarlatos and Paul Mason

Eric & “Anna” (14 min.)

Kelly Duane de la Vega and Katie Galloway

Birdie (14 min.)

Heloisa Passos

The Above (8 min.)

Kirsten Johnson