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Dear Editor: I just read Alan Barker's article " Documentary Sound: Some Minimal Audiokits" (Winter 2017) with some interest. However, there are a few details not mentioned that should influence purchase decisions and subsequent use. The use of wireless microphones in the field is controversial and not necessarily recommended. In the United States, wireless mics are subject to the rules of FCC Part 90, and may require licensing, registration and frequency coordination—particularly in high-density urban areas where the risk of interference is high. If you are using a wireless mic in a rural

Dear Readers, As we go to press, Americans are facing the possibility of losing some of our most cherished and vital federal agencies—namely, the National Endowment for the Arts, the National Endowment for the Humanities, the Corporation for Public Broadcasting, PBS and the Institute for Museum and Library Sciences. Add to the mix the National Science Foundation, which has supported so many documentary projects over the years. America has never been quick to embrace a full-bodied cultural policy or infrastructure, despite the trove of traditions and innovations that Americans have unleashed on

This article is intended for documentary filmmakers who, for reasons of access or budget, work alone, or nearly so. Hiring a professional sound person is essential in many situations, but too often the presence of an indifferent technician is a liability. Non-technical filmmakers can master enough of the basics to get adequate sound. I've chosen the Sennheiser G3 to explain the steps in setting up a wireless system because it is the most common system in use at this level. Why not use the fully automatic units that are coming out, like the Sennheiser AVX? The AVX has a couple of fatal flaws

Things are rarely black and white in the realm of nonfiction, but when it comes to social justice in these United States, events can seem to align like pieces on a chess board. So, it may not come as a surprise when a racial divide is gradually revealed in Brett Story's latest documentary, The Prison in Twelve Landscapes. As for just when this revelation becomes apparent, and the effects of said revelation upon the viewing audience, well, answers may vary. Story and her team have crafted a film that allows its audience to learn about the industry of incarceration in the US without forcing

The It's All True Festival, Brazil's first documentary film festival, introduces a new variety of short and feature-length productions selected from recent titles of national and international filmmakers. Simultaneously taking place in São Paulo and Rio de Janeiro, the 22nd edition of the festival opened April 19 and continues through April 30, and is one of the few cultural events that doesn't seem to have been severely affected by the crises faced by the country over the last few years. That the festival has survived and even thrived is attributable to its two decades on the cinematic

Essential Doc Reads is a weekly feature in which the IDA staff recommends recent pieces about the documentary form and its processes. Here we feature think pieces and important news items from around the Internet, and articles from the Documentary magazine archive. We hope you enjoy! According to Anthony Kaufman at Indiewire, there has never been a more profitable time for documentaries. You could call it the "Netflix effect." With the rise of the global VOD giant and its increasingly voracious appetite for nonfiction films, the documentary industry is anticipating a busy spring season at the

The International Documentary Association (IDA) announced a newly formed Advisory Committee for the IDA Enterprise Documentary Fund comprised of eighteen industry experts. The committee will include, among others, award winning filmmakers Ted Braun, Katy Chevigny, Shayla Harris and Bernardo Ruiz. Supported by the John D. and Catherine T. MacArthur Foundation, IDA's Enterprise Documentary Fund will provide grants totaling $1 million annually for four years to support the production and development of documentary films taking on in-depth explorations of contemporary stories through a

With nearly 15 years under its belt, Columbia, Missouri's True/False Film Fest is officially a destination event in the world of nonfiction film, and it offers a newcomer like myself a bounty of expected pleasures: across-the-board, high-quality programming; a charming, walkable downtown; an easily navigable ticketing system; and an engaged and hospitable local community that includes over 900 enthusiastic volunteers. True/False's mission avoids the term "documentary," instead staking out the "permeable, in-between land" of "creative nonfiction." Every film screened at the fest presupposes the

Essential Doc Reads is a weekly feature in which the IDA staff recommends recent pieces about the documentary form and its processes. Here we feature think pieces and important news items from around the Internet, and articles from the Documentary magazine archive. We hope you enjoy! From IndieWire, three filmmakers of docs about the crisis in Syria weigh in about the recent bombings and attacks. "In Last Men in Aleppo, I documented the Assad attack on civilians in Aleppo from 2013 through 2016. Most of the victims were children and there were no serious actions to stop this. One of the

True South By Jon Else Illustrated. 404 pages. Viking. $30. A corollary of the old adage, "You can't tell a book by its cover," may be, "You can tell a book by the length of its subtitle." At 17 words, the subtitle of documentary filmmaker-turned-author Jon Else's indispensable and richly layered new book, True South, is a long one: Henry Hampton and "Eyes on the Prize," the Landmark Television Series That Reframed the Civil Rights Movement. But given the multiple tasks that Else has set out for himself, it is also justified. With True South, Else tells both the behind-the-scenes story of the