Pro Moviemaker March/April 2026 - Web

AWARDS FILMMAKER OF THE YEAR

DOCUMENTARY TRANSFORMING REALITY INTO A COMPELLING STORY THE CLASSES

Documentary filmmaking sits at the heart of visual storytelling. It is where observation meets authorship, and where filmmakers translate real lives and lived experiences into narratives that resonate far beyond the screen. The documentary category of FOTY recognises creators who bring clarity, empathy and cinematic craft to the truth. Marcus Rangel has entered a film he made for Stellpflug Cattle Company, telling the story of a three-generation ranch in a very scenic part of Wyoming. “This is the story they use to show other ranchers why their legacy matters to them,” he says. “It was one of the few videos I’ve done where I ended up only having to ask someone one question – the film’s grandpa answered everything I was going to ask in one because he talked for over ten minutes. It was also great to tie in drone footage and a documentary feel. It’s something they can use for their business for a long time!”

Films that uncover meaning in daily life, traditions or communities can be as powerful as large-scale investigations. Intimate, character-driven storytelling, handled with honesty and care, has a unique ability to reveal the universal through the specific. We’re looking for documentaries shaped with intention – in cinematography, pacing, sound and editorial rhythm. If your film uses craft to deepen understanding and give voice to real people and places, this is for you.

Like all great documentaries, Rangel’s is defined as much by how a story is told as what it explores, and it’s a stunner in terms of visuals and moments of captured dialogue. Whether addressing global issues, social change or personal struggle, the strongest films combine a thoughtful structure, a confident visual language and immersive sound to guide the audience through complex realities. They inform, provoke and connect, often leaving a lasting impression.

LIGHTING FOR FILMMAKERS WHO SHAPE EMOTION WITH LIGHT

Great lighting is never an accident. It’s a creative choice, a technical skill and, more often than not, the difference between something that looks good and something that feels professional. That’s why Amaran is the sponsor of this year’s lighting category. Today’s filmmakers are expected to deliver polished footage at speed, often with minimal crew and tight budgets. Amaran has earned its reputation by making high-quality lighting accessible, without compromising on performance or creative flexibility. Its range spans versatile tubes, powerful COB fixtures and slimline panels, giving filmmakers tools to build reliable lighting set-ups for everything from home studios to fast- paced commercial work. What sets Amaran apart is how effortlessly those tools slot into modern workflows. The lights are intuitive to use, quick to rig and capable of producing clean, cinema-ready output that quickly elevates a scene. Add app-based, wireless control into the mix and the ability to adjust colour and brightness or effects will become second nature, whether you’re working solo or as part of a small crew.

those choices carry an entire project. Whether your work relies on carefully controlled studio set-ups, motivated practicals or inventive use of available light, this award recognises coherence, craft and creative confidence. This is not about scale or budget, but about understanding how light supports your story. If your work uses illumination to define mood, heighten drama or subtly steer an audience’s emotional response, your work belongs in this category.

Light defines how a story feels long before a word is spoken. It guides the eye, sets the emotional temperature and gives images their sense of space, texture and intent. From subtle, natural light to bold, stylised set-ups, lighting is one of the most powerful tools at a film’s disposal. The lighting category celebrates filmmakers who use light with purpose and precision. It’s about decisions made on-set – where to place a source, what to reveal, what to hold back – and how