Since first appearing on screen as a correspondent for Michael Moore's TV Nation in the early 90's, Louis Theroux's compelling documentaries about marginal subcultures have gained him cult status with viewers obsessed with his 'Alan Wicker school of thought'...ask a question, keep quiet and see what happens. In this masterclass, BAFTA winning Theroux will screen clips and discuss many behind the scenes stories of making his docs. A chance to hear about Theroux's unique techniques and interviewing style with much time for your questions too!

Over the past twenty-five years Nick Broomfield has established himself as Britain's best known and most accomplished documentary filmmaker. Beginning his career by looking at the plight of working class communities in Liverpool, he has subsequently pursued on camera and in his own inimitable style the likes of South African supremacist Eugene Terre Blanche, comedienne Lily Tomlin, Margret Thatcher and rock star Courtney Love. Recently moving into what Broomfield terms "real cinema" with 'Ghosts' and 'Battle for Haditha', the session will feature Broomfield talking about his life, his work and his inspirations with Jason Wood.

Following the Appreciative Enquiry session, come hear the insights from the morning discussions. From genetics to geriatrics, science is racing ahead. But are science documentaries keeping pace? Scientists and documentary makers both want to explore, understand and explain the world around them. Both sides strive for truth, relevance and integrity in their work. So why, when we put the practical process of making science documentaries under the microscope, do we find that the values of the two sides can come into conflict, to the detriment of both the films and the public's understanding? This session explores what makes a good relationship between commissioner, filmmaker and scientist and why it is so important to do so. Participants of the Appreciative Enquiry Workshop will join the panel.

Alastair Fothergill's BBC TV series 'Planet Earth' was at the cutting edge of High Definition technology, following on from his award-winning 'Blue Planet' and its subsequent cinema version, 'Deep Blue'. This time though, as TV documentary moves ever closer to the big screen, a digital version of 'Planet Earth' was commissioned up front. Previewing some stunning HD material from the project, Alastair takes us through the problems, the pitfalls and the exciting cinematic possibilities of the world of HD production.

Can direct-to-DVD, internet marketing and broadband provide a new way for documentary makers to reach their audience? The panel show how they have done it, how they plan to do it and debate the shape of the future.

This year, Sheffield Doc/Fest opening with the stunning documentary 'Joy Divison'. This masterclass offers you a chance to come and hear from the filmmakers and the band members about the production process of the film. This session will include screening of clips from the film and discussions of the many challenges along the way in the making of the doc.

In the current climate television producers are clambering to go that one step further to gain access to stories that will win them a commission and guarantee a 'never seen before on TV experience'. But how much access does the audience really need or want? Trust issues have thrown filmmakers and their practices into the spotlight and under scrutiny. Access is granted through building relationships with contributors - how do you achieve the trust? At what point does this border on exploitation? From a commissioner's point of view how far will the broadcaster go to get that programme made - financially and morally? Legally when should the alarm bells ring - do you deal with issues at the beginning or throw caution to the wind and pick it up at the end?

In the current climate television producers are clambering to go that one step further to gain access to stories that will win them a commission and guarantee a 'never seen before on TV experience'. But how much access does the audience really need or want? Trust issues have thrown filmmakers and their practices into the spotlight and under scrutiny. Access is granted through building relationships with contributors - how do you achieve the trust? At what point does this border on exploitation? From a commissioner's point of view how far will the broadcaster go to get that programme made - financially and morally? Legally when should the alarm bells ring - do you deal with issues at the beginning or throw caution to the wind and pick it up at the end?

Filmmaker Lee Kern gives a Powerpoint presentation and hands-on seminar in how to be a TV whore, featuring:- How to look over shoulders of people you're talking to, to find someone more important, - How to pitch to a commissioner whilst in the toilet, -How to get to the party where all the "good ones" are, - How to stalk your prey, - & How to fight off other hopefuls from encroaching on your conversation with someone powerful.

Who needs documentaries? Richard Klein, television's favourite Commissioning Editor, poses a provocative question. Why on earth do we still have documentaries? The forces ranged against them are many. Poleaxed by new technology, pounded by ever mutating forms of factual entertainment and pulverised by the obsession with ratings, surely the documentary should be down and out by now? And to cap all that there's precious little money to be made. So why do we still need them and why do people make them? In a speech that takes in the films he loves and hates, the redemptive power of truth versus the corrosive power of sentimentality and why real life is always stranger and more interesting than fiction, Richard Klein searches for the answers.

Following on from their BAFTA win the 'Ross Kemp on Gangs' team explain the inspiration behind the series which explores a subject that has become part of everyday life. Ross will also talk about how he's moved from drama to factual and his toughest production yet, 'Ross Kemp in Afghanistan'. In addition to the 'nuts and bolts' of making the programmes the panel will explore the genre of the personality- led documentary, what makes it successful and why broadcasters want more.

Internationally renowned writer and commentator on popular culture Steven Johnson will highlight some of the challenges for producers of film, TV, games and new media trying to reach new audiences on new platforms. He will look at tools they can use and how they should respond to the demands of ever more 'digitally literatre' users and viewers, exploring new types of content and new business models in an increasingly fragmented media landscape.

BAFTA winner, revenue earner and herald of a new dawn for documentary, 'Touching the Void' is one of the most successful British cinema documentaries ever made. But who really made all the money, and how difficult was it for a television producer to step into the big bad world of film? In conversation with David Aukin, who is an undisputed expert on British cinema, producer John Smithson tells the inside story - the deals, the money, the true profits - and together they judge whether the film marks the beginning of a new era, or a false dawn. 

Adam Curtis is one of the few documentary makers whose every project attracts attention from far outside the documentary community. In recent years he has taken to huge subjects such as why and how we went to war on terror with 'The Power of Nightmares' and investigated the power of small elites in British society in 'The Mayfair Set'. His films are characterised by an explicit and strong argument allied with an imaginative use of archive to prove his point - demonstrated powerfully in his series 'The Trap'.