The Production

Transmission 6-10 was independently created by a practitioner of Falun Gong with the assistance of a number of other practitioners and people who do not practice the spiritual life philosophy and exercises of Falun Gong (also known as Falun Dafa). Therefore, the production is considered to be a collaborative effort. The key crew members had no previous experience in film making, as such, it is the work of a first time director/producer.

What started as a voyage of self-discovery, evolved (12 Evolution) in to an investigation that revealed a significant amount of fallacious and misleading reporting on the subject matter discussed by the documentary. In the interests of transparency, a large cross-section of Research material is presented on this site. In addition, all interview transcripts are freely available to download from the Sources page. Dialogue used within the film has been highlighted in yellow, and ‘…’ represents where separated conversations have been woven together. The transcripts are raw in terms of grammar, but they are, within reason, a verbatim representation of what was said during the course of interviews and conferences.

As the investigation continues, those media reports which stand out as being particularly distanced from the truth will be put under the microscope [example] for analysis as part of the Stay Informed Blog.

Stay tuned in…… part of Phase 2, content is continuously added to maintain an active campaign to initiate change in China…for the betterment of all.



1 Introduction
…..1.1 Technical Specifications
…..1.2 Budget
…..1.3 Timeline of Events
2 Short Synopsis
3 Tagline
4 Micro-synopsis
5 Available Formats
6 Comments & Reviews
7 Styling
…..7.1 The Film
…..7.2 Promotions
8 Initiatives
…..8.1 Inform Others
…..8.2 MissionTrans 6-10
…..8.3 What is Tough?
9 Missing Fragments
10 Philosophies of Production
11 Multiple Dimensions
…..11.1 Trailer
…..11.2 Teaser
12 Evolution
…..12.1 From Tough Guy to Transmission (10min short)
…..12.2 China: An Open Secret
……….12.2.1Diamond Sequence
……….12.2.2 Investigative Research
…..12.3 Breaking the Silence
…..12.4 Transmission 6-10
13 Equipment
14 Interviews
15 Creators
16 Current Situation



Transmission 6-10 is a documentary about the persecution of Falun Gong. Stylised as a pirate broadcast, it has the objective of informing the world about atrocities taking place in China – an urgent call to action.

1.1 Technical Specifications

Recommended viewing age: BBFC (British Broadcasting Film Classification)

Running time approx: 123mins
Aspect ration: 16:9
Audio: Dolby 2.0
Regions: All
Format: NTSC
Frames Rate: 23.976
DVD: Dual-layer, colour

1.2 Budget

As a non-profit and freely available feature-length film, Transmission 6-10 (T610) is surrounded by an outreach programme to raise the profile of the project, and awareness of the subject matters discussed – taking the debate to the ‘court of public opinion’.

Breakdown of Expenses:

Filming Equipment £5,000
Computer Equipment £3,000
Audio Equipment £600
Tapes £1,000
Travel £2,000
Sundries £400
Certification £1,000
Lost Earnings £12,000

TOTAL £25,000

1.3 Timeline of Events

Project Start Date: January 2006
Research: January 2006-March 2010. Phase 2 research is ongoing.
Filming: January 2006-August 2008
Editing: March 2008-March 2010
Release Dates: Internet – July 20th 2010 | DVD – July 20th 2011
Website Launch: June 10th 2010
Promotions: July 20th 2011 onwards.
Project Completion: When change in China for the betterment of the global population has occurred.

Survivors of slave labour, brainwashing, torture and attempted organ harvesting combine with an investigative journalist, and eminent experts, to discuss the contentious subject of Genocide in modern-day China; that increasingly involves the West.

No record of the nameless

Breaking the silence on China’s secret genocide.

Launched on YouTube in 15 consecutively playing segments (playlist) on July 20th 2010.

Segment titles:
History Repeated
Recollections of the Ban
Torture the Evil Cult
Propaganda & Counter-propaganda
In Prison
The Campaign Begins
The 6-10 Office
The System
The Iceland Incident
The West
Gao Zhisheng
Organ Harvesting
Never Again
They have not been Abandoned

Also available in 2 halves on YouTube.

The full-length format was released on June 10th 2011.

Other free formats (downloads):

DVD Prices:
Single copy £6.10 + Shipping
Sponsored DVD £6.10


Comments (about the situation) and reviews (about the film) are actively solicited from viewers so that they can be used as part of the promotions campaign. Eventually they will serve as a petition to be submitted to the UN as proof that the global population want an end to the persecution in China. One of the UN’s criteria for joining is:

“Membership in the United Nations is open to all other peace-loving states which accept the obligations contained in the present Charter and, in the judgment of the Organization, are able and willing to carry out these obligations.”

Transmission 6-10 clearly proves that their seat on such a prestigious and supposedly selective body of countries should be challenged within the system.

For being very aware of current affairs, I was surprised to find how little knowledge I had regarding the shocking persecution of Falun Gong practitioners. It is appalling to realise what little international attention has been paid to such a massive human rights abuse.”
Molly, San Francisco

Exposed a lot. Thought provoking, moving, informative, brilliant!! Everyone should see it!”
Fiona, Yoga Instructor, London


7.1 The Film
Transmission 6-10 takes its name from two aspects of the film; the pirate broadcast editing effects and the 6-10 Office (the CCP initiated extra-legal task force dedicated to eliminating Falun Gong on a global scale). The tagline “No record of the nameless” symbolises that there are few records of the majority of Falun Gong practitioners who have suffered during the Genocide.
The documentary is a blend of interviews with survivors, experts in their respective fields and an investigative journalist (Ethan Gutmann), linked together by information screens which are communications by the creators of the pirate broadcast to the audience…whoever or wherever they might be.
The film repeats the opening 1minute to simulate that it is playing on a continuous loop, symbolising that unless the circumstances under which it has been sent come to an end, the situation will replay over and over again, until the phrase “never again” means “ never again”.

7.2 Promotions
Increasing awareness of the film follows similar styling to the film itself. Key themes that are harnessed include anonymity, espionage, urgency and collectiveness. Audience members are encouraged to become active promoters and distributers of the film, to the point of being requested to give a copy of the DVD to someone else once they have watched it.

“One DVD can be seen by hundreds, and in time, save millions.”

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8.1 Inform Others
Embedded within the film is the message “inform others”. It is a call to action by the transmitters of sequence 6-10. The promotion initiative centres around 3 methods that audience members can participate with. 1: Inform friends etc through social networking sites such as Facebook, including their own comment/review. 2: Pass the DVD to someone else. 3: Organise a screening of the documentary.

8.2 MissionTrans 6-10
Viewers of the film can sponsor a DVD to be sent to individuals who are part of the MT610 list, which comprises 610 noted citizens of the world e.g. George Clooney (see Evolution) who are deemed to have a close association to either the content of the film, or the process of making the film.

8.3 What is Tough?
Echoing the inception of the project, What is Tough is an opportunity for athletes (both professional or amateur) to sport the Transmission 6-10 logo on their equipment, baggage or apparel. The first example of this form of promotions was undertaken by the 70.3 triathlete Marc Lovatt.

During the production phase of the project, multiple duration formats were explored (from 10mins to 3hrs). It was determined that 2hrs was the optimum amount of time required to deal with the complex subject matter discussed, as it allowed for enough information to be disseminated to make the initially unbelievable, become believable. The constraints of the piece included the necessity to tackle propaganda espoused by the Chinese Communist Party, and inaccurate media coverage in the West.

At 2hrs in length, much of the information and footage gathered during research and filming did not make it into the final cut. To cater for this, the short films are periodically released and promoted as ‘missing fragments’ of the original pirate broadcast. The first such fragment was released on the 23rd of October 2010 (T610: 10-7 Tibet) on the 60th anniversary of the People’s Liberation Army invasion of Eastern Tibet. All fragments are launched on poignant dates. These fragments are part of the on-going investigation entitled Phase 2.

Officially a no-budget production, T610 eventually cost £12,000 to make (most of which was on equipment), with a loss of earnings due to time spent on filming/editing coming to a further £8,000.
The project is non-profit as the creators felt it unjust to make monetary gains from the misery of millions.
The principles of truthfulness, compassion and tolerance were central to the production process and became part of the film itself. An example being that although one could say that Human Rights organisations have done little to raise awareness of the persecution in China (several were approached during filming but interviews and even meeting requests were denied), their task is a difficult one, and therefore, a condemning finger was not pointed at them in the documentary.
It was important to the creators to remain as impartial as possible whilst directing the documentary, however, there is a strong argument throughout that Genocide is intolerable. This stance inevitably led to a directorial point of view that the situation currently facing Falun Gong practitioners, at the mercy of the Chinese Communist Party, needs to end. It is hoped by the creators that Transmission 6-10 makes carries a distinction between the citizens of China and their government.
In editing a film, it is very easy to manipulate an audience on an emotional level to persuade them of a directorial point of view. During the evolutionary progress of T610, this tendency of the film industry was whittled down to the bare minimum, in order to allow the viewer to make up their own mind on the basis of the information provided. It is also very easy to misrepresent an interviewee’s sentiment during the editing process. Sentences can be cut and put together to form new dialogue. T610 has made all of it’s interview transcripts freely available (SOURCES), along with the film transcript, on the website. All dialogue used is true to the interviewee’s intended opinion.
The crew watched as many news pieces, documentaries and films as possible to better understand how to tell a story that would inform, inspire and move its audience. It was noted that many examples were overly repetitive in nature. The T610 crew did not consider its audience to be lacking the intelligence to assimilate information over a 2hr period, and as such, uses repetition only to build a greater understanding.
The beginning of the second half takes the audience back in time to 1989 and the Tiananmen Square Massacre. It then swiftly moves through the two decades leading up to 1999 and Tianjin. The intention being that the audience members could have come to certain conclusions during the first half of the film, but when a greater context is provided, a new or solidified opinion could manifest itself. Zhongnanhai is initially introduced as being an event where thousands of practitioners turned up to stage a vigil, but the second half reveals it as having been instigated by police officers at Tianjin, and then manipulated on the day the event took place to look like a siege.
There is a great deal of subtlety in the film. The use of footage from the Tiananmen Square Massacre serves not just to remind the audience of the atrocities which occurred, but the more discerning viewer may also notice that there is a stark contrast between the protests of 1989 and 1999.

  • MORE TO ADD as pare of Phase 2

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Spiritual philosophy has always discussed the Universe in terms of a complex, intricate and mutually dependent matrix containing numerous dimensions. Metaphysics and Quantum Mechanics now recognises that the Universe is comprised of multiple time spaces which co-exist at differing levels. The film represents these theories owing to the fact that behind each piece of information, and every image, there dwells a story.
The footage from ‘The battle of Tiananmen’ have had to be smuggled out of China at great risk to the individuals undertaking the task, along with all the images of torture demonstrations, which were done by practitioners who had themselves endured the techniques.
One of the best examples of a story behind an image is of the old man sat on the floor of Tiananmen Square with a soldier standing over him. In the film, the image is on screen for just a few seconds, but the reality is that the elderly gentleman had endured an epic journey to get to the square so that he could voice his opinion and ask for the persecution to end. Being too poor to use transportation, his shoes were destroyed by the time that he had reached the square. He probably would have been unaware that at the same time as he made his protest, other practitioners whom he had demonstrated on behalf of, were possibly manufacturing shoes under slave-labour conditions.
The test card which surrounds the perimeter of the screen during the opening and closing of the film (and transmission effects) has key dates and figures as part of its design. It includes a bar-code to represent the power of China in the economic world, but it also represents the view that practitioner’s organs are mere ‘commodities’ to the CCP.

Ethan Gutmann on organ harvesting: “These examinations, given that these took place in the most extreme conditions of Labour Camp, were clearly aimed at retail…”

Many of the interviewees themselves are multi-dimensional. Sarah Cook is firstly introduced as being a practitioner of Falun Gong who has worked on research for the United Nations. Later on she is re-introduced as being the the co-editor of Gao Zhisheng’s autobiography A China More Just. Albert Ho is initially titled as being the Deputy Chairman of the Democratic Party of Hong Kong, and later re-introduced as also being a lawyer and legislator.
Transmission 6-10 has poignancy and purpose in every aspect of its creation, presentation, promotion and distribution. 11 seconds of silence plays out at the end of the film, representative of the 11 years of silence around the world on the issue, from when it began in 1999 to when the film was launched in the year 2010. The film itself was first broadcast privately on July 20th 2009, a decade after the crack down began, and was broadcast publicly on the same day a year later. The pricing of £6.10 and £10.6 are a play on the title.

11.1 Trailer
The trailer is 94 seconds long. If every frame represented the death of 20 people, the figure would be the lowest estimate of how many practitioners of Falun Gong have died since the persecution began. If every frame represented 30,000 deaths, the figure would symbolise how many Chinese citizens have died at the hands of their own government since 1949…..the trailer runs at 25 frames per second.

If US$61.0 was invested for every frame the trailer runs, you could buy a human heart from a harvested Falun Gong practitioner in China. 2350 x 61.0 = $143,350.00

11.2 Teaser
The teaser runs for 4mins 44secs. In Chinese numerology, the number 4 is very unlucky, as it is associated with death. At 7,100 frames long, if this number is multiplied by the 10,000 practitioners who showed up at Zhongnahai on April 25th of 1999, the figure would again approximate the total number of deaths under CCP rule.

If the prices of a kidney, liver, heart and cornea are added together (352,000) and divided by the number of seconds the teaser runs for (284), the result approximates the number of practitioners in China before the persecution began.

Kidney 62,000
Liver 115,000
Lung 160,000
Heart 145,000
Cornea 30,000

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12.1 From Tough Guy to Transmission
As an independently produced film, created by two first-time filmmakers, Transmission 6-10 evolved over its 5 and a half years of production. The story of directing the documentary was a journey from the physical & mental, through artistic & emotional, to factual & informative.
The initial working title and premise of ‘What is Tough’, was to be a very low-budget 90min investigation into what it takes to endure torture. The expansion of this would include who was being tortured (Falun Gong practitioners) and why (the CCP labelled them an ‘evil cult’ that was destabilising the Chinese nation). Inspired by productions such as Morgan Spurlock’s Supersize Me, the award winning An Inconvenient Truth and the hugely successful Blair Witch Project (which proved that low-budget movies could become a cinematic hit), What is Tough (WIT) would blend these differing directorial styles.
Centered around the participation of two crew members in the notoriously arduous military-esque assault course competition Tough Guy, the production would investigate the mental and physical challenges one faces when placed under extreme conditions without preparation.
Tough Guy was completed by the team in the winter of 2006 (wearing high-visibility vests for filming purposes, but also to showcase the first production logo – a list of those who had died those responsible for their deaths), and was documented using two consumer camcorders. The next stage encompassed expanding the content by researching key subject matters; cults, the CCP, Chinese history, Falun Gong and torture. It was the intention of WIT to complete other endurance events, without training, such as a marathons etc, and even partake in re-enactments of documented torture methods which were more easily replicated e.g. standing on a stool for 24hrs. (The Reading Half-marathon was completed prior to the conception of the film, and was part of the process for developing the project.) Acquired footage and information was then to be presented in the form of pieces to camera with stylised backdrops (Red for the CCP. Blue for Falun Gong.), spliced with recordings of the endurance events and interviews with their partakers on how “tough” they were. Further developments along this format were to include vox-pops with people of international renown who’s careers (firemen, military personal, athletes, adventurers), placed them in ‘tough’ situations. The question asked, having been shown footage and photos of torture victims, “could you endure such things yourself?”.
April of 2006 was the first turning point. Advice was sought from two filmmakers (Jake Seal of Creation Film & Television & Jaideep Punjabi, producer of Patang – both of which attended school in Hong Kong with one of the crew members) on how best to proceed. Both concluded that the subject matter (principally the persecution) warranted a higher production value. It was decided that a prosumer camera would be required to improve the visual quality of the film. An HDV camera was purchased on a year long interest free loan. This new piece of equipment brought with it an increased level of professionalism. Research then began to include the movie making industry; filming, interviewing, story telling.
The journey of discovery that the two crew members embarked on would also be documented, and presented as an ascent up a mountain (with one of the crew being an accomplished mountaineer and climbing instructor) – from the base of ‘ignorance’ to the peak of ‘knowledge’. This ascent (in the UK’s Lake District) was one of the first filming exploits undertaken using the newly acquired HDV camcorder.
‘What is Tough’ remained the working title and the premise for the piece. Marketing materials were prepared that would encapsulate the nature of ‘toughness’ and forbearance. Although technically the ‘hardest’ material, and not the ‘toughest’, the diamond logo symbolised that beauty had been forged under extreme pressure (from coal into diamonds). Along with calligraphy, the rough and tough looking diamond and bamboo (symbolising strength through flexibility) were key design features. They too would evolve – from pictorial, to graphical.

At the same time as buying the prosumer camera, the film Syriana was released in the UK. News spread within practitioner circles that the film included the following dialogue between Mark Strong (Mussawi) and George Clooney’s (Bob Barnes):

“Bob. What do you know about the torture methods used by the Chinese on the Falun Gong?
Huh! Method number one….what’s your guess? Water dungeon. Did you guess water dungeon?
Number two method? Number two. Twisting arm and putting face in faeces.
Not interested in two?
Number three. Number three is called ‘pulling nails from fingers’.
What do you think Bob? Number three sound good to you?
The purpose is to get the monks, or whatever, to recant their beliefs.
What if I had to get you to recant? That would be pretty difficult right! Because, if you have no beliefs to recant, then what?”

Two cinemas graciously allowed vox-pop interviews to be conducted with patrons who had just watched Syriana. What they said can soon be seen as part of the Comments & Reviews page.


The new camera, tripod and microphone setup opened up unforeseen windows of opportunity, as it was instantly taken more seriously than what was previously, and obviously, just a regular family handycam.
An Organ Harvesting awareness promoting parade was filmed, along with an interview with professional cyclist, and friend of the crew, David Millar. A trip to Fance was organised to film the Falun Dafa Day event in Paris, along with mainland practitioner Chen Ying (who had endured psychological torture during her incarceration) and Olivier Sonic (a Frenchman who had gone to Tiananmen Square in 2001 to appeal for Falun Gong and was promptly arrested, placed on a blacklist and sent home).


An opportunity arose to take the camera equipment on an overseas excursion to Australia and Hong Kong. As part of the journey, contact was made with local practitioners to organise interviews with survivors who had escaped China, and another who had intimate knowledge of the persecution. Chen Yonglin became a key witness interview.
In Hong Kong, the team were informed that David Kilgour was in town to present his findings on organ harvesting at a press conference (one of many fortuitous encounters). At the conference, Seto Hwa had pre-agreed to be interviewed and The Honourable Albert Ho accepted to be interviewed in his office the following week. During filming of a Wednesday night exercise class in Kowloon Park, a crew member was approached by Dr Chan Shun Hing, who was conducting his own research. Further practitioner interviews with Chu Keming, and Jennifer Zeng were also shot during the overseas trip. As was an interview with an anonymous mainland Chinese citizen (non-practitioner).
As research deepened and interviews became more easily arranged, the production started to shift away from WIT and towards a documentary focusing more on information than on personal experience. However, a Human Rights Film Festival was organised to take place in RIBA (Royal Institute of British Architects), opposite the Chinese Embassy in London. The crew were asked to submit a short film for the festival. Some Truths Are Intolerable became a key component in the evolution of the production.

As part of the camera package, Sony Vegas (an editing suite) was purchased. Although it was not the intention of the crew to be involved in editing the film (rather, the concentration was on research and the acquisition of footage), a 10min short film was created to see how what had already been shot could be put together to form a story. Some Truths Are Intolerable (STAI) was extremely rough in terms of production, but it formed a platform to improve from. A new transient member of the crew was added. A fellow practitioner who had experience with film making and graphic design offered guidance in improving the production. The next stage of its own development was a more polished version of the 10min short, to be submitted to Current TV as part of a short film competition. The winner of the competition would get the chance to meet with Al Gore (co-founder of Apple’s Final Cut Pro became the editing suite of choice.

Having failed to make an impact with the 10min short in the competition, other avenues were explored in how to ‘use’ it. The results of which would transform the production once again.

One of the initial crew members left working on the project to concentrate on university, but was replaced by another full-time project worker. Another part-time crew member who was instrumental in the completion of the 10min short also had to concentrate on other projects. Despite the change in personnel, the project continued, but would slowly change to become unrecognisable from its inception.

Having experienced the difficulties, and length of time it took, to produce the 10min short, the focus became inspiring professionals within the movie industry to help fulfil the potential of the project. The short was sent out to well known individuals such as Kevin Macdonald.

12.2 China: An Open Secret
Both research and filming continued. A trip to New York saw the interview take place with Dr Charles Lee and meetings arranged with representatives of Freedom House and Human Rights in China. Another trip to Hong Kong included interviews with Jeff Priore, Dr Chan Hing Lin and To Yiu-Ming. 2007 also saw the filming of MEP Edward McMillan-Scott’s historic phone call with Hu Jia about tortured lawyer Gao Zhisheng. Interviews of 2007 included: Sarah Cook, Matt Whitticase (Free Tibet), He Bin, Jonathan Mirsky (who was met at The Economist hosted debate on the Beijing Olympic Games), Professor Tom Treasure and the London Organ Harvesting press conference. Two part-time crew members who filmed the Tough Guy competitions had a trip planned to Iceland, and so offered to interview Haflidi Helgason.
Each interview, conference, parade, newspaper article, news piece etc led to further research and a deepening knowledge of what was really going on. It became obvious that a lot of people and organisations in the West knew exactly what was happening in China, and yet, did or said nothing. The persecution of Falun Gong was an “open secret”. A new title was created – China: An Open Secret (tagline: Some Truths Are Intolerable).
The Human Rights Torch Relay saw an introduction to Tinch Minter (Playwright). She advised that to best proceed, a script of the documentary would need to be produced to convey to others what was in mind for the film. Transcripts of all interviews and conferences were created and keycards produced to facilitate the creation of the transcript. Once the transcripts were prepared, the best pieces of dialogue were organised into categories of discussion topics e.g. Torture, Olympics, 6-10 Office. The process of threading together all the most important information into a coherent argument was completed by early 2008.

12.2.1 Diamond Sequence
When one of the founding crew members left the project to concentrate on his studies, a new storyline became necessary. Humour was explored as an option to captivate a Western audience (used effectively by the works of Michael Moore), but despite the many examples of laughable hypocrisy, discovered through research, on the part of the CCP and also Western governments, NGOs and the media, it was quickly decided that comedy and Genocide was not an appropriate mix.

(The old man watches Chinese Central Television accounts of the Self-immolation incident)

Inspired by the beautiful blending of drama and interviews in the award winning documentary Touching the Void, an ambitious storyboard was created to tell the tale of an old Chinese man. Whilst closely examining a Ruby which he had safeguarded during the Cultural Revolution, the man found himself having a parallel vision of a female practitioner as she painted banners and distributed them to remote villages (a phenomenon which echoed reality), before meeting with a tragic end at the hands of 610 Officers. The Old man would then find himself coming out of his vision to realise that the once blood red ruby had become a diamond (the diamond being a remnant of What is Tough styling).

The dramatised sequences would require professional assistance and a budget that went beyond the capabilities of those involved and was eventually shelved when alternative stylising presented itself. In the absence of the diamond sequence, CAOS utilised footage from the movie Sandstorm (a dramatised production about the persecution) to separate what were the three distinct chapters.

12.2.2 Investigative Research
As all the information gathered over 2 years was now organised, the next step was to put it into a film format. Attempts to get external help on the project seemed to be going nowhere. The project had to continue, so the transcript was roughly edited with archived footage (made available by NTDTV) and original content that had now been shot in 6 countries on 4 continents.
It was the desire of the directors to have a high-profile personality narrate the film. In the absence of having secured one for the role, information screens were created to fill in the gaps (they too would evolve). Eventually the idea of a narrator was abandoned, as it was realised that the information screens played a vital role in engaging audience members and making them a part of the film experience. They also synced well with what would become the final format for styling.
By mid 2008 the three hour film China: An Open Secret (CAOS) had been completed, and a second turning point had arrived. CAOS was comprised of 3 chapters, each with a different hub that pulled the act together. Chapter One was centred around the Edward McMillan-Scott & Hu Jia phone conference about Gao Zhisheng. Chapter Two was built around David Kilgour’s two Organ Harvesting conferences. Chapter Three was pieced together utilising the Human Rights Torch Relay as the hub.

Kevin Macdonald, who had received a copy of the 10min short, contacted the team via his assistant Isabel Freer. A meeting was organised to discuss the project. Mr Macdonald’s interest in the film had been peaked by his frequent bicycle rides past the Chinese Embassy in London; opposite to which is a 24hr vigil, held by local practitioners since 2001. An editor, Ben Lester, was quickly called upon to view the 3hr film and begin work on creating a new version. The result was a 45min film that was markedly differing in style and managed to portray a lot of information in a short amount of time. Undoubtedly, the 45min version was an improvement, but key subject matters, such as the 6-10 Office and the Olympics, had been omitted. The film was shown to a number of random citizens whom the team were in circumstantial contact e.g. cafe workers, shop assistants. The overwhelming response to viewing the 45min documentary was two fold: shock of the situation and hearing about it for the first time, followed by a multitude of questions.
It was felt by the crew that these recurring questions could be easily answered by boosting the 45min film up to 90mins. As more was discovered about the persecution, it became less important ‘what’ the practice of Falun Gong was, in comparison to what has ‘happening’ to it. This subtle, yet vital shift, would lead towards working on a more investigative piece, rather than narrative.
Whilst a period of months elapsed between the two sessions of editing work undertaken by Mr Lester, the crew tried to address the issue of a lack of clarity achieved in the eyes of the audience, by editing together a feature length documentary.
Gao Zhisheng was singled out as being the new hub for the film. As a non-practitioner, it was considered that he was the most impartial of all the characters whom had direct experience of being tortured at the hands of the Chinese Government. He was also, despite underwhelming Western media coverage, a well-known figure. A version of the film (untitled) was created, but quickly discarded as there was not enough footage or photos of Mr Gao to command an audiences interest over a 90min period.

Whilst continuously researching the subject matter, progress was also made in story telling and editing skills.

2008 saw the interview with Herman Salton conducted, along with what would become the most crucial and defining interview, that being with Ethan Gutmann. The 45minute documentary was now edited to include these, along with additional research and images. Drone Archeology sounds became the backing music, along with songs created by practitioners of Falun Gong, and the theme piece ‘Heart’ (created and performed by one of the establishing crew members).
The interview process was complete. On reflecting how easy it was to get all of the interviews despite any experience, it became impossible to deny that the story of the persecution was not being ignored, it was being suppressed. The West’s involvement became the final focus of research. What was being done/not done and by whom. What was being said, and what was not being said. The ambition of finishing the film prior to the Beijing Olympic Games of 2008 proved to be impossible. This failure did however lead directly to increased scrutinising of the West’s involvement from 1999 onwards. The build-up to the Games included phrases in Western media such as “China will be put under the spotlight”. The spotlight proved to be about as bright as a 40watt incandescent light bulb.
A new format for the directing of the documentary was stumbled upon during editing. As the complexity of the project within Final Cut Pro increased, the hardware became less able to cope with the information. Stuttering during playback of edited scenes became less of an annoyance and more of a prompting to explore the creativity that they evoked.

Echoing the attempts of interviewee Dr Charles Lee to disseminate the truth about the persecution of China to the Mainland public by means of tapping into the TV network, Transmission 6-10 was just one step away from being conceived.

12.3 Breaking the Silence
Re-named and with the addition of rudimentary special effects to represent a pirate broadcast, urgently sent out to “inform others” of the atrocities, Breaking the Silence (BTS) was taken over to Los Angeles in March of 2009 to garner support for the project. It was the intention of the trip to meet up with movie critics and other persons within the Hollywood industry. In the absence of prior arrangements, a crew member turned up at various organisations e.g. NOOW and Current TV, in an attempt to speak with personnel who might be able to help.
Unfortunately the trip was not a success. In an open ended project, film festival submission deadlines were utilised as cut-off points for getting various stages of work completed. BTS was submitted to numerous festivals with the intention of gaining further professional assistance on the project, and the possibility of distribution, but it was never accepted.

12.4 Transmission 6-10
The project was re-named for the last time. Transmission 6-10 (T610) saw re-edited to improve upon not only the stylising of the film, but also the image quality. This process took 6 months to complete. Audio quality also had to be improved for the DVD version, along with improved visual effects. Technical knowledge of the processes required were learned and more equipment purchased and borrowed to undertake the tasks. The special effects and crucial colour correction of certain interviews – chiefly that of Ethan Gutmann – were edited by Pete Howlett. The 610 Office points document became the key piece of evidence as proof that not only was the persecution going on in China, but across the world (corroborated by interviewee Chen Yonglin). The official stamp of the 610 Office was utilised as part of the title logo.

A special screening of first cut was held in Sheffield on July 20th 2009 – commemorating the 10th anniversary of the persecution beginnings.
After further refinements, T610 was uploaded to YouTube on July 20th 2010 – the 11th anniversary of when the atrocities began.
Technical difficulties were once again encountered whilst producing the best quality DVD version of the film. Transmission 6-10 was finally set to be released on DVD on the July 20th 2011 and global promotions activated.

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The first day of shooting was conducted with a Sony handycam and a 3CCD Panasonic consumer camcorder. Rough editing work began using an HP laptop with the Nero suite and an 80gb external HDD.

During the process of evolution, the amount of equipment, and its quality, was continuously increased.

3 months after the first shooting day at Tough Guy, a package of the core filming equipment was purchased with a year long interest free loan:

  • Sony HVR Z1 prosumer camcorder, with carry case
  • Rhodes shotgun mic and deadcat wind muffler
  • Senheizer DJ headphones
  • Manfroto (525MVB) tripod & (503HDV) head, with carry case

Additional storage for footage was purchased on ebay:

  • Packard Bell Store & Save 500gb external HDD

As part of the same deal, the editing suite Sony Vegas was used on a Dell desktop PC (with all other aspects of the production worked on a Hewlett Packard laptop) to produce the first 10min short. It was advised that 3rd party insurance (Photoguard) be taken out for the duration of the project, in the likely instance that Chinese government agents attempted to interfere with filming.

Over the years, additions to both the filming and editing equipment were made:

  • Pag Light
  • Sennheizer lapel mic
  • Camrade camcorder rain protector
  • Kood double-sided reflector
  • Spare Sony battery
  • Extra XLR cables
  • Apple MacBook Pro 17”; 2gb Ram
  • 2 x LaCie Big Disks (500gb each)
  • LaCie Big Disk extreme 1tb
  • LaCie Rugged HDD (500gb)
  • 1gb of additional Ram

The editing suite of choice became Final Cut Pro with graphics being created in Adobe Photoshop CS3.

Once filming was completed and editing was the primary occupation of the production, a customised desktop computer operating Cubase to facilitate the production of enhanced audio quality and sound effects. Hardware included:

  • Roland ED PC-180A midi-keyboard
  • Baby Bottle studio mic & stand
  • Wharfdale 7 speakers
  • Sherwood AX-4050r amplifier
  • Focusrite VoiceMaster Pro preamp


  • The connections between interviewees and how contact was made with them will be added as part of Phase 2 e.g. an image shown in the film is of Albert Ho and Edward McMillan-Scott stood either side of a poster promoting the freedom of Gao Zhisheng.

Early on in the project it was decided that it would be too risky (for crew and equipment) to go to China for the purposes of conducting interviews. The availability of survivors who resided outside of China circumvented the necessity to gamble. The use of covert methods of footage acquisition was explored, but ultimately abandoned in favour of utilising Hong Kong (where one of the crew was raised and maintained ties) as a gateway to China.
Inspiration for the project came from a lack of credible conveyance of convincing evidence to a scrutinising Western audience in a format that was easily digestible and distributed. The project grew of its own accord without constraints put on it until it reached its own evolutionary potential.

Transmission 6-10 is the creation of two first-time filmmakers who practice Falun Gong. Having previously been active in various other Falun Gong initiated projects, the two removed themselves from the community due to the demands of the film, but also to gain a more impartial perspective. In the absence of any notable third-party investigative journalism (with the exception of Ethan Gutmann) the crew remained as objective as possible. It was concluded that, owing to the nature of Genocide, what Falun Gong practitioners believe or don’t believe became irrelevant the moment a person was killed in captivity by their government.

(As is the case with most projects, what took the longest time during production was troubleshooting the unexpected)

Many experiences were had during the path of production. A lot of avenues were explored that never became evidenced in the final film. Much of what was seen and heard will eventually come out on this website as part of the Stay Informed Blog e.g. business cards were refused printing in China because the name Falun Gong appeared on them – the company used was based in Hong Kong.

Transmission 6-10 is a timeless documentation of the persecution of Falun Gong, as it charts the situation from beginning until the day of the broadcast, and yet, repeats itself as a warning that such atrocities can still occur in the 21st century. The project maintains a constant updating of research in the form of a blog, entitled “Stay Informed”. With over 80hrs of original footage & interviews, plus over 100hrs of archived footage, countless pieces of evidence and data in the form of websites, newspaper & magazine articles, television programs & radio shows, books and other publications, Transmission 6-10 is an ongoing investigation into the persecution of Falun Gong and China’s relationship with the West. Maintaining the ‘transmission’ theme, ‘fragments’ of what would originally have been a 3hr+ pirate broadcast, are intermittently released on the website. These missing fragments serve to provide great amounts of information on what is an extremely complicated global phenomenon.

It is the opinion of T610 that mankind faces many disasters (acts of nature, terrorism etc) and governments have a difficult task to manage their nations, but, when it comes to a government of one of the most prominent global nations systematically eliminating a population of people (Genocide), then something can be done about it! Practitioners of Falun Gong who have suffered in China have proven that ideas are torture proof. It is the responsibility of everyone else to ensure that what they have endured eventually counts for something – freedom.

For information on the persecution and efforts to end it, please visit: Falun Dafa Information Center

For information on the spiritual practice of Falun Gong (also known as Falun Dafa), please visit: Falun Dafa

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