This PhD by Artefact explores if there is a gap in consent between documentary filmmakers and the subjects appearing in their films. The filmmaker/subject relationship is at the core of this study as it evolves through the three distinct phases typical in the production of a feature documentary film. Firstly, during pre-production, that relationship begins to be built and consent for participation in filming is sought and established. Secondly, during production, the phase when filming is taking place, consent is often formalised with the use of a consent or release form which sets out the parameters of the relationship. This form gives the filmmaker unlimited permission to render the filmed events into their own subjective narrative during post-production - the third phase. This is where the gap in consent may open up as the editing process tends to take place away from the subject. Thus the consent given by the subject during the production period can only be partially informed as they cannot know at that point how the material in which they appear will be used. If filmmakers wish subjects to consent to be filmed and to be transformed by being filmed, how do they achieve and maintain this consent within the filmmaker/subject relationship? This study, comprising this written document and an accompanying documentary film, features fourteen Irish documentary filmmakers in long form semi-structured interviews speaking about how they have evolved their own ethical frameworks and practices in dealing with the issue of consent. The filmed interviews have been edited into a sixty minute film artefact which represents a new body of knowledge in the field of documentary studies. The cohort of filmmakers discuss questions of power imbalances between filmmaker and subject, the nature of that relationship, intimacy, trust, the limits of informed consent, the use of release forms, their willingness to show rough cuts and the emotional labour involved in making documentary films.