So you've made your documentary - now where to put it? Is anyone still paying out there? Amidst all the potential of digital distribution, are cinema and TV still important? Join a panel of feisty international distributors who will each offer a different perspective on the digital 'revolution' and expose what's solid and what's fluffy. Best of all, you'll learn not only how to get the world to see your documentary but how to get paid for it to.

In recent times PACT has successfully fought hard for changes in new media rights and new terms of trade. This panel unpacks the details of the deals and looks at the impact these changes have had on producers and documentary makers in the UK. In this changing production environment are the conditions going to continue to favour the super-indies or will the micro-companies also flourish alongside them? Is the answer to look to international funding and production partners? Will creating niche programming in a global market be the way forward? In the new media climate, is the playing field levelled or will the gap between the super-indie and the micro continue to grow? Should market-forces be allowed to sort it out for us? 

With films like 'Burma VJ' using footage from high street cameras and mobile phones, and the wealth of films and documentary initiatives arming people with cameras rather than guns, there seems to be a dawning of a new age of citizen journalism which can result in films and footage reaching a mass audience. This session looks at the way in which both citizens and local filmmakers around the world can contribute to documentarying issues that previously were left to the Western filmmakers. 

The Channel 4 Interviewee for 2006 is Stephen Lambert, one of the iconic figures of modern British documentary - a lightning rod for praise and criticism alike. Few figures elicit such strong reactions. For some, he represents the selling of the soul of documentary to business. For others, he is the most inventive and creative figure working in documentaries over the past fifteen years. After Wife Swap first aired The Guardian wondered whether the ITC should simply switch off the Channel 4 transmitter and The Telegraph called it an "abuse of TV's Godlike power". At the same time his work has been lauded both in Britain and abroad "as truly groundbreaking" and showered with awards. Today Stephen Lambert is the Chief Creative Officer of the RDF Media Group where he has been responsible for Faking It and Wife Swap among many others. Before joining RDF, documentaries department, where he produced and directed many films for 40 Minutes and the Inside Story strand. He then became the Modern Times documentary strand, which he ran for four years. What cannot be denied is his central influence on the shape of the modern documentary on television - an influence which the Channel 4 interview will provide a unique opportunity to explore. 

This masterclass celebrates the work of brilliant cameraman Paul Otter. In a career of spectacular work on award-winning films like The House, The Last Peasants with Angus Macqueen; The Lost Boys and Pimp Snooky with Clive Gordon; Tsunami - Six Hours on Boxing Day and the film he is presently making with Kevin Sim, Paul has held on to the values of collaboration and complete immersion in the subject, which are of immense value to future filmmakers. He will take us on his journey helped along by examples of his work. 

The documentary genre is currently undergoing an intense period of scrutiny and reassessment. Damaged by accusations of fakery, charged with unfair manipulation and increasingly marginalised and subject to cutbacks, is it the end of the line for the genre? Once the pride of British television, have the channels and the public lost their appetite for documentaries? In an age of celebrity-smitten, format-crazed factual, who is commissiong them now? This year's Question Time tackles these and other key issues with a panel of leading documentary makers and commissioners.

The relationship between filmmaker and contribution is fundamental to the success or failure of all documentaries. But we rarely hear directly from the people who, for whatever reason, agree to appear in our films. This session allows some very different contributors, in the presence of their filmmakers, to talk about how it was for them. Alexis Arquette was filmed as she went through a sex change and at one point withdrew access. Gary was cast as a bigot in Joe Bullman's docu-drama 'The Seven Sins of England', while Monthy and Betty had their lives scrutinised in Mark Isaac's observational documentary 'All White in Barking'. Would they do it again if they had known what they know now?

Presenter-authored documentaries have been around for almost 40 years. At its core the genre tries to turn serious debate into informative entertainment by the power of the presenter's personality and on-screen presence. In this session we look at the current rise of celebrity and cultural commentator fronted documentaries. Is this new form of authorship just a trend that pulls in viewers or is it the savior of the dying television documentary?

How vital to the DNA of modern television is the documentary? The BBC currently produces more factual programmes and documentaries than any other broadcaster in the world, yet Mark Thompson, the new Director General of the BBC, has cut budgets for indies and in-house alike and announced fifty per cent cuts in the BBC Documentary Department. So what does he think about the modern documentary? Mark Thompson will select those films that he thinks best illustrate television's changing relationship with the documentary form and reveal what they say to him and the present, the past and the future of the genre.

We are honoured that this year's Channel 4 Interview is with Michael Moore, the celebrated American film maker, Moore has applied his unconventional approach to documentary films since his famous debut Roger and Me. Stuart Cosgrove, head of Programmes, Nations and Regions, Channel4, discusses with him his past work, his creative approach to storytelling and his latest projects. 

How far can you go before you’ve crossed the line, broken the code and made yourself the next poster-boy of TV fakery? In this interactive masterclass More4 chief Peter Dale and Channel 4's legal guru Prash Naik bring together a panel of producers and broadcasters to examine both clear-cut cases or wrong doing and the dilemmas from the grey area. With producers caricatured as reckless and broadcasters caricatured as arse-coveres we put both parties to the test. The masterclass will reveal lessons for all - production teams and commissioner alike. 

How far can you go before you’ve crossed the line, broken the code and made yourself the next poster-boy of TV fakery? In this interactive masterclass More4 chief Peter Dale and Channel 4's legal guru Prash Naik bring together a panel of producers and broadcasters to examine both clear-cut cases or wrong doing and the dilemmas from the grey area. With producers caricatured as reckless and broadcasters caricatured as arse-coveres we put both parties to the test. The masterclass will reveal lessons for all - production teams and commissioner alike. 

How far can you go before you’ve crossed the line, broken the code and made yourself the next poster-boy of TV fakery? In this interactive masterclass More4 chief Peter Dale and Channel 4's legal guru Prash Naik bring together a panel of producers and broadcasters to examine both clear-cut cases or wrong doing and the dilemmas from the grey area. With producers caricatured as reckless and broadcasters caricatured as arse-coveres we put both parties to the test. The masterclass will reveal lessons for all - production teams and commissioner alike. 

This year the battle for the future of digital distribution intensified. The founders of Pirate Bay were found guilty of assistance to copyright infringement and sentenced to a year in jail. A Shooting People poll indicated that ordinary filmmakers were deeply divided. A third welcomed the verdict saying they would never download a pirated film, but 22% had no problems with piracy and 41% would do so in certain circumstances. In July, 7% of Swedish people voted for the Pirate Party in the European elections winning 2 seats reminding us that P2P sites are meeting the needs of a growing audience. if we cant beat them, can we join them to benefit both creators and audiences?

Not so long ago the arts were declared dead on TV. But has there been a resurgence? Or are broadcasters merely paying lip service to MPs, OFCOM and the press? What kind of arts films are being made? And what about films as art?

Getting your film commissioned by a UK broadcaster is not the only way to be a documentary filmmaker (and earn a living from it!). From funds and foundations to DIY distribution, to the world of international co-production, this session looks at the more interesting options that are available in the UK and some of the lesser-known ways of getting funding from Europe and North America.

From Gates of Heaven, The Thin Blue Line, Vernon Florida, A Brief History of Time, Fast Cheap and Out of Control to Mr Death: The Rise and Fall of Fred A Leutcher, Jr. Errol Morris has continued to make some of the most controversial, influential and thought-provoking films in the documentary field. "Morris is a one-of-a-kind filmmaker capable of melding science, philosophy, poetry and sheer whimsy into an elaborate mediation on mankind's mysteries. His unique ability to get subjects to open up can be attributed to his genuine interest and concern. This coupled with extremely diverse interests results in his fidning something extraordinary in the ordinary". Janet Maslin, The New York Times. We are honoured that Errol Morris is returning to Sheffield to discuss his singular approach to film making.

Documentary filmmakers struggle with licensing problems when they quote or even accidentally capture copyrighted or trademarked works in their films. How have filmmakers made the law friendlier to quation and what can others do to help themselves? Initiatives in the US, Canada and Europe are discussed.

In the wake of ten years of 'Storyville', including an Oscar, ninety nine other prizes, and BBC cuts, Nick Fraser looks at the current state of documentaries aka factual films that may or may not be shown on television, in cinemas or on the internet. "This is not a reterospective", he insists. "Our industry is full of self congratulatory events, and I have no desire to add to these. Instead, I look for a mixture of polemic and peer into the future". Nick Fraser is going to illustrate with clips of future 'Storyvilles'.

Internationally acclaimed documentary maker Bob Connolly presents a fascinating session on his work and longstanding collaboration with Robin Anderson, who tragically passed away in March 2002. Using film clips as illustration, Connolly talks about making his compelling films with Anderson, including their momentous Papua New Guinea triology (First Contact, Joe Leahy's neighbours, Black Harvest), Rats in the Ranks and Facing the Music. Facing the Music was selected by guest curator Kim Longinotto for screening in this year's festival.

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.

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'.