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.