No Direction Home in London is an excellent collective of filmmakers with some amazing guest talks.
I'm a documentary maker as well, and both of these projects are unique stories that happened mostly by chance. One was discovered by chance and with the other, the filmmaker realised that she was at the heart of a great story.
I've just started on a new project which is also very unique – but I had to wait 8 years since my last major film (a cinema hit) for that to happen. The problem for doc makers is what you do in the years in the middle – when every story you find through exhaustive work isn't quite good enough.
And this is simple math. There are only around 10 great docs each year, and another 20 pretty good ones. But there are thousands of 'documentary filmmakers' looking for those stories..
PS - sorry, I should have started by saying this is a great idea and a really good piece! I was just referring to the small 'detail' of sensor size.
The C200 isn't full frame, so its 35mm lens doesn't give the same view as a 35mm lens would on a full frame camera – which is significantly wider.
So surely the baseline is to start with 35mm frame equivalents and then work from there? (Even a tiny iPhone lens is classified in terms of it's equivalent full frame performance.) Otherwise you're going to ask for a 35mm lens when what you really want from your camera operator is a 50mm lens.