In today’s world, much of our lives and livelihoods take place online. Communities, relationships, industries, economies, and micro-economies have developed on the internet. How do we report and tell these stories? What forms might they take? How might they look and sound? In Like, a short documentary released by Field of Vision, filmmaker Garrett Bradley offers some possibilities. Bradley previously made two formally adventurous features that blended documentary and fiction — Below Dreams, which premiered at the 2014 Tribeca Film Festival, and Cover Me, which premiered at the 2015 Rotterdam Film Festival. With Like, the New York-raised, New Orleans-based director uses the short form to offer a glimpse into what it means to “like” things on Facebook for a living. This takes her film to Dhaka, Bangladesh, where workers engaged in this new economy — paid to “like” Facebook pages — are as hard to pin down as Bradley’s unique aesthetic approach.

Was the phenomenon and industry behind “likes” something you’d previously reported on?

Bradley: No, I had only read about click farms. It’s funny how information kind of starts to circulate in our minds — we’ll read something briefly and then it circles back to you maybe months or even years later. [The article] said something about how click farms are actually a business, that when we pay for Facebook likes, or likes on any kind of social media platform, they are actually being done by people. It seems kind of obvious — of course it’s done by somebody — but it hadn’t occurred to me.

Yet reading about a reality can be quite different from experiencing it. How did arriving in Dhaka and meeting these click farm workers change your understanding of their work and lives?

Bradley: When I pitched the story, I pitched it sort of as a sweatshop/labor story — this thing where people were getting paid very low wages and working very long hours, and that this was something that we shouldn’t be supporting. But when I got to Bangladesh, it was immediately clear to me that it’s like a complete opposite scenario. That this work was really no different from what web developers in the early 2000s were doing — where it was a really cool job, you didn’t have to have a boss, you could work from home, you had a sense of autonomy and authority over your own life. And most of the people doing this work were young men who were educated, had gone to college. This was a choice, it wasn’t something they were falling into. It was very much in reaction to not being able to become a doctor or an engineer, as one of our subjects says very explicitly in the film, with the only other alternative being physical labor.

Considering things weren’t as stark as you expected, and that this work involves desk-bound characters, how did you go about telling the story visually?

Bradley: I was very sensitive to the fact that I was dealing with matters that could very heavily lean toward computer and technology stuff, and I didn’t really want to look at a screen over and over again. We’re doing that already, all the time, so how can we deal with technical-based subject matter and still make it cinematic? I was trying to … focus on the people in front of the computer. I think that it boils down to how, as filmmakers, we approach subject matter fundamentally — perhaps in ways we’re not even conscious of. Whether this was a story about sweatshop labor or a story about pride, I think I would have been interested in exploring the humanity of it in the same way.

Practically speaking, how do you go about doing that?

Bradley: I couldn’t tell you exactly how I film people. But I know that I try as much as possible for there to be the same level of respect and equality that I bring to my subjects off-screen. And I think that if it were a sweatshop labor scenario, it probably wouldn’t have been any different in terms of the approach.

It does seem that there’s a really great rhyme between the rhythms of their work lives — they’re not necessarily working extremely long hours, some work as artists in their spare time — and how you depict them in the film, which is walking around and outside, not dominated by their computers.

Bradley: I really wanted people to understand what the context was for the computer — what was outside of the office space. Coming from working in narrative film and going into documentary, trying to sculpt the story in a certain way involved kind of a learning curve. I still don’t have a very clear idea or definition for the work that I make. But I knew that I had to stay true to the subjects, that it was fact based, that it had to be rooted in the truth and clear to people what was happening. I couldn’t leave it up to the sensibilities of an individual — that it had to be unequivocal to a certain extent. I like that challenge, and I like the shape of it.

Meaning you liked working in the short form?

Bradley: I almost feel like I figured something out in the process of cutting it so many times — I did something like 23 cuts. And in the process, I felt like I was getting closer and closer to how to create content for this kind of shape. It’s hopefully a kernel of something that I can continue to expand on in that same kind of size. Charlotte [Cook] and I were on a panel at SXSW, and somebody asked, “What’s the purpose of short-form content? What is its role?” And that’s part of the reason I’m so reluctant to talk about genre — because of those kinds of questions. That the things we make need to have a [set] role. Like a library — where do we shelve it? But I think eliminating that leads people to feel a sense of call to action. That lack of conclusion allows people to feel engaged and that they can even continue something forward on their own if they need or want.

For you it’s an open or even participatory form?

Bradley: It’s about, “Well, that’s not finished yet.” It’s something that could continue, something that’s still happening. Whereas with the narrative form, or even with features [in general], you have to go through this whole journey so that by the time you’re done with it someone may feel, “Well, what else is there to be done?”

There’s an elliptical quality to what you’re doing aesthetically in this film. Between the haunting music and the slight warping of the visuals, you’re conveying a sense of unease that’s mysterious, that’s not overtly legible.

Bradley: With the score, I mean — atonalism is perfect for this kind of thing. There’s a certain level of neutrality that doesn’t feel manipulative, and yet it maintained a sense of beauty and lyricism that I have a preference for in my work.

How did you achieve that visual effect in the film, that refracting, unstable surface?

Bradley: In [Adobe] Premiere, they have this weird warp that’s supposed to stabilize [the image], that’s supposed to make things very still. And if you change the point where it’s supposed to be stabilizing from, it actually completely rearranges the whole image — it makes it the opposite of stable, and tries to stabilize itself on something that’s still moving. So then the whole image moves. And I thought that formally made a lot of sense because of where I was at with the story, and where I thought this subject matter could go.

I thought it was also very provocative, and wondered if it was related to your experience, of the instability of what you were encountering and processing.

Bradley: I think a lot about the aesthetics of “video art” versus film, and then with documentary, it’s funny how much the movement of the camera tells people, or signifies to people, which category it is that we’re watching. I think it’s changing more in the art world, that it’s OK to be beautiful. That it’s OK to show that there was effort put into it. And I think that’s also happening with documentary. I like the idea of there being this shakiness that sort of indicated documentary, but it wasn’t quite that.

It does add an extra layer there that challenges my expectations of what I’m looking at. Looping back to something you mentioned earlier about figuring some things out about the short form — do these aesthetic choices, this fluidity of genre and the signifiers of genre, work particularly well in a compact shape, where you can more easily sustain those choices?

Bradley: When I read Claudia Rankine’s book Citizen, I was really struck by the formatting of language. It’s so much the way we carry through narratives — that there are micro-narratives, series of moments that make up a whole book. That in each moment there’s this whole universe, and in which we can make very large statements. I like the idea of being able to make something that is overtly trying to address real change in the world. And that’s not something that you always have space for, or that I’m always interested in doing, with feature-length films. I heard Robert De Niro talking about acting, how there’s so much power between the lines. That it’s not necessarily about the dialogue, it’s about what happens in between the dialogue, which is where the truth is. And I think that there’s something to be said for the form that we’re working in now. And that urgency can be shared between the filmmakers and the viewer now, in a way that has not always been possible.

That makes a lot of sense, that the shorter form can draw more attention to the moment, and to the spaces in between the moments. And as you said earlier, it can invite the viewer into those spaces to pursue the ideas in his or her own way.

Bradley: The film is really just a kernel, a quick proof of what exists. I would hope that there’s a way to expand upon the topic, because there were so many things that I discovered that were so problematic with the way that we are engaging with Facebook, and its connection to advertising, and to [the valuation] of different cultures. It’s not the typical big company, bad people thing — it’s something that we’re all kind of engaging in without realizing it.

Which was more than you could or would want to include in this piece?

Bradley: It was so big, and in order to tell that story I needed way more information. I could explain it, but I don’t think that it would feel as impactful without certain kinds of interviews from certain people, for instance, from Facebook itself — I contacted Facebook multiple times, of course, without a reply — and from certain large advertisers. So many people in other parts of the world spend a lot of time on the internet, particularly in Southeast Asia, where the population is very high, but those likes are cheaper to buy because the value of a like is only as valuable as its ability to turn a transaction. And advertisers believe that if you’re not American, if you’re not Western, you’re not going to buy anything, and therefore you’re not valuable. And that’s a really big, important thing for us to be thinking about. This piece didn’t get to that, but I hope in some kind of way we can get there, to start to talk about how the internet and money and where we come from are all connected to each other — how we’re participating in that, and how Facebook is facilitating it.

IF/Then Shorts, in partnership with Hulu Documentary Films calls short-documentary filmmakers based in North America to take part in the Inaugural IF/Then x Hulu Short Documentary Lab. This lab will channel Hulu and IF/Then’s shared vision of creating a new pipeline of diverse talent and incubating strong voices who will be the next class of non-fiction storytellers.

Program Details:

Four filmmaking teams will be chosen to participate in a one-year lab focused on short-documentary production and career training. For the first six months, filmmakers will be individually mentored through production by IF/Then staff and take part in monthly virtual cohort trainings, consisting of keynotes from industry heavy-hitters and edit consultations. Upon rough cut of their projects, filmmakers will be invited to debut their works-in-progress to an invitation-only audience and receive feedback. For the remainder of the program, filmmakers will finalize their cuts and receive high-level festival and distribution strategy consultations, along with guidance creating their publicity materials, and pro-bono legal support. Hulu will have the right to review the projects for potential acquisition or further development.

Each team will receive a $25,000 grant to use for the production of their film.

This opportunity will be open to individuals living in/from North America, with an emphasis on Black and/or Indigenous filmmakers, people of color, women, LGBTQ+, recent immigrants, and individuals who identify as having a disability. We will welcome any and all stories from underrepresented voices, with a strong preference around subjects related to gender, the LGTBQ community or issues unique to the BIPOC community.

Project Eligibility:

  • In addition to the identity eligibility of the maker and the theme, eligible IF/Then Shorts projects must meet the following criteria:
  • Be an original short documentary with a final duration of 10-20 minutes
  • Be completed within six to nine months of receiving the IF/Then Shorts grant
  • Be factually accurate, follow best practices in documentary ethics, and be designed for a U.S. audience
  • Be driven by (a) compelling character(s), with access to the character(s) secured
  • Be presented in English or subtitled in English
  • Have no prior distribution attached and be able to participate in the IF/Then Shorts distribution initiative
  • All stories and storytellers coming from countries and territories in North America. This includes the United States and its territories (Puerto Rico, Guam, US Virgin Islands, Northern Mariana Islands, and American Samoa,) Canada, Greenland, Belize, Costa Rica, El Salvador, Honduras, Mexico, Nicaragua, Panama, and Venezuela, and countries in the Caribbean: Anguilla, Antigua and Barbuda, Aruba, The Bahamas, Barbados, Bermuda, Bonaire, British Virgin Islands, US Virgin Islands, Cayman Islands, Clipperton Island, Cuba, Curacao, Dominica, the Dominican Republic, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Montserrat, Saba, St. Andres and Providencia, Saint Barthélemy, Saint Kitts and Nevis, Saint Lucia, Saint Martin, Saint Pierre and Miquelon, Saint Vincent and the Grenadines, Sint Eustatius, Sint Maarten, Trinidad and Tobago, and Turks and Caicos Islands.


The application portal will open on January 15, 2021 and close at 11:59pm EST on Feb 15th.

  • January 15, 2021: Open call for IF/Then x Hulu Short Documentary Lab
  • March 31, 2021: Finalists announced
  • April 5, 2021: Virtual Program Kickoff


Submissions are now closed.

Please direct any questions regarding this application to

Starting July 22, IF/Then Shorts has a new home at Field of Vision. Joining Field of Vision will be IF/Then Shorts Program Director Chloe Gbai and Supervising Producer Caitlin Mae Burke. Founded in 2017 with support from the John D. and Catherine T. MacArthur Foundation, IF/Then Shorts is a fund and mentorship program that supports storytellers in breaking barriers to access, exposure, and sustainability in the media landscape. IF/Then works with creators who experience inequity based on factors such as race, gender, class, sexuality, ability, ethnicity, age, citizenship, and/or geography.

IF/Then Shorts taps into the need for broader geographical representation in the stories that get told through its regional pitch events. It holistically supports short documentary storytellers in their creation of compelling, character-led, community-inspired stories that embody the breadth and diversity of the people and places they represent.

The program addresses the imbalance of representation, perspective, power, compensation, and career longevity among independent filmmakers and media artists. IF/Then Shorts leverages access, expertise, network, and brand to address these challenges. Through grants, mentorship, industry connections, and professional development, IF/Then Shorts helps to ensure that storytellers from a multitude of backgrounds have access to the resources and tools they need to tell their stories, connect with audiences, and thrive in their careers. IF/Then Shorts was previously part of the Tribeca Film Institute, which is planning to pause operations indefinitely in September. "IF/Then Shorts is an incredible program, and one that’s vital to the field," said Charlotte Cook, Field of Vision's Co-Founder and Executive Producer. "We’re so glad that they can find their new home with Field of Vision. The program’s values align perfectly with Field of Vision, and further our overall commitment to shorts and advocating for filmmakers. Chloe and Caitlin are phenomenal, and I feel so lucky that they’ll be joining our team."

IF/Then Program Director Chloe Gbai said of the move: "We’re so excited that thanks to the MacArthur Foundation and Field of Vision we can keep this funding and development pipeline open to diverse, creative nonfiction talent past TFI’s pause this September. This program will have a new life and is ready to uplift the voices that we need to champion during these interesting times."

Supervising Producer Caitlin Mae Burke added: "As a former Field of Vision filmmaker myself, I know how beneficial it is to work with these trailblazers in the short documentary space. I'm overjoyed that all of our active projects and future supported filmmakers will benefit so immensely from this move, and we look forward to the tremendous growth potential for IF/Then possible under the Field of Vision umbrella." IF/Then is currently holding an open call for the North Shorts Grant and Fellowship, in partnership with Points North Institute, The Screening Room, Jigsaw Productions, and the LEF Foundation, for regional filmmakers in the American Northeast. About Chloe Gbai Chloe Gbai is the Director of IF/Then Shorts. Previously, as the POV Shorts and Streaming Producer, she launched POV Shorts, which earned POV its third documentary short Oscar® nomination, two News & Doc Emmy nominations and an IDA Awards nomination for Best Short Form Series.  She has previously worked at Teen Vogue and Viacom, as well as served on review panels and juries for the National Endowment for the Arts, Sheffield Doc/Fest, ITVS, IDA Awards, Black Public Media, Creative Capital, and various other film organizations. She is a member of Brown Girls Doc Mafia and a member-in-residence of the Meerkat Media Collective.

About Caitlin Mae Burke Caitlin Mae Burke is an Emmy-winning producer. Her films have screened and won awards at top tier festivals including Sundance, Berlinale, and Tribeca Film Festival and have been broadcast across the US and around the world. Her work has screened at MoMA, The Museum of the Moving Image, and in movie theaters internationally. She is an inaugural inductee to DOC NYC's "40 Under 40" and alumna of Berlinale Talents. IF/Then currently has funding opportunities available for filmmakers. Please find more information here.

Field of Vision has partnered with Doc Society and Sundance Institute to launch Independent Documentary: Filming in the Time of Corona, a new Risk Assessment Guide for independent documentary filmmakers who are considering starting or resuming production during the COVID-19 crisis and beyond.

Many filmmakers are asking themselves — and others in the documentary field — the big question: Should I be filming at all?

As our field discusses and debates this particular question — and its ethical and and public health implications — Field of Vision, Doc Society, Sundance Institute, and our co-signatories are offering a “living document” that provides guidelines, a checklist, and questions for independent documentary film teams to ask themselves, each other and their partners. It is our hope that this guide will help filmmakers make informed decisions and help keep everyone safe.

We’d like to acknowledge our gratitude to all of the the co-signatories of the Risk Assessment Guide, who helped consult on, and improve the guide: Asian American Documentary Network (ADoc), Asociación de Documentalistas de Puerto Rico (ADocPR), ACOS (A Culture Of Safety) Alliance, Ambulante, American Documentary/POV, Black Public Media, Brown Girls Doc Mafia, Center for Asian American Media (CAAM), Chicken & Egg, DOCUBOX, Impact Partners, Indian Documentary Foundation, Latino Public Broadcasting, National Association of Latino Producers (NALIP), Pacific Islanders in Communications, Perspective Fund, Scottish Documentary Institute, Topic, Vision Maker Media: Native Stories for Public Broadcasting, and others.

This is a rapidly changing situation as well as a long-term reality. Those of us in the documentary field will need to be mindful, flexible, and diligent as our risk assessment continues to evolve in order to keep not only our community safe but also the communities we collaborate with in the stories we tell. This new normal is unprecedented, but our documentary community is nothing if not committed to responding to this profoundly unique situation.

The guide will be updated as the situation develops and as we receive additional feedback from filmmakers and support organizations.

The final round of funding is now closed.

For this final round of funding, we will continue prioritizing providing support to filmmakers of color and filmmakers from other marginalized communities that have been disproportionately impacted by the COVID-19 pandemic.

Field of Vision and Topic Studios have created a $250,000 fund to provide grants for freelancers working in the Documentary field. The fund will distribute unrestricted grants of up to $2000 to support personal financial needs during the COVID19 pandemic to freelancers who have experienced hardship from loss of income or opportunity as a result of the pandemic

Dates and Deadlines


The fund will be open for applications from Wed April 8th from 9am ET until Friday April 10th at 6pm ET or until we reach 1,000 applications. You can find the link to the application at the bottom of this page.


The fund will be open for applications from May 6th from 9am ET until May 8th at 6pm ET or until we reach 750 applications.

Notification of grant approval will be within 20 days of the fund closing, and payments will be processed within 30 days of notification of a grant. June The fund will be open for a final round of applications from June 10th from 9am ET until June 12th at 6pm ET or until we reach 500 applications.


Be able to demonstrate work as a freelancer within the documentary field in roles such as:

- Directors - Producers (This includes Associate Producers) - DPs - Editors - Sound Recordists/Designers - Researchers - Assistants - Critics & Writers who have covered documentaries - Publicists

Other freelance roles will be accepted if they meet the rest of the criteria

Provide a link (examples - IMDB page, Film Review, Direct link to project) that shows professional work in the field.

The fund is eligible for artists internationally, however you must be able to receive funding electronically (we are not able to issue checks), and priority will be given to countries and regions of which there isn’t government freelance assistance that you are eligible for. If you have not been eligible for government assistance, please state that in your application.

Students who are currently enrolled are not eligible.

People who are currently in employment are not eligible.

Please note: We have made every effort to reduce the amount of information, paperwork and requirements for funding and have tried to make the fund as open and accessible as possible. We are largely operating on a trust-based system and really urge you to work with us on being able to maintain this. It’s extremely important to us to be able to get funding to the freelancers that need it the most. Please answer all questions thoroughly and accurately so that we can ensure the funds are allocated to help as many people in need as possible.

Information Needed:

- Demonstrated professional work within the field - Usual income source - Description of situation - Maximum amount requested - Minimum amount requested - What the funding would be used for - Location

Please note: It’s important to include a maximum and minimum amount requested. Also, please note that grants may be taxable as income under the law that applies to you. We will issue Form 1099s for grants of more than $600.

The Process

As always, it is important to us that filmmakers lead how we operate and respond, and so the process will begin with a blind review of applications by a panel of filmmakers and producers, with a simultaneous review by the Field of Vision and Topic Studios teams. Those recommendations will then provide the recommended list for funding, which will then be reviewed once more before contacting the fund recipients.

We will only be contacting those who have been allocated funding.

On receipt of the grant acceptance please expect up to 30 days to receive payment. In order to issue the grants we will need a W-9 or W8-BEN tax form and an invoice which includes wire transfer details.

UPDATE: Our first 200 meeting slots have been booked. However, you can still sign up for the waitlist at the links below as we work to add additional appointment times. Coming this spring, the Field of Vision team will again offer a virtual "office hours" service for the documentary community. As we’re in a moment of uncertainty, we want to make ourselves available to filmmakers in any way we can. We understand that the industry is experiencing a lot of upheaval, and that this is a particularly difficult time for freelancers and people working independently.

We will be allocating time every weekday to have video meetings and calls. We’ll be prioritizing filmmakers who’ve been affected by festival postponements and production changes, but will also be available to offer a range of mentorship and consultation around a variety of areas.

At Field of Vision we like filmmakers to lead and improve how we work. We were inspired by Jeanie Finlay, who has opened her time to mentoring after an upcoming film shoot had to be cancelled. Jeanie is working on a new film that we’re extremely honoured to be supporting. 

We are a small team and will try our best to make ourselves available to as many filmmakers and producers as possible. If any other members of our community would also like to donate their time, we are happy to facilitate this as well, so please feel free to reach out to us.

The areas which we would like to offer consultation on are below: 

  • General mentorship
  • Feedback on proposals and grant applications
  • Project Development
  • Online Distribution
  • Digital Engagement
  • Partnerships
  • Pitch Training
  • Editing
  • Technology & Digital Security
  • Distribution
  • Editorial Feedback
  • Festival Strategy
  • Career Guidance

This is not just open to filmmakers wanting to submit work for us to review, or filmmakers we have worked with before. If you feel you would benefit from time with our team on any project you’re working on please feel free to reach out. There are more details on how to take part below.



If you would like to have a virtual meeting about any of the above, please follow this link to book a time:

(We will also be adapting to demand, and will create a waitlist, and/or increase availability if needed.)

Submissions & Pitches

While we are still managing and prioritizing our regular submissions system, we would also like to make time for project and pitch meetings.

To sign up for a pitch meeting with us, please make sure you have submitted through our system prior to the meeting, using the link below:

Once you have submitted through our submissions form, please sign up for a meeting slot here. NB: We won’t be able to take any meetings around potential projects until you’ve submitted through the system. If you’re not ready to discuss a specific project, or are looking for more general advice, please use the first form.

Please bear with us as we begin rolling out our virtual office hours service. This initiative came together very quickly, so there may be hiccups. We just wanted to offer something to start. 

As we navigate these uncertain times, what is certain is that we are a strong community of creatives and storytellers. We have shown time and again how resourceful we are, how dedicated we are to our craft, art form and field, and how supportive we can be of each other. 

Please stay safe everyone, The Field of Vision Team


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