Pre-production: LGBT people in documentaries research

Overall from doing my research into different LGBT documentaries I have learnt many things:

• It's important to have a leading contributor and/or presenter that is related to the subject in some way but can also educate through presentation/their replies to questions. This way the audience can relate to them.
• A lot of documentaries don't actually look at Bisexuality and if they do they can unintentionally promote negative stereotypes of them In reality, LGBT representation on film and TV went down overall last year. It’s even rarer to see bisexuals represented in the mainstream media, without hosts like Larry King and columnists like Dear Prudence shaming bi people for their sexual habits and discouraging them from living openly. -Bisexual.org This is something we are aiming to challenge with our Non-Binary, Bisexual lead contributor.
• Families are a subject that is often talked about in most docs about the LGBTQ+ community, this is something that is no different for our documentary as it's interesting to know what people who are close to the contributors think and how they feel. This also allows for a wider range of opinion from all sides.

How are these documentaries different from others?

LGBTQ+ documentaries are generally trying to achieve different things to other docs. They're often trying to educate/raise awareness for the subject they are about.

Pre-production: Contracts

Creating contracts for contributors

Contracts and release forms are ways to ensure that the content you are creating can be used after filming for where ever you want it to go and means that all the content in it (interviews, music, pictures etc.) are legally allowed to be distributed. 
When making a film you need to ensure you are aware of the copyright of other artists when you need to use their music, videos, films, artwork, photos etc. You need their permission and/or pay to copy their work. You need to be able to prove to potential broadcasters you have the rights, that means you will need documentation for every single item in your movie – music, photos, film clips, graphics… everything. If it was not originally created by YOU, then you will need to have a document showing you have permission to use it and copy it - Desktop Documentaries

Different release forms include:

• Talent Release Form - ie Personal Release Form, use this for your interviews.
• Materials Release Form - Use this form whenever you are including photographs, paintings, sculpture, other artwork, documents or artefacts in your film.
• Location Release Form - Use this for permission to shoot on private property.
• Group Release -Use when depicting larger groups, such as a club, athletic team, choir, etc.
• Extra/Background Release - For persons who appear in the background of a shot or scene, but who are not the focal point or subject of the footage in question.
• Poster Release - This is a poster-size release you should use when filming in public spaces where numerous people may be entering and exiting the frame. Examples: Public Parks, Government Buildings and surrounding areas, Shopping Centres, Malls, Sports arenas, and the like. (Note that location releases may be required for some of these kinds of places)
• Crew Deal Memo - Use this release for all crew members working on the film. This includes volunteers, Production Assistants, etc., whether in the office, or on-set, who work during any phase of production, from development through post-production.

- (Desktop Documentaries)

Interviews/Filming People

The easiest way to get permission is to do it before filming, it saves you then needing to track down people afterwards. It's also a good idea to get peoples consent both on paper and on camera Tell them to look in the camera and read something like: “I, Sue Smith, agree to be filmed in this documentary about such and such and understand it will be used for broadcast on the internet and television, without conditions.” - Desktop Documentaries

Anyone under 18 needs parental consent.

Things to consider are:

Privacy

In the Human Rights act of 1998 it states that everybody has a right to their private and family lives being respected This right means that the media and others can be prevented from interfering in your life. It also means that personal information about you (including official records, photographs, letters, diaries and medical records) should be kept securely and not shared without your permission, except in certain circumstances. - (Equality and Human Rights Commission Article 8)

Data Protection

The Data Protection Act 1998 applies to any person or company ‘processing’ anything within the definition of ‘personal data’. The Court has confirmed that storing, developing and printing photographs amounts to ‘processing’, so by extension recording and exploiting video footage is also likely to  fall within the definition. ‘Personal data’ is defined as anything relating to living individuals who can be identified from either that data itself or from that data and other information which the data processor holds or could have access to. - (Film London)

This goes as far as to include any image of a person if they are identifiable as this counts as 'personal data', in this case it's my job as the producer to comply with the data protection act which has 8 primary principles:

1. Personal data must be processed fairly and lawfully

This is among the most important requirements of the Act. In order to comply, you must provide individuals with the name of your business, and details of the purpose for which their information will be used. You should make it clear that the individual can access and correct the information that you hold about them.

Crucially, you must also tell them if the information will be used in any way that is not immediately obvious. For example, you must tell the individual if their details will be passed on to credit reference agencies.

2. Personal data must be processed for specified lawful purposes

You must have a specified, lawful reason for collecting data; you cannot simply collect it speculatively. Furthermore, you cannot use the data collected for another, “incompatible” or unlawful purpose.

3. Personal data must be adequate, relevant and not excessive

You should only collect the bare minimum; you may not collect information that is not immediately relevant to the specified purpose, and you may not collect more information than you need.

4. Personal data must be accurate and up to date

Any information you hold must be factually accurate, and updated where necessary. Depending on the nature of your business, you may need to develop mechanisms that allow individuals to update their details quickly.

5. Personal data must not be kept for any longer than is necessary

If the purpose for which you collected the data is time-limited, you must ensure that the data is not retained once it is no longer needed. Where applicable, you should tell individuals how long the data is likely to be retained for.

6. Personal data must be processed in accordance with the rights of individuals

The Act sets out the rights of individuals, as well as the responsibilities of data controllers. You should make sure that you understand these rights, and act in accordance with them.

7. Personal data must be kept secure

You must take adequate steps to ensure the security of the data. This means that it should be safe from tampering, loss, or unlawful processing. You may need to develop both technical and organisational processes to help you deal with this obligation.

8. Personal data must not be transferred outside the European Economic Area without adequate protection

Data may only be transferred out of the EEA if the country to which it is being transferred has adequate legal protection for individuals and their details. - (Simply Business)

The easiest way to comply with data protection is by obtaining consent from the individual depicted in the image, this can be done through a signed form or a display clear and prominent notices warning the public that filming is taking place and if they don't want their image in it they should avoid. If in doubt, the image should be sufficiently obscured so that the individual is not identifiable. - (Film London)

Defamation

Defamation is when someone such as a film maker makes a statement that refers to an individual in any way and lowers the reputation of the individual, it can be either directly or indirectly. If the statement made is true it's not defamation but to be sure filmmakers should ensure that they can prove their statements are true through evidence.

When using an image filmmakers shouldn't manipulate the image of an individual so that its meaning is altered. It should be carefully considered whether there are any defamatory meanings implicit in a persons footage, if there is then any identifiable personal images should not be used without consent.

Archive footage/Pictures

Traditionally when looking for archive footage you'd go through routes such as online archives or go through people who work at archives to assist. For our Documentary the archive footage we will be using will be owned by the people in our documentary so we are able to gain permission to use it.

If we were going through archives ways we'd do this would be:

1. Start communicating with the archives early
2. Be organized
3. Back up footage -(International Documentary Association) 

Music

When filming in settings such as a restaurant or store and music is playing in the background, you need to be aware that you need permission before you use it in your film. If the music isn't important to the doc you should always turn it off.

Getting rights

There are two different people that own a song, these are; the record company/label and the publisher. In order to have a song on your doc you need permission from both of these groups.

You'll need a Master Use License from the record company and a Synchronisation License from the music publisher. - (Desktop Documentaries)

When asking for permission for a song you need to state how much of the song you are using, where it's going (film festivals etc). If your documentary ends up getting picked up for distribution or you want to start selling copies or upload to the internet, you will need to renegotiate the terms. Obviously, if your documentary ends up getting picked up by HBO and you are paid, say, $100,000 for your film, the owners of the music in your documentary will also want to be paid since their work helped in the success of your project. - (Desktop Documentaries)

Working with a composer

Even if the composer is a friend you should always have a contract, this should include

1. Usually, you don’t buy-out the music.

2. There are generally two ways of setting up the contract regarding budget

3. Set a time frame

4. Payment

5. Crediting

6. Expenses

7. PR

8.  How and what to deliver

9. Exclusivity

Contracts

For our actual contracts I decided I'd make three; one gaining permission to use the person's image in the film, another for archive footage and pictures and finally one for locations. When these are all filled out they'll be kept on file so that if questioned we can easily retrieve the form that approves us for filming.

A Personal Release form is a document that gives you the filmmaker, the rights to film another person for your project and then to use that footage in your film. -(Documentors- How to make a documentary)

Example of a release for from Documentors

Because we will be using archive footage belonging to other people I've looked into Materiel release forms:

Examples from Cifvf

For music we are going with a composer to have a song made for us as well as using music that is already made. 

(Composer agreement example)

Example of music license agreement from NIMIA

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Overall from this I learnt:

• To obtain written consent from anyone shown on camera, anyone identifiable either in the for ground or the background needs consent. EVEN IF SOMEONE IS OBSCURED THEY CAN STILL BE IDENTIFIED THROUGH OTHER MEANS.
• Obtaining consent doesn't always mean having a detailed right agreement, it can be short and simple confirming the individual has granted his/her consent for their image to appear in production. These need to be kept safe.
• If not possible to gain specific consent, you should make sure the area you are filming in is clearly marked and had sufficient warning notices that are visible at entry points. They should be in plain English and a legible font. If possible try to take a photo of these signs when up.
• You shouldn't use images of people in situations that could be regarded as private.
• Do not such a context or meaning around a picture that isn't true.
• Get consent forms signed sooner rather than later.

From here I'll make the contracts and release forms to send off to musicians and contributors.

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 We have three forms, material release, appearance and musician release forms. These will allow us to use any photos and videos that are relevant to the narrative. The forms cover everything that we hope to be able to do and if both our group and Tanya stick to the contract issues such as defamation will not occur as we will all be working truthfully and respectfully.
We'll be able to use music that is made specifically for our doc.
We'll also be allowed to use Tanya's interview. As well as Tanya any other people taking part will receive an appearance form and anyone who is caught in the background of a shot too.

In accordance with data protection all information when not needed will be destroyed. 

Pre-production- Structure

During this unit our original idea and structure went through multiple changes and stages as locations and contributors etc. changed. These occurred between myself and Jemma and then were consulted with Gavin.

Structure 1

This structure had expert contributors Oliver (drag queen with a lot of experience) and Dr Elly Barnes (a Founder and Chief Executive of the charity Educate & Celebrate), it would include static interviews from other members in the LGBTQ+ community, and Tanya as our lead contributor.
This was done before any research from Tanya received so we were unsure if this would work. Another criticism of this structure is that there were too many contributors that the audience isn't able to connect with them, and they can't be established in the 20 minuet time slot. 

Structure 2

In this structure we took out a lot of contributors, it was also debated that Zodi could perform in front of a panel of people who don't know that she is an AFAB Drag Queen and gets revealed at the end. At this point the panel was only apart of the audience.
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After looking for contributors we found that finding 'straight' people who would talk about the topic was difficult, so decided it would be better if it was a panel of three experienced drag queens.

Structure 3:

After being unable to find contributors we had to drop Frankie Sinatra as they were unable to work with the dates that we had working with Tanya. Jemma contacted Sapphire Stone from Steal the Style and as I had already contacted Oliver we decided that they would work well together with Zodi in a drag show. The idea is they would perform in front of an audience, who would then be asked their opinions on Tanya's drag through Vox Pops. This is an example of the poster we would use to get an audience for the performance in January.

Structure 4:

In structure 4 we added in Amy who works with Sink the Pink, her insight on drag and her opinion is important to hear. She will be sat in with the audience and interviewed before and after the performance.

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From this I have learnt:

• How important it is to be able to change ideas when a contributor either backs out or changes something, this is done through good communication with contributors.
• The importance of communicating with the crew I am working with to bounce of ideas and allows the idea to develop further.

Pre-production- Contributors

For the contributors for our documentary I got 2 of them through social media, Jemma got Sapphire and Amy while I got in contact with Oliver and Tanya.

Tanya

I found Tanya via her instagram account where she has many photos of herself in drag. I sent her an email and got in contact with her explaining what our idea was and what we'd like her to do. She was very eager to be apart of the filming and I've been keeping regular contact with her.

After having regular contact with her myself and Jemma Skyped her and found out more information about her.

Things we found out are:

• Tanya lives with her dad
• Where exactly she is based
• What she studies
• What her study dates are 
• Her experience with performing in more detail
• What she is and isn't comfortable sharing with us

After that we went for a poster we were able to meet her again and chat with her getting to know her better while talking to her about schedules and forms.

 

I still keep in touch with Tanya for any questions she may have and reimbursements.

Oliver

Oliver is a drag queen I have on facebook from Steal the Style, I contacted him via messenger and he was very eager to be apart of filming. The schedule has been worked around Oliver's work and I'm in regular contact with him about it incase any dates change. Having previously nearly worked with Oliver I've already been apart of a Skype call with him and sent over questions to him so I already knew a bit about him.

Pre-production review: Paris Is Burning

Paris is Burning is a documentary looking at Drag nights in New York. Queens are interviewed/observed preparing for these nights and competing in 'balls'. It's a film made in the 1990's and is full of interesting characters and access.

Paris is Burning covers Drag Queens in the 80's and 90's where being a Drag queen was socially looked down on, on top of this it looks at the Black/Latina scene with in the Drag community. 
The filming is in no way faked and the audience are abruptly thrown into the lives of these queens and the abuse/discrimination they face everyday, to the extent where on of the contributors was murdered during filming.
In terms of actuality for the doc it has access to multiple balls and dressing rooms, this allows it to really get into the lives of the contributors while having constructed interviews mixed into it. This helps an audience who at the time of the 1990's would never have know what this community was experience it and relate to characters. The interviews are with Jennie Livingstone (who's off camera) and address subjects like, class, race/racism, wealth, gender orientation and beauty standards.

The budget for Paris is Burning was $500,000 and in it's opening weekend made, $310,127 

The film has a 100% rating on Rotten Tomatoes and reviewers say One emerges from this film not only with a new vocabulary and a fresh way of viewing the straight world but with a bracing object lesson in understanding what society “role models” are all about. -Rotten Tomatoes

Contributors in this doc are all members of the New York Drag Scene, it's led by interviews with them and no voice over. They explain the terminology and how things are done, this makes it more personal to them. It also brings the audience into a community as they are being directly told by the members of it without the filter of a presenter or voice over. This way viewers are more likely to take in the message of the doc.

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From this I learnt about the Drag ball scene and through that learnt about different phrases and terminology that has inspired phrases today. I also learnt how important contributors are, if you use them correctly then you can construct a documentary that has a personal feel about it.

Pre-production: Locations

As the Producer my job extends into looking for locations, to help me with this I looked into the role of location managing and what responsibilities they have. 

Location Manager tasks (Prospects)

• assessing and interpreting scripts or story boards to get an understanding of the location required
• meeting with the director and designer to discuss projects and working to their creative vision
• collating ideas and undertaking research using resources such as the internet, specialist location libraries, local and regional film commissions and agencies
• visiting and photographing locations appropriate to budget in order to assess their suitability
• making preliminary enquiries regarding access, parking and location use
• collating practical information on potential locations, such as hotels for accommodating the crew and cast and in the case of photography shoots, often booking the hotel and making travel arrangements
• liaising with key members of the production team to assess visual and technical specifications
• ensuring no disruptive noises or events are likely to occur during the shoot
• negotiating access and drawing up a contract with location owners
• organising permissions for access, for example, with local authorities and the police
• scheduling crew arrival dates and times and keeping all parties informed on site
• ensuring the technical specifications for equipment, power sources and crew accommodation on site are met
• ensuring compliance with health, safety and security requirements and undertaking risk assessments
• distributing maps and directions to locations, often known as movement orders, to ensure all services and crews reach the locations as directly, safely and quickly as possible
• providing all relevant support information to all services and crew
• arranging schedules for the day with the assistant director to ensure continuity
• managing the location on the day and resolving practical or people-related problems as they arise
• supervising location support staff throughout the process
• dealing with members of the public who may intrude upon a shooting location
• ensuring the final clearing up ('the wrap') runs smoothly and thanking site owners.

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This helped me know what I should be doing when looking for a location. It showed me the importance for organisation with emails and knowing who has replied and when you have messaged people.

Through having this knowledge I then looked into ways I could find locations online. 

Some tips I found from diyphotography include;

• Take professional photos of locations 
• Google the address to work out distance (this also helps with budget when paying for travel)
• Utilise the local film office
• Try location websites
• Go smaller with kit and crew

From there I discussed with Jemma the Director what kinds of locations she wanted, she asked for a theatre however was happy with a club if we were unable to find a theatre. We already had a small crew that wouldn't take up much space in a location, Tanya has also already agreed we can use her house for filming.

Club

I looked into one club when searching for a location, the Vauxhall Tavern in London was aesthetically pleasing as well as only being a train ride away.

The Royal Vauxhall Tavern is one of London’s most Iconic award-winning cabaret, performance and club night venues which is once again the venue of choice for many leading artists, promoters and the LGBT community. -(about Vauxhall Tavern)

I however received no reply from them so continued looking.

Theatre

I contacted different theatres in the area however for the most part we couldn't afford to hire it. After going to the RTS futures talk and speaking with some of the people there they suggested not paying for a location and offering something in exchange.
Simon gave me the contact details for the "Tom Thumb Theatre" in Margate and from there I have been able to work out a date and time that works for us as well as allowing them to continuing having shows there. The theatre is where the performance from Tanya will happen, it allows us to set it in an environment that traditionally doesn't look down on Drag Queens. From here I will be looking to arrange a recce of the theatre for photos from Jemma and Gavin and this gives us a chance to meet with the owners and build a working relationship with them. This means that Jemma will be able to work out what kinds of visuals she wants and Gavin can plan how he will film them.

The Tom Thumb Theatre is a family run arts venue in the heart of Cliftonville, Margate. Originally built as a coach house in Victorian times, the building was transformed into one of the smallest theatres in the world in 1984. The Tom Thumb is a striking mix of Japanese and Alpine Architecture, with a quirky, charming interior of velvet seats and flocked wallpaper.

At the Tom Thumb we host spoken-word nights, comedy story-telling and burlesque. We screen indie films and promote live bands, solo performers and DJs. Through a programme of residencies, we support and nurture cutting-edge theatre and experimental performance from across the country. We also have a ramshackle cocktail bar upstairs. With cocktails. Out of jam-jars. (About the Tom Thumb Theatre)

Due to the date we are filming we need to be out of the theatre by 5 so I have scheduled filming to finish at four so we have enough time to pack up and leave.

We're going for a recce on the 4th of December to allow for Gavin and Jemma to see the location fully and plan out their shots, it will also allow me to meet the owners of the theatre.

GV location

Cornwall

To allow for GVs of the area Tanya is in I google mapped the area to give me a general idea of what is there.

*Images from google maps*

Margate

I did the same for the area around the theatre too.

*Images from google maps*

Tanya's house

The final location is Tanya's house, after chatting with her about where we can and cannot film it was decided most of the filming would be in the living room/bedroom areas. We're not able to recce Tanya's house until the mew year.

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From this I have learnt how to use what you can give for free over money to get a location, we offered the Tom Thumb Theatre a video/publicity from the Doc in return for being able to use the location. Overall finding the Theatre was the most difficult this was because despite not having the budget I was looking at large/grand theatres with a big reputation, smaller businesses would be more likely to exchange service for a video or something we can do.

Pre-production- Gang Girls Review

Girl Gangs is a BBC 3 documentary presented by Livvy Haydock, she explores the culture of girls in gangs to understand the real stories behind the rising trend in sexual exploitation and violence against girls by gang members - BBC 3 It's a short form documentary that lasts 13 minuets and was released in January of 2017. 

In this doc she has access to safe houses for women who have been part of gangs, and speaks to them about the things they do to be apart of these gangs. She meets members who have been involved in violence for decades of their lives, interviews with these girls are done in a way that means their identity isn't being released and safety isn't compromised. 
It uses graphics of what is being said in replies to the interview questions to emphasis the importance of they are saying.

Access to the Kings College hospital project where a project is occurring where they identify and reach out to young girls at risk, and talk to them to try to get them out of that situation.

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From this documentary I have learnt:

• How to effectively interview contributors without risking their identity/security, while this isn't needed in our doc it is a good method to be aware of.
• How building a good relationship with contributors means they will open up to interviewers, this is shown through the information that the crew get in their interviews, we can do this with our doc building a relationship with interviewees means they are more willing to share information with us.
• Graphics can help the deliver the importance of a message said in an interview.

Pre-production review: Queer Britain

Queer Britain Season 1 Episode 1 "Does God Hate Queers?"

Queer Britain is a series that is presented by Youtuber and journalist Riyadh Khalaf, it looks at queer culture and shines a light on challenges that are faced by the LGBTQ+ community. Realesed in May 2017 on BBC 3. The episode I'm focusing on "Does god hate Queers?" looks at a disfellowed Jehovah's Witness, a muslim woman seeking a marriage of convenience and a trans masculine christian as he gets renamed in church.

There are 6 episodes in the series including:

• Episode 1 Does God Hate Queers- exploring the different experiences people in the community have had with their religions
• Episode 2 The search for the perfect body - Exploring what is masculinity, and the growing trend of body dysmorphia, eating disorders and self harm
• Episode 3 Out on the Streets - Looking at what happens to the quarter of young homeless people in Britain who identify as LGBTQ+, and why they are homeless. 
• Episode 4 Are Gays Racist? - Exploring casual racism in the LGBTQ+ community 
• Episode 5 Porn Idols - Covers the world of Porn and how what porn people watch tells us about sexual identity
• Episode 6 Queer and Proud - What does it mean to be queer in Britain in 2017?

Queer Britain uses archive footage that allows them to illustrate points being made by interviewers/interviewees, as this episode focuses around religion it uses the archive footage to demonstrate that queer people and religion aren't always hand in hand. It also uses it for the presenter to watch allowing them to become more involved in the narrative, he's put in the same position as the audience by being told there is an issue (shown through footage he watches) and then going on a journey to find out why.

The documentary series is all online and throughout the series presenter Riyadh uses personal experiences to explore issues that are affecting a lot of 16-35 year old LGBTQ+ people all over the UK. He meets people who are sleeping rough because of who they are, people who are shunned by the community amongst others. BBC 3 it's self targets 16-34 year olds so the show fits in with that demographic well.

Riyadh Khalaf says: "I’m incredibly excited for Queer Britain to be released. This was a real passion-project which has moved, inspired and educated me in more ways than I ever could have imagined. The series pulls no punches and goes straight to the heart of the issues facing LGBTQ+ people in the UK today. At times it’ll make you feel uncomfortable, shocked and maybe even upset, but overall I think you will see the beauty and diversity of this community in its full glory. This is a raw representation of modern Queer life - the highs, the lows and the high heels!"

Max Gogarty, Executive Producer for BBC Three, says: "This is an exciting series that offers a distinctive, contemporary and colourful look at what it means to be young and queer in Britain today. Launching a formidable new talent in Riyadh, a diverse and young team behind the camera, plus brilliant short-form for social around each episode, I'm sure it will have real impact with audiences and the wider community." - (BBC 3 MEDIA CITY)

The contributors for the doc each have different views and experiences as well as religions which again helps demonstrate that this is an issue that is experienced by everyone not just a select religion. Josh is a Jehovah's Witness who after coming out was excommunicated and rejected by his family. Elijah is a Christian Pansexual and identifies as trans-masculine who's church is renaming him. And finally there is a young Muslim woman looking to have a marriage of convenience to cover her true sexuality for fear of rejection. The safety of contributors is hugely important as the information they are giving could threaten their lives, the crew have covered identities when needed to protect them. In an earlier blog I had some questions answered by the producer of "Queer Britain" she helped explain how answers for questions can help the narrative; 

How do you script to get specific answers from your contributors?

...your pre script tells you what you journey your film needs to take you on, and so you should be casting your contributors to fulfil a certain function in your film. You may have the best contributor ever who has loads to say on the topic of gender, but if your film is about racism then their knowledge on gender might not be relevant. So you are casting contributors specifically to tell part of your story. Your script should be a thesis. And you should simplify this thesis into film 'BEATS'. So that each contributor is giving you a beat or a few beats, whether it be that they tell you about the feeling of being victimised (at the stat of the film)- this would be a beat. Then at the end of the film, you may come back to that contributor give you another beat about the feeling of being empowered. And the journey in between from victimisation to empowerment you might want other contributors to tell you their personal account for all that's in-between. Peoples personal experiences being marginalised etc. But then finishing the film with empowerment may be a situation where the contributor is not empowering others who they identify with.

The docs locations are all in the UK
In terms of funding because it's a BBC 3 doc it would have to go through a commissioning process where it's pitched to commissioners and then given funding to proceed with filming. From there the show's producer then has to ensure that In accounting to the BBC for its share of Net Revenue, the Producer shall ensure that the recoupment of any Agreed Recoupments shall occur in the order in which the revenue was received by the Producer (or its Distributor if the Distributor is reporting directly to the BBC) to ensure that the BBC’s 25% entitlement to Net Revenue is applied to a fair and appropriate apportionment of the receipts, where the receipts relate to a combination of distribution rights attracting differing BBC back end shares as set out -(BBC commissioning article) This means that the Producer has to ensure that the BBC get's it's share of revenue and that any distributors/production companies adhere to rules.

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Overall from this doc gave me background knowledge about the LGBTQ+ community and the reception they receive from their families/communities. I also through further research was able to learn about the commissioning process and how that would work, by getting in contact with the producer and asking questions I was able to understand how to research contributors and script around them. From here I'll be looking into different channel remits to ensure that our doc like this one fits in well with the channels established target audience. I'll also be looking for contributors that assist the story tell of our doc.