VVG produces original social, historical and observational documentary. VVG is based in London UK.
Yeslam Binladin is passionate about film and fast establishing himself as a producer. He's involved in three Lars von Trier projects, but his name never appears on credits. Geoffrey Macnab asks him whether this has anything to do with his notorious brother
Wired News: BBC to Open Content Floodgates: "The British Broadcasting Corporation's Creative Archive, one of the most ambitious free digital content projects to date, is set to launch this fall with thousands of three-minute clips of nature programming. The effort could goad other organizations to share their professionally produced content with Web users.
The project, announced last year, will make thousands of audio and video clips available to the public for noncommercial viewing, sharing and editing. It will debut with natural-history programming, including clips that focus on plants, animals and birds. "
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The camera, based on Sony's CCD technology, is designed jointly by Panavision and Sony and is similar to existing Panavision 35 mm cameras in terms of size, weight and ergonomics and virtually eliminates the use of cables.
None of the several dozen attendees of the presentation could correctly identify whether a scene was shot on film or in the digital mode.
’DOGUMENTARY’
We are searching for something that is between fact and fiction. As fiction is limited by our imagination and facts by our insight, the part of the world that we portray cannot be contained by a “story”, neither can it be perceived from a “point of view”. What we are looking for can be found in the real world, from where the creators of fiction draw their inspiration, the reality journalists attempt to describe but cannot. They cannot show us true reality as they are blinded by their technology. Neither do they want to, as technology has become a goal unto itself, content has become secondary.
From Lars von Trier’s documentary manifesto,March 2000
Dogumentarism relives the pure, the objective and the credible. It brings us back to the core, back to the essence of our existence. The documentary and television reality which has become more and more manipulated and filtered by camera people, editors and directors, must now be buried. This takes place with the following documentarist content guarantee: The goal and content of all Dogma documentary projects must be supported and recommended in writing by at least seven people, companies or organizations who are relevant and vital. It is content and context which plays the primary role in Dogumentarism, format and expression are secondary to this process. Dogumentarism will restore the public’s faith as a whole as well as the individual’s. It will show the world raw, in focus and in “defocus”. Dogumentarism is a choice. You can choose to believe in what you see on film and television or you can choose Dogumentarism. Zentropa Real 2001
The documentarist code for ‘Dogumentarism’:
1. All the locations in the film must be revealed. (This is to be done by text being inserted in the image. This constitutes an exception of rule number 5. All the text must be legible.)
2. The beginning of the film must outline the goals and ideas of the director. (This must be shown to the film’s ‘actors’ and technicians before filming begins.)
3. The end of the film must consist of two minutes of free speaking time by the film’s ”victim”. This “victim” alone shall advise regarding the content and must approve this part of the finished film. If there is no opposition by any of the collaborators, there will be no “victim” or “victims”. To explain this, there will be text inserted at the end of the film.
4. All clips must be marked with 6-12 frames black. (Unless they are a clip in real time, that is a direct clip in a multi-camera filming situation.)
5. Manipulation of the sound and/or images must not take place. Filtering, creative lighting and/or optical effects are strictly forbidden.
6. The sound must never be produced exclusive of the original filming or vice versa. That is, extra soundtracks like music or dialogue must not be mixed in later.
7. Reconstruction of the concept or the directing of the actors is not acceptable. Adding elements as with scenography are forbidden.
8. All use of hidden cameras is forbidden.
9. There must never be used archived images or footage that has been produced for other programs. Lars von Trier, Zentropa Real, May 2001
