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Dustin Smith and Marjan Safinia probe James Moll on the DVD screeners sent out by the Academy.

What does it take to mount a successful Oscar® campaign, and how much does it cost? What does an award really mean for the future of your film and your career? And what do the new rules really mean for doc filmmakers?

Executive Director of Just Vision Ronit Avni speaks about how the funding process changes over time throughout the course of making your film.

On December 5, Nina Seavey, Director of the Documentary Center at George Washington University moderated a discussion with Avni, Angelica Das, Associate Director at the Center for Social Media, Adam J. Segal,founder/principal at the publicity agency The 2050 Group, and Robert West on the ways and means of producing documentary films with the potential to effect real change.

Doc U on the Road is made possible by a grant from the Academy of Motion Picture Arts and Sciences.

ISLAND OF LEMURS: MADAGASCAR director David Douglas tells KCRW's Matt Holzman about using the digital IMAX camera for this latest project.

"We knew that we just could not progress to a situation of telling stories with content with a camera that ran for three minutes and made all that noise. It has just a huge effect on the subject."

Executive Director of Working Films Robert West speaks about how to make difference and impact measurable when it comes to your documentary project.

On December 5, Nina Seavey, Director of the Documentary Center at George Washington University moderated a discussion with Ronit Avni, founder and Executive Director of Just Vision, Angelica Das, Associate Director at the Center for Social Media, Adam J. Segal,founder/principal at the publicity agency The 2050 Group, and Robert West on the ways and means of producing documentary films with the potential to effect real change.

Doc U on the Road is made possible by a grant from the Academy of Motion Picture Arts and Sciences.

IDA Board President Marjan Safinia asks AMPAS Executive Committee member of the Documentary branch James Moll what issues are being resolved by these changes in the rules.

Attorney and author Michael Donaldson gives a brief history of copyright law.

The Fair Use Doctrine allows for copyrighted materials to be used without permission or payment—under certain circumstances. But what are these circumstances? How is fair use determined? What is the impact of the Digital Millennium Copyright Act and its recent exemptions on documentary filmmaking? And how does using copyrighted material under Fair Use impact documentary filmmakers?

How do you find your story in hours of footage?

Filmmaker Michele Ohayon (S.O.S. / State of Security) talks about weeding through all of the stories you are presented with when shooting for a documentary. She points out that if you don't start with a story to tell, you enter into a project already completely lost. For her, finding the story is not about intellect, but about instinct and intuition.

Michèle Ohayon, an award winning writer, director and producer, has over fifteen years of professional filmmaking experience all over the world. Born in Casablanca and raised in Israel, she graduated from Tel Aviv University with a degree in Film/Television, with an emphasis on Directing. Ohayon produced, directed, and edited her first film "LO NAIM" at the age of nineteen. For her body of work, Ohayon received the 1996 and the 1998 Artist's Grant from the Los Angeles Cultural Affairs Department and was a finalist in the Chesterfield Writing Competition 2000. Ohayon is a founding board member of "Cinewomen" and an honorary board member of Colors United/Living Literature, as well as YKO. Her goal as filmmaker is to tell good, truthful stories about real people and to make films that open hearts and minds.

Lisa Leeman (writer/director of ONE LUCKY ELEPHANT) describes a moment from Werner Herzog's latest film Into the Abyss and his later reaction to that scene.

Composer Philip Glass talks about presenting the presenting the IDA Lifetime Achievement Award to Errol Morris, his working relationship with Morris, his career and more at the 2009 IDA Documentary Awards.

What's important to keep in mind when writing narration?

Listening to poetry will ensure that every word counts. The writer-producer of "The Celluloid Closet" also notes that spoken words will get the emphasis they need, rendering excessive adjectives unnecessary. Having rules for text and for narration can't hurt, either.

Filmmaker Roger Ross Williams (MUSIC BY PRUDENCE) say he didn't set out to make a film that would "change the world," but to make a film that was entertaining and that would tell a great story.

Independent producer Mitchell Block explains how fair use at times ignores the original creator of the material. How do we protect our subjects?

The Fair Use Doctrine allows for copyrighted materials to be used without permission or payment—under certain circumstances. But what are these circumstances? How is fair use determined? What is the impact of the Digital Millennium Copyright Act and its recent exemptions on documentary filmmaking? And how does using copyrighted material under Fair Use impact documentary filmmakers?

Filmmaker Joe Berlinger goes into the details of his documentary CRUDE. Footage from this film was subpoenaed by Chevron after a judge's ruling. With the help of the IDA's advocacy efforts, Mr. Berlinger now has full release to screen his film.

Rahdi Taylor of the Sundance Institute speaks about the inspiration she gets from working with filmmakers.

How can a filmmaker insure that their proposal gets to the top? What can you do to really stand out? Do you understand the distinction between distribution, outreach, and community engagement?

Attendees of Saturday, October 15's Doc U: Focus on Funding -- Getting Grants for Your Documentary were lucky enough to get the answers to these questions and more straight from the mouths of five documentary film funders from five leading organizations.

Director Ned McNeilage speaks to Steve Greene, Assistant Editor at Criticwire about his latest film SHOWFOLK and the Motion Picture Television Fund Home.

IDA Board Member Bob Niemack asks Oscar-nominated director/producer Danfung Dennis how Sgt. Nathan Harris's story became the center of the film.

Are you utilizing all the deep resources that fund givers have on their website? Are you following the fund on Facebook and Twitter? Emily Verellen of The Fledgling Fund emphasizes how important these vital resources can be when submitting a proposal.

How can a filmmaker insure that their proposal gets to the top? What can you do to really stand out? Do you understand the distinction between distribution, outreach, and community engagement?

Attendees of Saturday, October 15's Doc U: Focus on Funding -- Getting Grants for Your Documentary were lucky enough to get the answers to these questions and more straight from the mouths of five documentary film funders from five leading organizations.

John Lightfoot of the California Council for the Humanities speaks about what drives him to do the work that he does.

How can a filmmaker insure that their proposal gets to the top? What can you do to really stand out? Do you understand the distinction between distribution, outreach, and community engagement?

Attendees of Saturday, October 15's Doc U: Focus on Funding -- Getting Grants for Your Documentary were lucky enough to get the answers to these questions and more straight from the mouths of five documentary film funders from five leading organizations.

Lisa Chanoff of the Catapult Film Fund explains how much she loves coming in early on a project.

How can a filmmaker insure that their proposal gets to the top? What can you do to really stand out? Do you understand the distinction between distribution, outreach, and community engagement?

Attendees of Saturday, October 15's Doc U: Focus on Funding -- Getting Grants for Your Documentary were lucky enough to get the answers to these questions and more straight from the mouths of five documentary film funders from five leading organizations.

Many of us have incredible stories to tell from our personal and family lives. But few of us have the guts to lay ourselves and our loved ones bare in front of the camera's lens. Doug Block, acclaimed director of 51 BIRCH STREET and THE KIDS GROW UP, has made a career out of doing just that.

A self-shooter, who also appears in his own films, Doug does not shy away from exploring his family's stories, even when it becomes uncomfortable. His lyrical, beautiful cinematic films invite us all into his family's inner dialogue, and allow us to reflect to how closely they mirror our own.