Excellent, you guys. Thank you SO much!
For the log and capture process, Erica Ginsburg has a DSR11 deck; maybe you can rent hers!
Wow, Wolfgang posted just before me. I do have a DSR-11, but it's in use right now at my editor's as I plod along on my edit, so not available for rental unfortunately. Plus, it would be much easier for you to find one to rent in New York which is closer to you.
I was going to add that the DSR-11 deck which Chris recommends renting (and which is preferable to using the valuable heads of your camera for logging/capturing) can be used for PAL DV footage, but you will need to make sure your editor has a PAL monitor. As others have said much better than I ever could, you are probably better off picking either PAL or NTSC for shooting (or, if you have to do some of each, get the tapes converted to your preferred editing format before logging so they are all consistent). I produced a project which had both NTSC and PAL footage. We ended up editing and outputting in NTSC, but got the tapes converted BEFORE we started editing.
So you converted how? With your own software or professionally? How did the conversion turn out?
Well we were in a very similar situation to you moneywise, so we could not afford to get them converted at a dub house, which would obviously be the preferred method. This was also in the days when we were just starting to transition from Beta-SP to DV, so the PAL tapes were all Beta PALs and had to be converted to DV NTSC. Our soundguy (who was also a co-producer) knew lots of kooky characters in the industry from his freelance sound work, so he called up a friend who had accumulated dozens and dozens of different decks in his basement and he did the conversion for us at a fairly reasonable rate and a fairly slow turnaround. But the quality was good enough for what we needed.
Contrary to Erica's suggestion (Erica, please forgive me!) I advise you NOT to convert your material BEFORE the edit.
You might have, for example, to convert 20 sixty minute shooting tapes whereas, AFTER the edit, only 52 minutes TOTAL ( if your doc is a one-hour-long format) or even less than that if part of it was shot in NTSC.
Also, if you're only shooting in Italy, it'll all be PAL. If you'll be doing some shooting in US, shoot in PAL (if you can) or shoot NTSC. It won't make any difference as you do a rough cut; convert at the end and splice it all together.
If you check B&H you'll notice that – in a worst case scenario – converters are cheap today.
If you do a search on the B&H website www.bhphotovideo.com using the words "PAL NTSC standards converter" you'll find several models listed including the AV Toolbox CDM-660 Standards Converter that costs only $179.95. There are several other models that cost between $359 and $539.
I don't see why the cheaper one couldn't do the job. In any case, I imagine – as a worst case scenario – that it would be cheaper to buy than convert all the tapes.
I'd advise you – for the moment – not to keep worrying about what comes next. Concentrate on your upcoming shoot in Italy and enjoy yourself.
If you MUST worry about something, worry about finding an excellent editor! :-)
By thye way, if you edit using a MAC laptop or desktop monitor, you can use PAL.
A regular TV monitor needs to be PAL or NTSC or both, but the advantage of using digital video on a computer screen is that PAL or NTSC makes o difference. This is why you can play DVDs originating form video sot in either NTSC or PAL on any computer monitor.
I have edited severa docs on a MAC laptop with a 17 inch screen, so – if you're trying to save money – I don't see why you couldn't do the same.
Excuse the garble in the previous post, I punched post too hastily, about to go to bed (it's 2 AM here).
Corrected version: By the way, if you edit using a MAC laptop or desktop monitor, you can use PAL without any problem.
A regular TV monitor needs to be PAL or NTSC or both, but the advantage of using digital video on a computer screen is that PAL or NTSC makes no difference. This is why you can play DVDs originating from video shot in either NTSC or PAL on any computer monitor.
I have edited several docs on a MAC laptop with a 17 inch screen, so â€“ if you're trying to save money â€“ I don't see why you couldn't do the same.
Thanks, Wolfgang. My DP actually has a convertor, a MAC, FCP. Though, I'm not choosing him for editing, but I know he can help convert if need be.
I'm no longer worried. I think it's people who give me advice like "find another DP" or get an NTSC camera, that get me all worked up. My DP is the one for this film and his equipment is what it is. The whole thing will be shot in Italy and mostly likely with him and his camera (unless something happens to him between trips – the next one won't happen for a while).
Beyond that, I'm going to enjoy for now. I'm about to meet the best cook in all of (the village that I'm shooting in). So I really can't go wrong as far as I'm concerned :)
Good. Since you're shooting everyting in Italy and in PAL, convert at the end, if need be.
Since your DP has a converter I'm certain that you'll be able to find a simple and cheap way to deal with this when you've completed your final cut (by the way, that's where FINAL CUT PRO got the name).
By the way, this talk of the best cook is making me hungry! I feel if your story isn't taking place too far away from Rome you ought to invite me over for lunch!
Yes, it'll be good . . . it's in Abruzzo -
Wolfgang – thanks for including Editing Digital Video in your list. One correction – Brian McKernan and John Rice did not write the book. The book was part of a series of books about video that they were supposed to brand. I co-authored the book with my good friend Patrick McGrath.
Of course!!! I'm an idiot – in my haste, and half asleep (it was past 02.00 in the morning) – I copied the names of the series advisors of the book cover and not the authors!
By the way, in your book I discovered my favorite definition of a documentary film.
"A documentary is a film without women. If there is a women, it's a semi-documentary," according to Harry Cohn, the head of Columbia Pictures, as quoted by Fred Zinneman in his autobiography.
I love that one!
Darla, I guess you better run out and buy this one (or get it on Amazon), 'cause Robert is watching!!!
Hmmm, Wolfgang, I was going to accept your previous apology, but now I'm not so sure... ;-)
What I mean is that it is so off the wall. I can almost visualize this gruff sort of studio legend, barking out a sentence like this. I guess you have to imagine the setting and the context to enjoy it properly.
Also, what he probably means is: "Boring, no sex, no drama." Or something of the sort. I must confess that I thought that it was hilarious!
I dunno. I like what Eddie Izzard said at last night's Critics Choice Awards after riffing on the Writer's Strike in purposely broken English:
"Documentaries are nice but not got car chases, so pooh. People who make them have no pants so please give them cash in bags or golden prizes like in running race."
Cool. Great idea. Doubt I'll ever have to worry about prizes but cash is certainly better than medals or trophies.
Ha! I knew RG nicked that Zinneman/Cohn quote from my post back in May 2002!
perhaps you reminded me since the biography is in my collection?
Hello all, my name is Leon Coleman and I write under the name Lord Baltimore. I know absolutely nothing and need a ton of help.
Long story short, I want to follow a girl's 18 and under volleyball team for one entire 6 month season beginning now and culminating in their championships in July 08. The owner of the club team loves the idea, has given me full access to his team, practices and games. I have enlisted the aide of a very experienced sound/camera man.
And by the way, if this is not the place to ask this question, i apologize to all...
Anyway, the first thing I need to know is if anyway has a sample clearance form I can provide to the coach and players/parents so I can proceed. After that I have some general questions about crowd shots, competition against other girls (who are not cleared) etc. Thank you.
(I posted in "introduce" as well before i knew about this room. sorry.
Google "release form" + documentary and you should find something that fits. Maybe best to check wording with your lawyer to be on the safe side
This should do it, Leon.
Thank you both very much. I downloaded the form Joe suggested and will do a google seacrh. This is sort of a daunting process. Once I get the girls, coaches and parents, I still have to figure out how to handle it when I shoot a game where that relates to releases from members of the other teams. Any insight or suggestions? From what I have read, if I film a sporting event and don't highlight the opponents, I may not be required to obtain their releases. Your thoughts are welcome.
There is a segment in my film where I will need to use many paintings from the 18th and 19th century. I plan to travel to Europe seeking images to use in museums etc. I have a DP that I will be working with soon, so he'll probably have some ideas – but I would appreciate all the advice I could get before speaking with him. How does this process work – obtaining images that are past their copyright from museums. Can I take the photographs myself, and rely on my DP to make them look interesting in post, or will I need a professional photographer with me at all times? If I can acquire the images myself, what camera is best? Do the museums have a special way of making these images available? Will I need to speak with someone at each museum in advance and have special forms? Any other advice I'm not asking for will be much appreciated as well.
Thanks so much!
Hi...Can anyone recommend any good Film Workshops for Directing, Writing, etc. in London England?
So, thinking ahead . . . now that I have my PAL and sound stuff straightened out . . . I finish shooting in mid-February, and I'm entering a contest with a deadline of mid-April. My DP can edit with PAL (he's in Milan). So, I have the choice of coming back to the States with PAL footage and finding an editor and cutting a trailer (my DP and I may log , but not sure yet). And then trying to get it in in time for this contest. Or, I can try to stay in Italy longer, and work with my DP to edit our footage/cut a trailer. I'd have to pay him something like 375 a day, but it may only take 2 days. . . he'll know the footage. He'll have the software and what we need to edit. (I won't need to rent a PAL deck here or whatever).
Does this sound wise? Moreso then coming back to the US with the footage?
Just running this by you guys.
unless you absolutely have the EXACT vision for what your trailer is going to be – and you are 100% confident you can get the interview subjects to say what you've envisioned – i have to tell you that it's going to take a lot longer than 2 days to cut a trailer. (i once thought the same thing, but 2 days goes so fast...)
theoretically, it really doesn't seem like it should take that long, but it always does. sure, you could cut a quick 2-minute trailer in two days but i guarantee you won't be happy with it. 5 days sounds like a much better estimation. if you are entering this contest because you actually want to win it, it's probably better to bring all the footage home and find an editor in NY or NJ.
Start looking now for the editor so that you can begin editing as soon as you return from Italy. Honestly, you probably aren't going to attract a top-flight experienced editor with your budget and project. but you can actually attract a decent (though inexperienced) editor for $200/day. 4-5 days editing with him/her will be roughly equivalent to what you would have spend with your Italian DP. If your editor is technically proficient, and you are very clear about what you want, you'll have a good chance at success.
I attended the Panico Film Course a few years back. It depends what you are looking for. The Panico Course is introductory and it ran on Sundays for 6 weeks. It cost me 800 quid back then. Like i said it's more introductory in nature and each week you do a litle bit of this and that. Super 8, script writing, visualising shots etc...and it culminated in shooting a little short in groups of 2-3 on 16mm. It was set-up in the 1980s i believe by a British group who have worked with Terry Gilliam. We had a talk one week from a guy who worked on "Brazil" and another week from Toni Grisoni who wrote Fear & Loathing in Las Vegas.
I don't live in London but for those that do once you have completed the course you can join the "club" for about 40 pounds a year and they meet once a week socially and you get access to a jobs list.
They offer weekend courses too that are more specialised.
David – check out the training programme of the Documentary Filmmakers Group
Thanks, Christopher –
So any ideas what I should look for in an editor. Someone who has the software, can edit in PAL, has experience with cinema verite, and whose work I like, obviously . . . but should I look on Craigslist? Obviously, too, it's better to find someone local, right? So I can sit with them...
What you need from an editor is experience and aesthetic judgment. A track record of excellence in cutting docs. Whether or not they have the software program or not. Editing in PAL is no different than editing in NTSC. The best place to find doc editors is to talk to doc filmmakers and get recommendations.
Okay, Robert. Sounds good! Thank you!
So I might be helping someone produce a series of art/music videos and he wants to know what are some features on FinalCutPro 4, 5, 6, etc. that aren't in FCP 3 which is what I have. At the present moment, he is curious about what can be done with titles (these will be karaoke videos with lyrics) and after-effects. So are there any major differences between FCP 3 and beyond that he and I should be aware of? Thank you!!!
And while we're on this subject, someone remind me of the difference between PAL and NTSC. What do they mean and stand for?
Hi and thanks in advance for your help!
I'm in post production on a documentary and most interviewees have signed release forms but a few gave on-camera permission. Is on-camera permission sufficient, in terms of getting E&O insurance, broadcast, distribution, etc.? Are there cases where that is not enough? Many thanks!!
not sure why you didn't get more response. maybe because no one knows the best way to approach it. if it was me, and i was SURE that there weren't copyright problems using those photos, then i would shoot the stills myself. i'd use a DSLR with 8+ megapixels, but in truth you don't need that kind of resolution for even HD video unless you are doing a lot of zooming.
the museums would probably prefer that you went through them, and maybe their photos are a little better, but i'm sure that there is a hassle factor that is worth considering....
Hey all! I have been shooting a project for over a year and a half. Currently it is at it's first watch able cut, I had a test screening, and word has been very positive, and I am excited about taking this project as far as it can go.
please check out the trailer on my myspace page: www.myspace.com/chokeproductions
once concern that I have however, is that this whole time, I have not collected release forms, but merely on camera verbal releases which, I was told, would do just as well as a consent form. Recently I have come to find otherwise. My question is, will verbal releases work? and also, if I must collect written releases, do they need to be for each and every person in the film?
for example: I am shooting a fight, the entire time the focus is one the two men fighting in the ring, but there are various faces around the ring and in the audience that can be made out...
I am perfectly capable to get the release forms from any individuals who speak, or play any kind of role. But for these others, do I really need to hunt down EVERY SINGLE ONE of these people, and get them to sign a release form?
or is there a line that is drawn about who I have to get releases from, and who I do not?
even if they are in the film for a few seconds watching a fight, and say nothing, and play no kind of role in the narrative of the film?
also, in the first cut, I use alot of 3rd party footage i.e; PRIDE, UFC, IFL, fights, as well as clips from Enter the Dragon, and Bloodsport...
is there any easy way to maintain the presence of these clips in the film?
I assume not, and I will need to take them out.
This film was shot for next to nothing, and I certainly do not have the money to do a legal battle over the use of clips...
any advice is welcome.
MAtthew, how far do you want to take this project? Basically anywhere you show this, you will need to get clearances for most of what you mentioned. But especially if you want this to appear on television or at a film festival or even any legitimate distribution website, you should get written releases for your subjects. As for the folks who don't speak but whose faces appear, that is kinda tricky cuz I've seen documentaries (such as Super Size Me) where such individuals' faces were blurred out, so I'm guessing they did not ask for permission for those people and didn't want to bother. And the non-original footage, you HAVE to get permission to include those clips, and (assuming you even get permission) you will often get charged to use it, which can get really expensive depending on the source of the footage. If you've got clips from major studio flicks, then it won't be cheap. If you can't afford to keep these clips in there, then I would suggest using your creativity to tell your story in alternative ways. This is certainly a challenge I will have to deal with, since I am a sucker for using news and stock footage in my documentaries, but that is so costly.
Also, I found this site which has free sample release forms and other film-making freebies.
logging on for a few secs in the US.
In your next-to-last postyouwrote:
"So, I have the choice of coming back to the States with PAL footage and finding an editor and cutting a trailer (my DP and I may log , but not sure yet)."
regardless whether it's for the trailer or later (to do your documentary) it makes NO sense at all to log with someone unless you are going to edit the trailer – and more so – the documentary with that same person.
You CAN'T log your footage with person A and edit with person B.
You and your editor (whomever this may be) need to log the video TOGETHER.
Also, as I've tried to explain to you previously, the editing phase is NOT a phase where you can attempt to save money. You need the best and most competent editor you can find.
If you don't have enough money now, wait and save until you do and then edit it with a good editor.
Does anyone else feel that the editing stage is in some ways more crucial than the shooting stage? That's the way I feel about documentaries.
It depends on the film. Cinema verite style films – certainly. Others not so.
for me, it's hard to say which stage is more crucial. sure, you can always save something in the edit, but if you've shot it well, it makes the whole edit much easier. for instance, there are a few scenes in my documentary where the shooter got VERY little coverage and so we are left with absolutely zero choices in the edit room for those scenes.
good shooters AND good editors are worth their weight in gold. having said that, just because you pay someone their weight in gold, doesn't mean that they are the right fit for your project.
Monica – usually you can have some luck if you contact the press person in-house and tell them this is editorial, not commercial, if this is the case: Europe generally views access to old pictures differently than in the US (sweeping but I'll get shot down by other d-worders here if I am really off the mark), so you may find access has to be controlled but will not be costly. They have credible security concerns, but some of the best collections are in small institutions that are not hard to deal with (Brugges is cool). The Louvre gets bombarded and I was told by someone there that many professional news crews, for example, behave very badly – bulls in china shops. Our cameraman's behaviour was complimented, though to my eye he was conducting himself with normal courtesy and respect for the other people visiting. apparently not the norm...
Explore also the images that they can make available to you without you having to go and shoot yourself. Several collections are slowly being digitised, though this may be limited to stills...
H'm. It only took me two days to start complaining.
The reading restriction (i.e., not being able to read certain professional sections unless you're a member) strikes me as the same sort of glass ceiling I ran into when I wanted to start technical writing. That is, I couldn't become a tech writer unless I was already a "tech writer". Even though I had written about technology for periodicals for 20 years. Luckily, the head of the department looked at my resume and allowed me to try out eight years ago, and I've done it since (increasing my annual income by several times).
Now I want to learn how to become a documentarian (documentiste?), but it appears most of the information categories are only available to those who are already professionals. Same sort of glass ceiling.
Isn't it possible to allow enthusiasts to at least read through the posts, just to gain insight? Just don't allow them to make comments until they've won their spurs? Yes, I have been using tags, but those don't appear complete.
Sorry if I'm missing something, and the info is really available to all. I really do like the site, btw.
I think Dale makes an interesting point. While I completely understand the rationale behind the professional forum being "by professionals, for professionals", is what's being discussed so esoteric that the rest of us, who are either aspiring or just fascinated by the documentary film process, can't at least eavesdrop? The last thing I want is to seem ungrateful because I think this site is great and the advice I've read to others is thoughtful and constructive. I just think the secrecy of the members forums is unnecessary. Is there a way to do what Dale suggests, where somehow we could read posts, but not comment? I have no sense of the technical side of this, so maybe it's too complicated to institute. Any explanation would be appreciated.
I'm working on clearing all the photos for my first film, most of which are old family snapshots taken in Italy. Apart from getting a materials release from the owners of the photos,I understand that the conservative approach is to clear every individual pictured in those photos – a monumental task given that everyone is abroad and scattered about. But what if you can't locate everyone? From a practical standpoint, I was wondering how others have approached this for their films.
thanks, sheng liu. Ideally I'd like a theatrical run, with a DVD distribution plan. But I am not done shooting yet, I figured I would just go for broke initially with my first cut, and then poke around and see what any advice I can get in terms of what I can and cannot do.
getting the release forms will not be a problem (I have access to, and see the subjects on a semi-regular basis) the clips I use however, will most likely be removed. But it's worth it to try right?
what would be my first step in clearing these third party clips?
I sympathise (never with a Z!) with Dale Archibald and his thoughts about access to the forums for non-professionals. Although i would say that it seems like the pros regularly post advice and responses in the mentoring room and also access at least at some level is free. Somebody put in the hours to spruce up this site and they did a good job and didn't bill me for it so i am grateful for that. I have been a member on other forums that charge annually.
I haven't applied for professional status myself but i might. Can't believe there isn't a box to check for Production Manager or Coordinator when applying for pro status. We do a lot of work
even if it isn't necessarily editorial. Although i guess everyone doesn't have the luxury of larger factual production teams??? Do i have to be an "other"?