It can be tempting to pit the advances of technology against the integrity of humanity. To assert that the more reliant we are on data, computer programming or smart phone applications, the less we’re apt to see or empathize with one another, the less we’re capable of understanding what it means to live beyond the numbers. But looking at the work of Josh Begley, a Brooklyn-based data artist and web developer, you realize that such dichotomies don’t really hold. In fact, Begley’s work in programming, mapping, sorting, and accessing images through both open and surveillance-based sources often has a surprising and significant emotional effect. What’s clinical on the surface can be quite emotional in subtext. A mass accumulation of images doesn’t have to inure us to the risks and costs of living in the modern world, but can in fact convey those realities in new and compelling ways.

Accustomed to working with still images for publications such as Wired, The New York Times, The Atlantic, The Guardian, and New York Magazine, and for installations at the likes of the New Museum of Contemporary Art, his first film, Best of Luck With the Wall, debuts today on Field of Vision. As stated in the film and described in the following interview, Josh and a team of collaborators collected hundreds of thousands of satellite photographs of the border between the U.S. and Mexico and presented them as a single, continuous, often furiously active aerial tracking shot from the Pacific to the Gulf of Mexico. Reached by phone very shortly after completing the film, Begley talks about the complex process by which the information was gathered and presented, and how this collection of data can be a vital rebuttal to how this border has been discussed in contemporary politics.

Let’s start with where this idea came from. Considering the climate of the current U.S. presidential campaign, I would imagine it’s at least partly instigated by current events.

Begley: The project started from a really simple place. It was about looking. It was about a desire to understand the visual landscape that we are talking about when we talk about the southern border of the United States. What does the southern border of the United States actually look like? In that sense it was a very simple gesture—to try to "see" the border in aggregate.

Building off the word you just employed, how do you determine what gesture to employ to accomplish this?

Begley: It may not be the best way, but this is a snapshot of a process—of looking, and trying to understand the entire geography of the border. I think that there’s a way in which, with the rise of the Donald [Trump], that space is not even a geography anymore. That space has been reduced to metaphor. So the simplicity of the gesture is about insisting on that geography, and simply looking at this vast landscape that gets reduced to a sound bite about building a wall. And if you think about a wall, a wall is just a border brought into 3D relief. So tracing that entire space, as a viewer, allowed me to think in a little more detail about what that actually means.

What do you mean by snapshot of a process?

Begley: I can remember having a conversation with a friend of mine who is a professor at UC Berkeley, and we were talking about a few projects I’ve done—about visualizing prisons and military bases across the U.S.—and trying to think constellationally about some of these landscapes. And he said looking at the southern border might be a good place to start. So it’s a snapshot of a process because I couldn’t have told you [beforehand] that more than half of the southern border was river. I would have told you it was a very straight line. I think of myself as someone who spends a lot of time looking at maps and satellite imagery, and yet I had such a distorted sense of our southern border.

In what capacity are you often looking at satellite imagery and maps?

Begley: I do that to try and situate myself in the landscape. We live in a moment where we can pull out our phones and see through satellites, and what the maps application always does is puts us at the center of the map. And I think that there are some good things about that and some not so good things about that. So I look at maps as a way to orient myself. I also believe maps are instruments of power. Trying to understand the process that goes into making a map can be a useful entry point to try to think about power. And about what the nation state means.

How have you incorporated mapping in your other work?

Begley: I have a couple of projects that are smartphone centered. One of them is about mapping the geography of places around the world where the CIA carries out drone strikes—mostly in Pakistan, Yemen, and Somalia. Another was about looking at the geography of incarceration in the United States—there are more than 5,000 prisons—and trying to map all of them and see them through satellites. I currently have an app that is looking at the geography of police violence in the United States. Most of these apps are about creating a relationship between data and the body, where you can receive a notification every time something unsettling happens. What does that mean for the rest of your day? How do you live with that data—data about people? In some cases the work grows out of these questions, but in other cases the work really is about landscape.

And then Best of Luck With the Wall grew out of that?

Begley: This project is about the collapsing of time and space that can happen when you sequence a bunch of images together. Jonah Greenstein, the motion graphics editor, did a whole lot of work around really trying to compress distance as you travel across the border. When you get into New Mexico, the border kind of breaks apart in a way and that is its own manipulation of time, and it maps to the border fence. It’s not a contiguous line—it appears and disappears at different points throughout the landscape for various reasons. The film pulls apart the border and insists on it being a noncontiguous thing. People are in the desert right now walking around the fence. The fence is a digital fence, and there are blimps and drones and face recognition [applications] that create a digital wall. It’s one of the most surveilled spaces in the country. Some people would argue a physical wall isn’t even necessary. Part of the process of stringing this all together is meant to rhyme with the noncontiguous nature of the existing wall.

There’s the title card at the beginning and the title card at the end to let you know the concept and the terms of the piece. It’s a strong and simple idea and provocation. But it doesn’t give you a sense of what it’s like to watch it, because what unfolds is this mysterious, entrancing, illuminating film. How did it evolve aesthetically, sonically, and temporally?

Begley: I wrote a computer script to download all of the images in the first place, and part of my curiosity in doing that was seeing where there is imagery and where there is not. The highest resolution imagery tends to map to the most populated areas. Which is its own statement about the peculiarity of satellite imagery. Most of the images we have in the public domain, such as from Google Maps, are in response to someone already having purchased that imagery. There are sections in the rural parts of New Mexico and in Texas where the resolution of the imagery is actually really low. In some cases the speed of the film does map to the resolution of the images. Since the goal of the piece is to attempt to "see" in aggregate, in the editing we made the choice to skip through some of the lo-res images and focus in on the high-res images. It was about showing the differences in the landscape, and letting the entire border fly past you and see where your mind goes on that journey.

You’re defined by the length of the border, but you could approach it at any speed. Why six minutes? It’s almost like a song.

Begley: We captured the images at four different zoom levels from Google Maps, and Jonah was able to interpolate this collection of 50,000 images at each zoom level, essentially 200,000, to allow viewers at each different zoom level to travel the border in about two hours. To allow a seamless, slow crawl. There are certainly other lengths we were playing with. Some really long, or really short. This is probably the most compressed version that will exist but I think there also may be an installation or gallery version where we can be even more creative in terms of soundscapes. It would allow people to sit with the border even longer, and feel how long and vast this landscape is. This [version] is a response to where people’s attention spans are on the Internet—though most of the videos I watch are ten second Snapchats, so this may be long for some people.

In terms of the music, did Jace Clayton (DJ /rupture) record the piece live, or was it produced over time?

Begley: There were elements of the soundscape that he was playing live. He’s a sound artist who makes software and open-sources it, so much of his work enables him to do live manipulation in certain contexts. That’s one of the places he naturally gravitates towards.

It certainly comes across that way. Your whole team here is obviously far advanced in terms of utilizing modern technology to create what’s being visualized, but is what you’re doing related at all to the fundamental construction of cinematic images? Is one image replacing another and creating the illusion of motion?

Begley: It is. One of the things I was thinking about when I was first beginning this project was Rebecca Solnit’s River of Shadows, which is her book about Eadweard Muybridge. That was the first place my mind went. I have this methodology of pulling stills from these discrete geographical coordinates, and then I thread them together. It is a motion study of the border, in that sense. It really is comprised of still images sourced by Google Maps. This is my first film, and film is not always the first place I go. So thinking about animating static images and turning them into something that can be watched as a motion picture is really exciting.

It’s amazing how you can be working with this very current technology and yet in moving from static to moving images evoke the origins of cinema. Is each image distinct from another? Or do any of the images involve information from the previous image—meaning are the edges of frames overlapping, thus making the illusion of motion smoother?

Begley: That’s one of the things we experimented with early on: how far apart do the geographic coordinates need to be to create the sense of smooth motion. There are certainly versions of this that are much more jittery and there are versions that are too smooth—that was part of the learning process. If what I’m usually working with are these coordinates that map to latitudes and longitudes, how do I essentially do the math and create a straight line that feels like a straight line—as it would be if you were a bird or a satellite? Trying to reverse engineer the computer scripts was one of the interesting parts of the project.

Were you scrutinizing individual images one by one at any point?

Begley: Absolutely. Very early on, the project was going to be a collection of stills. Different parts of the border and looking at it through still images. Then it got to a point where we were getting closer and just decided to see if we could do the whole thing and make it worth watching. And then we went down that rabbit hole. It did begin as pulling one image at a time and playing with motion came last.

Do you feel compelled now to walk along this border in a physical way?

Begley: Very much so. It’s been a strange way to get to know a space. And there’s just so much you can never know from looking at satellite imagery. By definition it flattens and distorts things. A lot of folks who fly drones, for instance, think they know a space just from looking at it from above. I firmly reject that idea. The bird’s eye view is never what it means to be on the ground somewhere, or what it means to have meaningful relationships with people on the ground. I feel like I can understand the landscape from 30,000 feet, but it is not the same as spending time in a space. And there are many cities and towns along that border that I’d like to spend time in.

When documentary filmmakers make a film about a particular region, they often want to take the movie to the people of that region and have them see it, straight off. It would be fascinating to do the same with a film like this. You don’t have characters or subjects in the same way, but it would still be interesting for people along that border to see their space in this way.

Begley: Wherever you live, it appears so drastically different on satellite images than it appears in your mind or in your everyday experience. It does flatten and it does distort. The more I look at satellite imagery, the less interested in it I am. I know that’s a strange thing for someone like me to say, but it actually produces more distance between the viewer and viewed than it does closeness.

Does it grant a false intimacy?

Begley: I think so. This film frames the entire southern border in six minutes. You can never see the entire southern border in six minutes. But even in that small [timeframe], perhaps it’s more than what one sees when reading a headline about building a wall.

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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