Yes, you're naive, Heather. But that's not a bad quality for a
documentary filmmaker. Nor is stubborness or persistence. If your
heart is set on this, you should just plow forward and try not to take
no for an answer from anyone -- including anyone here at this forum.
conventional wisdom makes bad docs.
My name is Laurie and I am new here. I have been working on a feature
documentary with a friend for the past 3 1/2 years. This film is
about the life and music of a musician who has passed away. This is
the first film for both of us--so we are a bit inexperienced and have
just run into a problem we were unaware of when we started editing a
All of our interstitials (photos, journal entries, artwork) are
digitized tiff files. The Avid's ability to manipulate digital stills
(panning, zooming, various effects) is poor. People have suggested we
use Boris Effects, but we don't have the money to purchase this
software, nor the expertise to use it. So we're not sure if it's a
worthy investment. Our editor is someone who works on weekends and
after hours so the Avid is not "ours" and we probably couldn't
install the software anyway.
Is it conceivable to use After Effects and integrate into our Avid
timeline? Any advice and/or suggestions about professionally
integrating our interstitials is much appreciated.
Thanks in advance for your time. LT
I'd ask the person who's Avid it is whether they have After Effects
or Boris. Also if working on XpressDV, there's a pan and scan plug.
Another option is StageTools - a plug-in that's available on the web.
Hard to believe anyone has an avid without one of these tools.
The last option is to print out your files - shoot them with your
camera and cut the footage into your show. That works too.
Thanks Robert. I am going to bring you e-mail to my editor and see
what her Avid has. I really appreciate your advice!
Bay Area Video Coalition Vs Film Arts Foundation
We are in the process of pitching for sponsorship from FAF and BAVC
in the San Francisco area. Does anyone know whether BAVC can equate
with FAF in terms of the following:
- working connections in public TV, private networks and festivals
- successful films they have supported
- industry success ie similar brand name
Thanks in advance.
Not sure that fiscal sponsorship will make your film more or less
attractive to PBS, festivals, et al. One or the other may carry more
weight with particular funders which is why you'd make the decision.
Also, I would venture a guess that both orgs will say nice things
about you and your film if they like the film to people in the
business because you are from their neighborhood.
I am currently directing a documentary about the Bengali community
here in Dundee,(Scotland) focusing on the dance group of young
children. As this is part of my project at university, I have been
asked to write an in-depth treatment of my documentary, as part of my
modular work. Could anyone point me in the right direction please? Of
how to write a treatment? This would be a great help! Thank you!
Syeda, a treatment for a doc is difficult (if not impossible) because
you can't predict what will happen once you start taping. So I don't
know why your university is asking for one. A project description or
synopsis makes a lot more sense. But if you must, I suppose you can
describe what you hope and expect might happen, and talk about your
Thats what I thought,but I wasnt to sure exactly what a treatment
was, so therefore i wasnt about to knock it without trying... heheh
Now instead of trying to force my documentry to fit the module, I am
doing another project for it. Thanks for your help Doug, hopefully
things like these wont keep forcing me away from my doc.
Thats all I wanna Do!!!!