Traditionally when making a documentary, filmmakers present a film that reflects only a sliver of their amassed content. We shoot and shoot and shoot some more, then edit and cut the vast majority of the content to fit the hour or 90-minute mold dictated by broadcast or theatrical release. You see one streamlined version of events: the one we’ve authored and edited, no more no less. However, this shoot, slash and sausage method is no longer the be all-end-all for documentary films. Or, in the case of Land of Opportunity and other transmedia projects like ours, a documentary is no longer limited to the padded confines of its linear feature film manifestation.