Janet Hess is the series editor of NATURE, PBS’s prime time wildlife series, and the writer of Jacob Steinberg's SEASON OF THE OSPREY.  In conversation with Peter Hamilton, she recalls how she found her unique and enviable writing career. She goes on to describe her creative process, beginning with her deep immersion in the footage with her long time editor Jim Isler.  In the case of OSPREY, Janet marveled at Jacob's selections of extensive, never-before-seen sequences that ranged from intimate scenes of chick-rearing in the nest to drone-captured moments of migrating osprey in flight. Janet describes how her writing was inspired by Jacob's strong central story -- the tale of a champion osprey's successful breeding season on the Connecticut marsh.  NATURE is created by New York’s WNET Group and is celebrating its ever-popular 40th year.

Janet Hess, Writing Wildlife Stories for PBS NATURE

Natalie Cash is executive producer in charge of video production at the Wildlife Conservation Society.  She explores the art, the craft and the challenges of wildlife filmmaking with SEASON OF THE OSPREY director / cinematographer Jacob Steinberg. It was nine years since Natalie first met Jacob and heard his pitch for an osprey documentary, and she wonders what is so special about the species that it inspires such persistence by the filmmaker. Natalie asks Jacob how he captured the intimate, never-been-seen behavior by this famous raptor. They discuss the technical challenges of filming inside the nest, of how to capture astounding drone sequences of osprey in flight, and much, much more.  Headquartered at the world-famous Bronx Zoo, WCS saves wildlife and wild places in 14 priority regions, home to more than 50% of global biodiversity, with more staff in the field than any other conservation organization in the world. WCS also runs the largest system of urban zoological parks. SEASON OF THE OSPREY's October 27 U.S. PBS premiere is followed by international distribution managed by Blue Ant International.

Jacob Steinberg & WCS's Natalie Cash on the Art of Wildlife Filmmaking

James Manfull is the executive producer for Love Nature, and in a previous life, a producer for Nat Geo’s Natural History Unit.  He and Peter Hamilton answer the question: What does an executive producer for a wildlife film actually do?? James shares his day-to-day responsibilities-- from concept evaluation to delivery -- as the EP of Jacob Steinberg's SEASON OF THE OSPREY for PBS NATURE. He compares Osprey to more typical projects in his pipeline that are greenlit before substantial field cinematography begins.  James asks Peter how he became involved in Jacob’s film, and what were his key contributions as co- executive producer.  Read / listen to more at SeasonoftheOsprey.com and DocumentaryBusinees.com.

James Manfull: Executive Producing Wildlife Films

Veterans Peter Hamilton & Dan Salerno describe both the personal enjoyment and business benefits of attending in April the MIPTV / MIPDoc market & conference in Cannes - their first post-pandemic industry event. Topics include: The serendipity of how unexpected great meetings can happen at a market versus on Zooms calls that don't deliver the magic; Who attended and who didn't? Not the US streaming players but we noted the strong European presence; FAST (advertiser-supported)streaming services are rising and buying programs; Rights management is a huge challenge in the streaming era; Producers focus on aspirational Netflix but there are many more buyers of factual programs!; Wildlife remains vibrant... our OSPREY success story. We signed off exploring the Warner Bros Discovery merger, asking who will run the show?; David Zaslav's $230+ Mn compensation package: mass layoffs coming; and what it all might mean for producers.

MIPTV 2022: Serendipity in Cannes ... and more Takeaways with Dan Salerno

WENDY BERNFELD is a highly respected, veteran executive who has enjoyed industry-leading roles in film, PayTV, SVOD , international co-production and distribution.

She is the Founder and Managing Director of the Amsterdam-based RIGHTS STUFF CONSULTANCY. (www.Rights-Stuff.com)

In our absorbing conversation, she shares her detailed, practical knowledge about how to identify and sell to the many platforms that buy unscripted programs, and that aren't named NETFLIX, PRIME, DISNEY+, HBO MAX or APPLE TV+

Wendy Bernfeld: Streamers Outside the Big 5 Who Buy Documentaries

ED HERSH explores: What producers need to know about the changing world of true-crime storytelling. 

Ed is my fellow New York-based, senior consultant, and a veteran channel executive who spent years at A&E, Court TV, and Investigation Discovery as one of the architects of their true-crime programming. He has his own company now, StoryCentric, which advises networks and producers on their development, pitching and storytelling strategies, with a special focus on true crime. 

We define what we mean by true-crime programming, and then recap Ed's popular Documentary Business post titled True Crime All the Time: Bulk Gives Way to Bespoke.

He describes three categories of the genre: WHODUNIT, HOWDUNIT, WHY DUNIT!

We investigate a selection of recent releases... starting with The Tinder Swindler, and conclude by comparing True Crime with the hot MUSIC genre, also recently covered in Documentary Business.

Read more at StoryCentric.com and DocumentaryBusiness.com

True Crime Documentary Storytelling: Ed Hersh on Key Trends

How are documentary festivals and markets managing their unexpected shift to online formats? Will COVID-enforced virtual events permanently change the unscripted ecosystem?  Peter Broderick is a veteran senior consultant and strategist with deep expertise in documentary distribution. He has written the definitive special report on CPH:DOX, the Copenhagen-based documentary festival..  Last week, I moderated several online sessions for Sunny Side of the Doc, France’s premiere documentary marketplace based in beautiful La Rochelle. We compare experiences, exploring both highlights and key challenges for online industry events. Read Peter Broderick's Special Report on virtual film festivals and subscribe to his Distribution Bulletin at PeterBroderick.com, and about Peter Hamilton and the business of the unscripted sector at my free newsletter DocumentaryBusiness.com.

Peter Broderick; Virtual film festivals, online markets and the documentary eco-system?

BERNIE BLACKOUT: THE REVOLUTION WILL NOT BE TELEVISED is the title of Pat McGee’s super-fast turnaround documentary special for VICE. We discuss the project from concept through field production with the Sanders campaign to the pitch to VICE, and then post and delivery. I ask Pat if producers who cover issues from the Left have access to the opportunities enjoyed by corporate and rightwing producers. For details about the concept, timeline, budget and more, we covered the making of BERNIE BLACKOUT in a detailed Case Study in DocumentaryBusiness.com.

Pat McGee: BERNIE BLACKOUT for VICE

Director and Oscar nominee Erik Nelson describes "Apocalypse '45" as the 'first 20 minutes of "Saving Private Ryan" meets "Apollo 11."  He shares his concept; how his almost casual pitch to Discovery's Howard Swartz led to a full commission; the archive research and transfer process; his veteran interviews; the pre-edit, editing and delivery. Our inspiring discussion ends on A'45's virtual theatrical distribution campaign that is being steered by Abramorama and involves outreach partnerships with military museums and veterans organizations.

Discovery's APOCALYPSE '45 with director Erik Nelson

Abramorama COO Karol Martesko-Fenster describes his creative distribution strategy for the Erik Nelson-directed "Apocalypse '45" documentary commissioned by Discovery Channel. He shares his pre-COVID strategy and its radical evolution into a campaign that combines a virtual cinema release with special screenings for members of major military museums and veterans organizations. Listen to the podcast with Erik Nelson and read the Apocalypse '45 Case Study in Peter Hamilton's DocumentaryBusiness.com newsletter.

Peter Broderick; Virtual film festivals, online markets and the documentary eco-system?

Peter Hamilton

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