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.

Tony Comstock

Shoot your concert footage on a K-3. Much better in the high-contrast lighting environment.

Any video camera will work well for interviews if you've got a good DP, good gaffer, and a good make-up artist.

Joe Moulins

In reply to Jarrod Whaley's post on Tue 6 May 2008 :

I'm not sure what "the look" of SD is exactly.

As the happy owner of a Sony A1, I'd recommend the Canon HV20 and a good microphone. And maybe pick up a cheap SD camcorder to rewind tapes with. :)

Tony Comstock

RE: "the look" of SD

Who doesn't love interlace zippers!

Jarrod Whaley

Right, because there are no interlaced HD formats at all. ;)

SD does have a look that is distinct from most HD formats. The DV codec comes with its own kinds of artifacts, macro-blocking, etc., and whether most people really "see" them or not, they do at least subconsciously contribute to the way in which the image is perceived.

My point was that a lot of times people shoot on super-8 as a way of suggesting "old home movies," and that filmmakers might begin using mini-DV in a similar way as HD gains more and more ground.

Anyway, no need to belabor this point any further.

Darla Bruno


This is about finding my story –

I've shot 16 hours of footage (in Italian, of which I'm not fluent) and need to cut a trailer for fundraising.

I think the footage that was shot is very "trailer-friendly," but I do still need to find my story. And while I directed what we shot, I can understand about twenty percent of it (language barrier).

So, what I'd like to do is get the 16 hours of footage translated then watch the footage and find my story (at the same time eliminating hours so that when I go to an editor, I can have less to sort through).

But someone suggested it would be cheaper to sit with an Italian-speaking editor and cut the trailer.

The thing is, an Italian-speaking editor I'm talking with is asking me what my story is – . . . see?

So, is it possible for me to sit with the editor (while she knows what's being said and I don't) and find my story or . . .

Blugh. Okay. I hope what I'm asking is clear: two avenues (and maybe a third I'm not seeing?) a) translate all footage and look through it myself and find my story and "tag" what I want to use for the trailer, than bring it to an editor or b) start with all 16 hours and an Italian-speaking editor.

Which is more realistic? Cost-effective?


Rob Appleby

Darla – you're the director, so you need to get the footage translated/transcribed. Otherwise it'll end up with the editor or whoever does understand the footage directing it – which isn't what you want. Get it transcribed with time code and then go to the edit. I can't see any other way to do it.

Darla Bruno

Okay, Rob. So then I need a tranlsator who can also transcribe.

Know anyone? :)

Wolfgang Achtner


If you look back I'd already answered this and many other questions before – or just after – Christmas, if I remember correctly. The answers remain valid.

As I wrote you then, you would have been much better off having someone transcribe the tapes in Italy. Anyone could have done that for you over there. Then you could have chosen to have the transcripts translated in Italy or over here.

Check the old posts.

Darla Bruno

Thanks, Wolfgang – some things have changed, though. One being that I'm not in Italy any longer, so I can't really look at "should haves" at this point.

Rob Appleby

Well, another option would be to go over all the footage with the editor, which I'm sure you're going to do anyway, and log it with notes on what is valuable in terms of dialogue. Make quick notes while you're in capture, for instance. Lots of your material will probably get thrown out because of image problems anyway, most likely. So then you can get the pick of the material transcribed/translated. But you'll probably regret not having it all when you come to think about voiceover possibilities – when the track from substandard or problematic picture might still be very valuable. The best route is just to bite the bullet and get it all done.

Do I know anyone – well, contact me offline if you want to discuss it.