Don't listen to the elderly patients in this institution, Claire. Have you any practical experience in making docs? It's pretty easy these days to get hold of a DV camera. What's the mental health idea? Do you have a concrete subject or is it more a general idea at this stage?
John's right. Any idiot can make a doc. I am exhibit "A". I had no practical experience when I started (probably obvious if you watch one of my movies.) I still don't have any.
Some practical advise. Get a DV camera. You can get one for about $250.
Get a Macintosh computer. It will cost you about $1000. It will come with iMovie. I use FinalCut Pro, but any of the films I've made I could have made on iMovie.
Two best pieces of advise I ever got about making movies:
1) Watch old movies and study how they get people in and out of rooms.
2) Anything that's worth doing is worth doing poorly.
You could also get an internship at a small doc house. You could see how they do things, and then decide if its worth going broke to make a movie. I worked in reality TV a while and learned about cameras and sound. get your hands on a camera and practice. Realize this career generally leads to poverty. what can an internship hurt, and you would be helping some one who needs your help.
I graduated with a similar degree a couple of years ago and took out a graduate loan to pay for an introductory film making course in London. Cost about 800 quid at the time and if i'd lived in London it would have been ideal (although it did give me some practical experience for my cv and showed i'd got involved) I didn't live in London (still don't) so i signed up with shootingpeople and was contacted to help out as runner on a short over one weekend.
I should add that this was over a couple of years and also involved lots of dull temping and talking about working in film & television instead of doing it. If you're in London (Manchester, Birmingham, Bristol etc) clearly there are more opportunities – If you like London as a place to live – it's personal preference.
I would say just jump in and get involved. Every project you work on you gain more experience meet more people and gather momentum.
Ultimately my wife worked with someone whos ex worked as a producer and i got their email address and got in touch. Attached my CV had an interview, got a few weeks work experience, then a few more and now i'm full-time. I work as a production coordinator by day and try to work on my own project after work and at the weekend to satisfy my creative aspirations.
Just show them that you are enthusiastic and capable and willing to start early and stay late.
Hi – I'm not sure if this this is the right place to ask...I did do a search and didn't find any info on finding television commercial archives for use in a doc – we're stumbling a bit through the process of making our film, www.inspiredthemovie.com – and need some good footage of diet ads... any tips? We've gone the route of getting a dvr, but that is so random...would love to find a place that can get us what we need! Thanks in advance...
Hi Steve! We met at the Doc Dr's workshop a few months ago. This guy has a great film.
Can you legally use ads in an independent film without their consent? I suppose you've answered that question. If you need their consent anyway, maybe the diet companies will send you their ad. Doesn't hurt to ask. You just need one, right? Have you tried taping during soaps and The View, etc.?
Good to see you on this forum.
Hey Mark! We are planning to "fair use" some of these assets. Not yet sure if there will be a cost involved or not – you should check out Bigger, Stronger, Faster at Midtown Art and see how much archival stuff they used! I was surprised at all they used, but I'm guessing they spent some pretty good money on it, because of their producers.
I'm probably going to get an HD DVR to capture more on my own in the meantime! Thanks for your suggestions...
Hi, I am new to the D-Word and relatively new to film making. I do have a multi-media background in experiential marketing – business theater mostly. I am looking for a relatively inexpensive video camera to take onsite to Peru to do some B-roll filming. Any suggestions?
Hi everyone, sorry I have been out of the loop for a while. In response to Darla, I had to deal with the time code issues too. I am not sure the semantics of all languages as I had to deal with Korean, but let me just suggest again that the fastest, cheapest way I found to do subtitling is buy getting a foreign exchange student in that language and teach them how to subtitle. Use them as an intern (sometimes you can get them for free if they are interested in your project) or pay 10-$20 and hour. That is way less than paying someone to translate, then pick what you want to use as clips. I felt I got to know my "Characters" better this way because I would watch the whole interviews on dvd. It is just a suggestion, but after I spent six months doing it the way you are doing it(on paper), I spent the rest of the time right to dvd and the project ran better.
I haven't posted for a while. I'm currently working on my trailer for www.knowingevil.com. Is there any way to gather high quality images for free? I'm looking for art from the Enlightenment era in Western history, also footage from WWI & II and the Holocaust. Thanks again to Len, for helping with September 11th a while back :) Any help will be most appreciated.
Rights are a huge minefield, as I'm sure you've gathered. The slight advantage here is that you're putting together a trailer which will not be broadcast – or is it for your website?
There was a similar request here a while back – see hidden section for suggestions on WWII material
I am wondering if anyone might have any recommendations for a tech problem that I am having. It has come to pass that the audio jack in my Canon GL1 camera is not working anymore. I tried to get it fixed once, to know avail. The camera has a little life in it left for fun projects, and we have decent mics.... thus, I am considering venturing into the secondary audio recording unit audio as a match up for the camera. I don't know much about field audio. Does anyone have any recommendations for a hard disk recorder in the reasonably affordable range?
In reply to Mari Heavey's post on Wed 18 Jun 2008 :
Mari – Take a look at the Canon HV20 with a Beachtek audio adapter...should be able to get one pretty reasonably these days. Not like the pro gear, but the picture quality is pretty amazing for an inexpensive camera. Look at BHPhoto.com Buydig.com, or even at Circuit City...
In reply to Katinka Kraft's post on Wed 18 Jun 2008 :
The expanding mini-plug jack is an easy fix. Whoever tried to do it didn't know what they were doing. I would send it to an official repair shop.
In reply to John Burgan's post on Wed 18 Jun 2008 :
Thanks very much John. And it is not for the website, only for funding, so I am lucky to avoid the minefield for now :-)
I am making a trailer to privately raise money with. If I use this trailer to apply for grants, will I get in trouble if I don't have all of the rights to the material used? I'm not sure if I need to consult a lawyer for this one, but any help will be most appreciated.
you won't get in any legal trouble, monica, and people do this ALL the time... the only "trouble" you might get into is if the clips you are using are well-known and absolutely indispensable to your film. The grant agency may question whether you can raise enough money to use such clips. for instance, if you wanted to use MLK's "Dream" speech... but if you use a photo of an old Model-T car, no one's going to blink an eye.
Another thing to consider is how the owner of the rights to the clips would feel about you using their material to raise money for your film. If it were some corporate newscast or promo film of some mega-bucks rock band, I'd say don't worry about it. <puts on flame-retardant suit> On the other hand, friends of mineâ€”starving documentary filmmakers who risked life and limb to get dramatic footageâ€”have had people cherry-pick their films to make fundraising trailers for their own films, sort of conveniently forgetting to mention to funders that they haven't shot an inch of tape themselves. It really sucks to find out that others are using your work for their fundraising while you yourself are living below the poverty line.
The point is that even if you intend to license the footage at market rates later, if you're using footage owned by a real person who is not a multi-millionaire or faceless corporation, you should have some arrangement with them. Yes, you can probably get away with it, but it's not ethical.
Yes, but hardly relevant here as Monica's looking for historical images – see her original post & project website.
Oops, I did read the original post, but forgot since it was a couple days ago and never got around to taking a look at the site.
Thank you Mark! I really appreciate your input. Sadly it was Canon who we sent camera to for repair and it worked for 3 months and then malfunctioned again.
In reply to Katinka Kraft's post on Sat 21 Jun 2008 :
I sent my DVX out for repair once – for a similar problem, actually – and the shop did a lousy job (Repair Specialists in Tennessee). I found the Panasonic service rep for the entire southeast and he agreed with me, told me which shop I should REALLY send it to (on his dime) and chewed out the shop that failed to fix it properly. "Squeak! Squeak!" said the wheel.
make a reel and get busy.
Take the first job offered and never stop looking for better paying gigs.
My first tv job paid a whopping 3.35 per hour. My next one paid 18k a year at 70 hour work weeks. I did not look at it as being exploited. The year before I was paying good money to learn this craft and now I was getting paid to learn much much more.
With every addition to the family, I simply had to quit and get rehired at a different level elsewhere. At one point in my career, I moved my family to five states in as many years, salary climbing and dream-chasing. I worked my way into a six figure salary, a bald head and an ulcer or two.
I'm self employed now. Still love what I do. I pay bills by editing and shooting for clients and I still dream chase by making labor of love productions on a constant basis.
Don't stay in one place too long. It'll make ya feel secure.
I think my record for a staff gig was 2.5 years.
Thanks for the valuable advice Christopher, Mikal and John :) This takes some of the pressure off.