January? In that case you'll probably want at least one sweater. Maybe a jacket too.
I just had the impression from your posts – maybe just my interpretation – that you seemed worried by overcoming a problem with taping sound when, if anything, that will be the least of your worries.
As I mentioned before, I don't think it's a good idea (nor is it necessary) for you to worry about sound, especially in an interview situation when your responsibility has to be listening carefully to the interview.
Make sure that throughout your trip you keep your eyes open for unexpected opportunities and first and foremost: ENJOY YOURSELF!
I have spent the last several weeks conducting format research etc. Thanks to all who have offered opinions. I have settled upon shooting 720p with the P2 and have found a good camera rental in my area.
With this issue completed, I have some other questions regarding software that I would appreciate input on.
My doc will be photo-driven, meaning that I will be telling my story primarily with original pictures from archives. Additionally, I will be using on-camera interviews, character V.O.'s as well as narration. My question is this: Can I replicate traditional "camera moves" with still photos via Apple's FCP Studio 2? Specifically, Motion 3? I need to be able to zoom in/out, reframe for CU's etc on existing photos during my editing. I believe everyone here understands what I'm getting at. Can I accomplish these photo manipulations within FCP Studio 2 or must I perform these actions with yet another program such as Photoshop and/or Aperture?
Additionally, I presume the archived photos at my disposal which are only 600x600 dpi are not sufficient for HD broadcast parameters as well as zooming in. What dpi rez rates must I have them scanned at, at minimum in order to avoid pixelation etc. within my project?
Thanks in advance for your help here.
In reply to Darla Bruno's post on Fri 21 Dec 2007 :
After reading all of these posts regarding sound, I felt a need to chime in.
Although I am a novice with a camera (that's why I'm hiring someone to shoot for me!), I am a professional production sound recordist with many years of experience. With all due respect to Mr. Wong, it is uninformed opinions like these (a trained monkey could do it) which end up killing more films due to horrible production sound. And in the case of doc work, it is, most likely, unfixable in post. Interestingly enough, I never see such flippant remarks tossed about regarding shooting with a camera. After all, isn't camera op'ing nothing more than pushing buttons and turning dials? Of course not! It requires knowledge and a specific skillset. Believe it or not, so does good production sound. If you own Rabiger's book "Directing The Documentary", take a peek at his comments regarding Sound.
That said, please know that you need to treat both camera AND SOUND with the same level of importance. Fail to do this and you're setting yourself up for failure, technically speaking.
Think of taking a half-day crash course in camera op'ing. Sounds rediculous doesn't it? Same goes for good production sound gathering.
If you can at all afford to do so, hire an experienced sound recordist. He/She will not only have the skills needed, but will also have the professional gear to accomplish the task at hand, knocking out problems such as wireless work, location issues, laving and booming and proper mixing and channel assignment for the greatest options in post. And in anything but the most controlled environment, an experienced sound person will be worth their weight in gold.
Just for the record, I agree with the gist of Thomas' post: good sound IS just as important as good video.
That said – maybe on account of many years working in news where a sound person has become a luxury – I am convinced that in a variety of situations, especially such as controlled interviews as Darla seems to be intent on obtaining and some additional B-roll, one can manage without a sound person.
That's why I've insisted Darla should concentrate on her own tasks rather than "mess around" with the sound. It's much better to try to do one thing well – furthermore, paying attention to the interview will be complicated enough on its own for a beginner – than two things poorly.
Also, I find the idea (mentioned above) of hiring a sound person for half a day in order to learn the task a joke. One might as well go so far as to suggest: "Hire a camera person for a day to learn how to do that job as well."
Re scanning, here are a couple of links you may find useful.
Re the moves part of your question.
Depending on the size of the original photos, if you have the opportunity, I don't see why you wouldn't want to shoot the photos yourself, at least wide & tight (focusing on different areas of the photo each time, if warranted) because there could be certain cases in which you might choose to use a simple cut instead of a move.
That said – and please note that my experience is limited to the use of only a few photos – I noticed that the most recent version of FCP allowed us to do any kind of move we were interested in and also gave us the possibility of controlling the speed of the move.
Wolfgang and Thomas, just to clarify: I wasn't suggesting to Darla that hiring a soundman for half a day for training would transform her into a master sound mixer. What I was suggesting was that having someone show her the ropes of the equipment would help her feel more comfortable using it. The ideal situation, of course, would be to hire a professional and let the director focus her complete attention on directing. But, as Darla has indicated, that's not feasible right now, so we were all making suggestions as to how she can make it work the best under non-ideal circumstances. I totally agree that it's best not to skimp on sound. In fact, I think a good story with poorly shot video can survive better than a good story with poorly recorded sound.
ditto what erica said. i certainly didn't mean to imply that sound doesn't matter. but in very low-budget (or "no-budget") situations, someone has to do sound, and it honestly doesn't take a genius to learn the basics of holding a boom pole. to actually get superior sound, and to always stay out of the way of the cam op, and to avoid unsightly boom shadows on the subject – yes, these take months/years of experience to achieve. but you can learn the basics of being a boom op much faster than you can the basics of being a cam op (i.e. using manual focus, manual exposure, proper white balancing). this is not an "uninformed opinion" – this is just reality. and when someone, like darla, tells us that she doesn't have the time/resources to go hire a professional soundperson for her shoot, it's really not helpful for us to say "hire an experienced soundperson". if she could, she would. since she can't, let's just enable her to do the best she can.
I understand that everyone is trying to be helpful. That's what makes this place so special. Some people here have posted even on Christmas.
It may very well be that with more than 20 years experience as a news professional, some posts struck me as – involuntarily "la de da-ish" – or at least I fear that an unexperienced well-intentioned enthusiast might (mis)interpret them in such manner.
As a professional newsperson, the quality of my work was essential for me to make a living doing my "job." As a documentary filmmaker, I've learned that – for the moment at least – I'd be very lucky to make back the money I've invested in several "difficult" (by difficult I mean films that have been extremely diificult or impossible to distribute in Italy on account of the fact that they dealt with controversial events such as an anti-Berlusconi grassroots opposition movement).
In previous posts, I've also stressed the difficulty of working as a videojounalist referring to the need to perform many tasks (that used to be covered by a team of people) in often unpredictable and ongoing situations out in the field.
For this reason, I'm convinced that – as a general rule – it's extremely important for beginners to obtain proper training before going out in the field and to have "practised" everything in controlled situations at home. Likewise, I'm convinced one should (ideally) gains experience producing a series of 3-5 minute pieces before attempting to work on a long(er) format story.
In the case of sound, I've also been able to notice – as a result of practical exercises in professional training workshops that I've organized – that (with vary rare exceptions) most people need to be taught to "listen" while they record sound. Usually, although our ears capture all sorts of noises (unwanted sounds, like traffic noise)) along with a given sound, for example, a conversation we're trying to listen to out on the street, our brain acts as a filter, getting rid of mst or all of the unwanted noise and allowing us to follow the conversation. A microphone is a mechanical device that records sound in a given way (pattern) and the sound is recorded on tape, disc etc and then played back exactly as it was recorded (with only minuimum possibilities of filtering). I have had reasn to notice that even though they were wearing headphones, beginners failed to hear the background noise while they were recording on the street because they weren't listening to them; only after listening to the tapes in the classroom and being surprised by the amount of unwanted noise they'd recorded would they learn to listen while wearing headphones unstead of letting their brains do the usual filtering.
Likewise, I've learned that everyone needs to be taught to wear headphones at all times while recording because this allows one to verify that indeed we are recording usable sound while recording that crucial interview. I've seen several instances of people who weren't wearing headphones caught up in the thick of things and not notice that a mic cord had become unstuck or that a lav battery had died.
Since most of us, from what I've been reading here seem to be investing our own money in our projects, it seemed appropriate to inject a bit of caution in order to protect the investment in time and money of rookie enthusiasts like Darla and in order to allow them to avoid mistakes that could have been avoided or fixed in the field (thanks to proper planning or training) and that could have devastating results with regards to one's project: unusable recordings, for example.
I also believe that it's useful to teach beginners – along with the skills – a healthy dose of awe and respect for the work of the true professionals who, in extremely difficult conditions – often with so much more than just money at stake – go out and do a wonderful job in order to tell stories that might make a difference and help make the world a better place.
re your scanning query, I suggest that you check with PF Bentley. PF is an extraordinary editor, actually a still photographer turned videojournalist.
PF belongs to the inner core group of Dirck Halstead's platypi – a growing group of still-photographers who are trained to become top-notch videojournalists: the group's website is
PF's contact e-mail is: "PF BENTLEY" <email@example.com>
I remember that on his old website (Hulaboy productions) he used to have a couple of examples of wonderfully edited stories based on stills edited to music.
His website is http://www.pfpix.com/HOME.html.
Ask him if you can see his videoclips about Bill and Hillary Clinton and Clinton's last week in office 2001. They were masterpieces.
Thanks very much for the advice, Doug. Yes, that's what I keep hearing: 'there's no such thing as a standard contract'. Happy Holidays!
Thank you, Wolfgang, for all of your input and links. I will indeed, check them out. I was under the impression that FCP could replicate camera moves etc. and will soon see for myself, as I intend to purchase Studio 2 in the next few weeks. I was just trying to avoid having to purchase yet another stills software program. As for shooting the stills myself, my access to these pictures is very limited and they are closely guarded by the archiveists. Additionally, they have offered to do the scans which would save me great amounts of time. And as there are thousands of pictures for me to go through and select, and given the 7 hour trip to the archives, anything I can do to speed things up for me while I am there is helpful. And if FCP can do the "moves", I will not be forced to make decisions at the time of photo acquisition. Thanks again for your help.
As for Darla's dilema, I too agree with Wolfgang that one must concentrate on one's specific job. All the more reason NOT to be diddling around with sound. And although it is true that many one-man-band operations work just fine, there is no reasonable person who would disagree that having the right professionals in each department will make a noticable difference in your end product.
Chris, I presume that if Darla did not have the budget to hire a professional cameraman, you would not be suggesting that she do it herself, or would you? I'm sure everyone here would be warning her not to move forward. No offense, but the mere fact that similar advice is not being offered regarding quality sound smacks of ignorance. Just because Darla can't afford to hire a sound person is no reason to advise her to blindly stumble forward. In fact it borders on irresponsibility. As for your assertion that it is a statement of fact that it's easier to learn how to use sound gear than it is a digital camcorder, I beg to differ. Give me an hour on any camera and I too could shoot material. In my mind, this is a fair comparison.
Please note that in my post I only made referrence to "good" production sound. If you feel your project's marketability can survive crappy sound, then by all means, go forward. There are examples of such films. One which comes to mind is, "Rockets Redglare!" (2003), which was an excellent doc with absolutely horrible, but barely passible production sound.
It is impossible for me to begin to explain here, the numerous pitfalls you may encounter with regard to sound issues and why a pro is desireable. So I won't.
It is my opinion that given the expenses involved in Darla's upcoming trip, that it is not adviseable to risk your budget and time on the chance that you will get good sound. Wait until you can hire a sound professional just as you waited until you could afford to hire an experienced cameraman. Anything less than this is a recipe for disappointment.
guess we'll have to agree to disagree for now...
Thomas, if I were to follow your logic I'd never have made my first film. Or my second or third, for that matter.
If Darla couldn't afford a professional cameraman, I'd certainly advise her to pick up a camera and start practicing.
None of this is rocket science.
Guess I'll chime in here.
The problem is this--and you can always return to my original post to see . . .
I came here with a dilemma that's very specific. I hired a dp who is mostly working with very little pay. I'm paying him a stipend and travel expenses. I like his work. As a favor, he was going to bring along a friend of his who is a professional sound person. That person is no longer available. I'm shooting in a REMOTE area of Italy and to hire someone right now would put me WAY over budget, and I couldn't shoot my trailer. The reason I'm going in January (and this is a set of complex decisions) is for a festival that only happens once every year and may not next year.
Without a sound person and with the following gear, what would you recommend, given that I'm tapped out on money (everything else is planned and fine):
Sennheiser Wireless Trio 100 G2 series (full audio kit with a lavalier and directional microphone).
I know fairly little about equipment, but I do know enough to know how important sound is. I never once doubted that. That's why I've come here with my dilemma.
At this point it is NOT realistic for me to hire a professional sound person. By holding a boom myself, I in no way have any less respect for the sound profession; it's just that given my circumstances, I have to look at all my options.
And while I will mostly be shooting b-roll and interviews, I may have a scenario with two people talking, with a woman moving around in a kitchen, with a bunch of people eating around a table, with someone slaughtering a pig. These will require boom sounds from what I understand.
If what you're saying, Thomas, is that I shouldn't shoot . . . Okay. That's one opinion. But others here are trying to be creative and resourceful given what I have to work with.
With all due respect -
thomas, call me irresponsible, but i'm with chris and joe (and darla) on this one. i'm not recommending darla monitor the audio – she has a camera person doing that. but pointing a shotgun mike at two people talking in a verite situation is something a beginner really can do (and, yes, actually think at the same time).
i gotta say, wolfgang and thomas, every time someone says you HAVE TO do something one way or the other, it gets my hackles up. there's usually a preferred way of doing it, for sure, but there's rarely a have to, especially in low or no-budget situations. okay, i guess if you're using a mini-dv camera you have to load a mini-dv tape or you're kinda up shit creek. but i think you know what i mean.
darla, you're going to be fine... don't be put off by those folks (well-meaning as they are) who tell you that you need perfect conditions or years of experience to start a project. mainly, you need a little humility, diligence to prepare and the willingness to learn – clearly, you've got that.
now stop wasting time in here (like the rest of us idiots), and keep chugging along...
Okay, sorry to take up more space here, but I'm still back to my original dilemma. What would be best to bring in addition to what my DP has for sound:
(Sennheiser Wireless Trio 100 G2 series (full audio kit with a lavalier and directional microphone).)
And what would be the cheapest way of going about that?
Just for the record, I hope it's clear I wasn't knocking you, nor saying "not" to do your shoot.
I think I've made clear where I'm coming from in my earlier posts. In fact, I'm convinced that – if need be – you can certainly give a hand while shooting B-Roll type situations.
Doug, of course, flexibility is the name of the game.
If you check my posts, you'll see that I've written that (in my opinion) it would be best for Darla to concentrate on her specific tasks – i.e. asking questions and listening to the answers – DURING INTERVIEWS!
No worries, Wolfgang!
will be out of pocket from Jan 10 thru 16, in US to complete shooting of a doc on young Italian composer/songwrite/singer who lives in NYC and has just published 2nd album.
Don't know when you'll be over here, but if you get into a bind or need to ask for advice or help while you're here, just gimme a buzz on my cell phone and I'll do what I can to assist you.
Good luck on yr shoot.
hope you are still checking here.
if so, yes, from version 1, Final Cut Pro has been able to do replicated 'camera moves' on any still image (or video image for that matter) – you can crop, scale up/down, move up/down and left right over time. it just takes 10 minutes learning about keyframing.
that said, its all digital, so it doesn't look like a imperfect human is shooting it organically, but rather that a computer is controlling the above factors digitally, which of course it is.
scan the files as big as you can, but at least 1000 pixels wide if you want to zoom on a 720p timeline, and it will look great.
IF you are going for that organic, imperfect look for your stills, shoot them yourself with a camera, or look into motion control.
All right – now I'm going to just switch out of sound obsession for a while.
When I have interview subjects sign release forms, I should use the one I have that meets US standards, right? Not the one my DP has for Italy. I'll just have the US one translated?
Darla- release forms are relevant to where you are based. if you plan on finishing your film in NJ, then a US form is fine, you don't need any Italian changes because the legal stuff will all be in the US. HOWEVER, jumping back to your sound issues(!), when traveling to foreign countries, you cannot take a wireless mic from the US. hopefully, your DP has sound gear that is adjusted to Italian broadcast specs.
as far as gear and especailly in regards to shotgun mics, i'd say, depending on how much you want to spend, get a Sennheiser ME-66 for $250 or a Sennheiser MK-416 for $1,200. the 66 is really good for the money, the 416 is really, really great, but costs.
as to how to use them, sometime i am the interviewer as well as the soundperson. for these situations, i use a hand unit which is basically a pistol grip with foam for the hand and a shock mount on the top for the mic. i can then, very easily deal with interviewing AND doing good sound. obviously, this doesn't work if one is running around a lot, but even then, if you stay close by the subject, it works fine.
i would try to avoid, at least in the beginning stages of your doc making, doing both boom and interviewing. that's hard. i've done it and it's tough. but if you have to, don't do mixing while you're at it, just do the boom and the questioning.
most DP's are adept at riding levels so unless you have more than 2 people or a big crowd scene to film, you, as the sound person, shouldn't need to deal with mixing the sound before it gets to the camera.
Thanks, Kurt! I'm actually even going to be going without a boom now! I'm all minimalist. My DP has a Sennheiser Wireless Trio 100 G2 Series (full audio kit with a lavalier and a directional microphone). If anything, I may just get a stand for it, but, well, that's that.
Now I'm onto my NTSC/PAL issue. If you know anything about that, feel free to e-mail me! I'm looking into it now. He's got a PD-170p, so it only shoots in PAL.
what's the question about the NTSC/PAL issue? you can edit PAL here in the US, but it's costly and complicated. since your DP is using a 170, i'd seriously think about converting the tapes to NTSC and editing with those.
All right, sorry to make this the "Darla show" – but here it is:
We'll probably get about 1/3-1/4 of the film shot on PAL--my footage, b-roll, interviews, and trailer. My DP's in Milan, and I'm in the States, so after shooting, we'll return to our respective countries. I'd like to do the editing with his help. So, he mentioned giving me DVDs with time codes.
I'm pretty sure I can edit on Final Cut Pro with PAL, right? If so, is it better just not to convert to NTSC? We can eventually move PAL to DVD (is that MP4)? So just two conversions (PAL – DVD) rather than three (PAL – NTSC – DVD).
Does that work? It's my understanding that converting to NTSC can be pricey (they charge per hour of footage, not per tape) and there can be glitches (with sound, so forth).
At any rate, some people have recommending skipping the whole issue and just renting/borrowing an NTSC camera, but at this point, I'm REALLY not into doing that. I hired my dp, and his equipment. I like his camera, and I'd like to just move forward with what we agreed on.
I'd love to hear any thoughts on the easiest way to do this. Ultimately, we'll put the trailer on . . . probably Quicktime and DVD (not really sure how all this works) and edit the footage to hold on to for when I have money to go back and shoot the rest of the film. And at that point, I can work in NTSC if this becomes nightmarish.
Hey Kurt, this is a little off topic, but why can't you take a wireless mic from the U.S. to Europe?
it's because different frequencies are used by different countries for different purposes, not that it won't work, but that it's illegal and sometimes just not practical. an example: say you want to use a US wireless in the UK, well, that would be a bad thing because in the UK, they use the same frequencies that we use for wireless microphones for their military and defense communications. you will be found out and they will not like it. i know a big-time pro-field audio guy that's got some of those wacky wirelesses that can get every frequency and he's got a book that lists every country and what frequencies are used for what activity. i'm not on his level. i usually just rent a wireless from a local place. saves me time and headache. also, when it breaks i have someone who can get me a new one.
Happy New Year everyone!
My question is about exclusivity agreements. I've looked around and cannot find a sample contract/agreement- it's important for one of the interviewees in my documentary to sign an exclusivity agreement, specifically that he won't appear in anyone else's documentary until mine is finished. Does anyone have any sample contract along these lines or any suggestions as to how to word such an agreement?
Many thanks in advance :)
re the PAL/NTSC issue, don't worry about it now. You've already committed to your DP's gear, etc.
As I explained in my previous posts, there are many – all of them simple – ways to deal with this issue, LATER. Not least of all, the fact that a converter is extremely cheap nowadays.
That said, making a DVD has nothing to do with whether ot not your video was shot in NTSC or PAL. Just to give you an idea, the DVD player on any computer can play DVDs in PAL and/or NTSC.
What you decide to do will depend on other factors bu there is really no need to worry about it now.
I have one I can e-mail you –
Oh thanks, Darla, that would be awesome.
I'm at ms612ms at hotmail
I tried e-mailing you at the address above, and sending you the form, but I just plain can't get through to hotmail anymore. Every hotmail address bounces back. So, if you have another address, I can e-mail you the release form. Otherwise, there's one here:
I looked at the link you sent and could not find an exclusivity agreement (I've been using release forms but what I'm looking for is something that outlines an interviewee's exclusive involvement and guarantee that s/he won't appear in other docs)- is that what you were sending?
You can try mshaneen at earthlink dot net
Thanks so much, very kind of you!
Hi again Marianne, sorry I misunderstood. I only have release forms.
I was recently asked by a friend for advice regarding film schools for their 16 year old son who wants find a school to study filmmaking.
The friend thought it was best to send their son to a summer program in New York City, either the New York Film Academy, or SOCAPA, as a good intensive introduction to filmmaking to see if this is really what they want to pursue.
I don't have any knowledge of these schools but thought some of those who contribute to this excellent forum may be able to offer advice or info.
Thanks in advance.
Maybe York University in Toronto has ideas? They have a good film program.
Hi Darla, thanks anyway :)
Thanks Rhonda – I'm somewhat familiar with the film schools in Canada, including York, Ryerson, Sheridan, Humber and post grad at the CDN Film Centre, as well as Concordia in Montreal, and Simon Fraser in Vancouver. But I'm not aware of any summer programs for high school aged students at these schools.
I'm looking for any first or second hand info/opinions on the NYC schools I mentioned.
I come from fiction film and I have never written or even seen a treatment for a documentary. Now I'm about to embark on my first documentary project and I have no idea what to do when I can't just make up characters and stories!
Can anyone share their treatments with me so that I get an idea what they're supposed to be like? Or any descriptions/links of how a documentary screenplay might look like would be great as well.
Thank you in advance...
We just make it up as we go along, Azad. And I'm (mostly) not kidding.
Most filmmakers approach docs with (usually, but not necessarily) a strong idea of a story or situation or issue that they want to explore, and varying levels of research, which might include hanging out with the subjects for a period of time. But if there's something called a documentary screenplay I've never heard of it.
Which is the whole point. You can't possibly script documentaries, and you wouldn't want to. You put this inquiring energy out there and the universe conspires to give you great footage (or not).
Azad, there are documentary screenplays for the kind of documentaries you might see on Discovery Channel or National Geographic – a science or history program, for example, where they basically know what they want to say and show and create the visuals around the script. But I think what Doug is referring to are more what we would call "creative documentaries." Certainly documentaries which rely heavily on observational or verite footage cannot be scripted in advance. But some filmmakers do find it helpful to put a film in script form once they have the footage as a means of organizing the information as they edit. Others work without a script and use other systems to organize the film.
While there is no rule in documentary of how to create this script that would correspond to Hollywood's rules of how to create a fiction screenplay, there are some rules of thumbs you might want to go by. I find it more helpful to use the 2 column approach with video on the left and audio on the right (possibly with a third column to denote tape info and timecode in/outs if you are actually editing to the script), though I have seen documentary scripts which look like fiction scripts too.
But to answer your original question which I think is really "How can I write down an idea of what my film will be when I don't know who my characters are yet or what will transpire?" that is really more what a treatment will achieve. Again, there is no right way of doing a treatment (though different funders may have specific elements they want in the treatment) and it will definitely change as you discover your characters and story. For now, it may suffice to write down what it is you want to say with your film, set the stage of where it is taking place, the kinds of characters and/or events you will be seeking out, and why you are the one to tell this story.
11th hour here . . . sorry to return to this subject, but I'm getting a bad feeling again about the NTSC/PAL issue. Maybe I should just put the money out now-up front-to rent an NTSC. We're supposed to shoot on a PD170p. I could get one in NTSC. But I'll have to rent it in Italy, prob. b/c I'll be gone a month (only shooting 2 weeks). I can probably rent one – have my dp rent one – from Milan or Rome even. . . right?
A little bit freaking out about it.
People have been shooting PAL and cutting in NTSCland for the years before 24p became en vogue, largely because of PAL's 25fps which looks far more cinematic. PAL has some other things going for it technically, too. But take a read through this article:
and hopefully it might assuage some fears. Without knowing how you're intending on posting the footage (or viewing it), it's hard to know if this is going to be an enormous hassle for you or not. Also, if you're mixing and matching that could be time consuming (and may not look that great). Probably best that if you start in PAL, that you stay in PAL, that way you're only converting upon your final edit and not for all of the raw footage.
Thanks, Eli. Essentially I want a trailer online and DVD. My DP is in Milan, and I'll be finding an editor here. I don't have software, so I hope it won't be a problem to find someone to edit PAL. Just want to compare the cost overall. i.e. rent a NTSC camera now or just go with what we have and essentially it'll be the same in the end (cost wise).
Thanks for all the resources here -
As I wrote you previously, this is no longer a big deal. If you read my previous post and you will notice that Eli is telling you as much.
If in doubt – especially if all your shooting will be in Italy – shoot in PAL.
Try to find NTSC gear but I doubt that it will be easy for you to find NTSC gear to rent cheaply (especially something like a PD170) for the simple reason that nobody would have any reason to use it; your best chance would be with an ex-network crew in Rome but, more likely than not, they'd only have expensive top-of-the-line Beat equipment.
There is one very simple solution: rent an HD camera. Many models have a PAL/NTSC switch. You could certainly find an appropriate HD videocamera to rent here in Italy. I had already pointed this out to you in my previous post but you'd insisted that you wanted to use your DP's camera.
As regards editing, with Final Cut Pro, for example, all this would entail is clicking a PAL setting vs clicking an NTSC setting. All you'd need to do is convert the final product at the end.
Thank you Doug and Erica,
Sorry for the delay in checking back here. I appreciate your thoughts on this. You're right Erica, that is exactly what I wanted to know. I really don't know what funders expect. I guess this is something that comes with experience dealing with the pre-production aspects of the documentary film process.
Yes, Wolfgang, I got last-minute jitters. But I love my DP. He's perfect for this film, and so I don't want to throw him a new, unfamiliar camera. It's not been an easy decision for someone who doesn't know the tech stuff, but I'm learning with the help of all of you.
I'm anticipating what will happen when I get back. I can try to use a PAL camera as a deck. Clearly editing in FCP isn't an issue. I'm just trying to anticipate what's workable and the cost.
The Edit Center in New York (should I work there with someone or be referred to an editor through them) said I should have my tapes digitized and on a hard drive? I guess that's my understanding, so I'm trying to see, now, what my DP can leave me with that will make it easier for me to come back here and edit with someone in the States . . .
depending on how much footage you shoot in italy, you shouldn't need more than a 1-2 day rental of a deck. a dsr-11 should do the trick for you, and usually only costs around $50-75 a day to rent – if you rent over a weekend, you usually only have to pay for one day's worth. i imagine that renting a PAL camera would be significantly more expensive.
there are good editors everywhere, but probably only a few who are the best fit for your project. so don't just work with whomever the Edit Center has. put ads on craigslist, mandy.com, NYU film school, etc. and look at people's reels and experience to get a better feel for their work. definitely do an interview to judge if your personality will mesh with theirs. you don't want an overbearing personality who doesn't listen to your input...