The Mentoring Room - Ask the Working Pros

Mentoring Room

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This is a Public Topic geared towards first-time filmmakers. Professional members of The D-Word will come by and answer your questions about documentary filmmaking.

Stephanie Conn
Pro
Erica
Thanks so much for your thoughtful consideration of my questions.

I like the idea of leaving my options open -- the same thing happens
in radio -- ex., sometimes you wish you'd asked the questions on
tape, as their answers don't always end up being stand-alone. Might
incorporate athird party to be 'chatting' to the singers. But must
pick the right one from the start...

I hate being onscreen -- I bet many folks do, to - so I am reluctant
to go that route although some say I should. I also dislike the idea
of narration in this case. Although I know it could work in some
cases -- maybe in a personal doc.

My singers speak English and their own language but I feel since it
is a dying, minority language you don't often get to hear, and the
songs are in this lang., it's important to hear it on screen. I was
thinking of doing my interviews in english, then repeat part of them
in the other language, in order to intercut the interview for the
film. i think that would give a good flavour, without alienating
English-speaking audiences.

In Europe apparently they must overdub everything anyway so... that's
a whole other issue i guess.

I like the verite approach but i think I need a camerman to help me
do that right. whoa, a lot to think abotu but thanks very much.

-stephanie
PS
yes, sorry, I'm being a bit vague about details as I know this is a
public forum so anyone could read it. My friend worked for a long
time on a film and did some shooting, was in the middle of pitching,
etc, and then found out other people were doing the same project.
not sure how she will resolve this but it was a huge blow to her.
I guess there can always be different interpretations etc but it is
a drag if they happen at the same time.

Is there a website/organization that keeps track of films in
production?
I thought this was referred to in another thread but have been unable
to find the answer. If anyone knows about this I would be very
grateful.
Erica Ginsberg
Host
If you have unique access to this community, I wouldn't worry too
much about someone stealing your idea. Chances are, someone else
could be doing a similar project but if you have particular people
who really stand out, it's not something you should fret over.

Dubbing in Europe varies country to country. Some countries actually
prefer subtitles. Of course, if they speak a very pronounced
regional dialect of English, you may need English subtitles for some
audiences ;-)

If this is your first doc and you want the verite approach, you are
right that you may want to work with an experienced cameraperson.
However, if you are still at the fundraising stage and you live near
your subjects, there's no reason you can't do some shooting on your
own just to give potential funders the flavor of your subjects and
how they are on-camera (sometimes people -- even performers -- may be
comfy with a mic but clam up with camera, so you'll want to know that
as you choose who your main subjects will be).
Stephanie Conn
Pro
Thanks, I do like the idea of doing a bit of shooting on my own , if
only to show people a taste of what it might look like.
But I have zero camera experience so... not sure if it will be
usable. I'm going to try anyway, this weekend.

I have actually thought myself, that I might need english subtitles
for the english! LOL!

I think someone else might be doing something involved with the same
community, but with a very different focus to it. That one other
project I can handle, but any more than that and I'll feel pretty
discouraged.
Laura Hayes
Pro
I am a new member looking for websites or resources regarding the
laws for documentaries. When I started shooting my documentary I
didn't have a clue, I just shot it as it happened. In some footage
there is music on the radio or a tv playing in background. I need to
know what I can or cannot legally use.

thanks in advance for your help
Andrew Berends
Pro
Hi there,

I'm writing in regard to my documentary film URK.
(www.storytellerinc.com/urk) It was recently nominated for the 2003
IDA Pare Lorentz Award. It looks like I'm about to sign a deal with a
distributor at the beginning of next week. I've never done this
before, and I have a few questions.

1- Do I need to get a lawyer to help negotiate the contract? Are
there other resources which could help me educate myself to handle
negotiating the contract?

2- I am eager to sign ASAP, because the distributor is prepared to
take the film to MIPCOM next month. Is this a good idea, or should I
not rush into it simply in order to make it to the market?

Thanks for your advice.
Doug Block
Host
Micheal Wiese's book, The Independent Film & Video Guide has a very useful chapter on the distribution contract. But I would definitely recommend you run the contract by an entertainment lawyer.

MIPCOM is nice but don't settle for something because there's a deadline. In fact, this distributor probably won't be able to properly promote your film there if you sign at the last moment, so it might not be helpful.

Deleted User
Fan
I am making a doc right now and there has been a need for some local tv
news to be added. I have found the material through VMS (Video Monitoring
Services) here in LA but as it turns out they sell it for research only. Does
anyone know the parameters of usage os such material.

I'm calling the networks now but in the meantime wanted to see if anyone had
similar experiences with this specifically in the US.

Thanks for any feedback!
Drew Carolan
Los Angeles
Erica Ginsberg
Host
Contact the local stations directly to find out if they license
footage. If they operate like national news archives, they would
probably charge you a fee for a screener tape (which you may not need
if you can a tape for free through VMS and decide exactly which
footage you need). Then you would need to pay a licensing fee (which
could vary depending on what kind of rights you need -- is this just
for festivals or small scale screenings, educational market or for
broadcast, theatrical release or home video? Sometimes you can
negotiate multi-level rights -- cheapest, most limited now with
potential to upgrade to broader rights later. I haven't worked yet
with local networks, but national broadcasters generally charge
anywhere from $10-50/second often with a 30-second minimum (some
places may also charge on a per cut basis). If anchors or reporters
are on screen, there may also be some permission/license
considerations for them.
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