Books, DVD's, websites for techy info, unless you're doing art for family and friends. Volunteer to shoot weddings, ballgames, rodeos to learn to work under pressure.
And yes, you're missing a lovely intern.
Books, DVD's, websites for techy info, unless you're doing art for family and friends. Volunteer to shoot weddings, ballgames, rodeos to learn to work under pressure.
And yes, you're missing a lovely intern.
I agree with ADW! Don't wory about technical stuff, they're just tools to tell your story. Mike, especially for your first doc, really focus on your story and what the slant is. Target audience? Who will you interview to give your doc credibility? Who is your "expert" on your subject? Think about the kinds of answers you want and then develop really open-ended questions to get those answers (and more!) in the on-camera interview...
Focus heavily on all aspects of pre-production; locations, setting up interviews, scheduling b-roll shoots when, where etc... By doing all of this pre-production, you begin to establish your technical requirements, i.e. that the HVX isn't the best low light camera, 30p or 24p? That I'm gonna needs lights, a boom mic if I've got multiple folks talking during interviews, or, I need a lav mic, or a wireless mic system etc...
As I tell my high school and college video students, there's no such thing as too much planning! Good luck!
Yes. It's called the 6 P's: Prior Planning Prevents Piss Poor Performance.
That includes learning the technical stuff. I disagree with you, Tim. Real filmmakers don't use the Auto-everything setting, just as real photographers don't use point and shoot cameras. To use your analogy, anyone can buy tools, but a true craftsman learns how to use them from a master – in person or from books/DVDs. It can save you a lot of time and frustration.
Practice, practice, practice.
I would like advice about mounting a camera inside a moving car, for view through the front window. I was able to rig my tripod in the passenger seat, which worked fine as long as the road I was driving on was smooth--not usually the case with rural highways, certainly not with gravel roads. Wondering if anyone has a good suggestion for 'shock absorbers' for the camera. I have tried this with a PD100 and VX2000. I tried handheld but found there was more overall camera movement than I wanted though less 'jittery-ness'.
Sara, have you thought of getting one of these
In reply to Sara Peak Convery's post on Mon 7 Jul 2008 :
When I used to do ariels we'd sometimes use a multidimensional bungie cord rig. You could cobble something together from home depot for lessthan $20.
Also you might simply try adding weight to yoru PD100. I've got a pair of well used PD100a camera. Great little camera, but so light they "twitch" a lot when handheld. Try mounting on a 20lbs plate and handhold. You'll be surprise how much the added intertia dampens the motion.
If the road is VERY bumpy, as in off-road conditions, (almost) any kind of rig will get some bumps.
It the conditions aren't that bad, the cheapest way to do this is to hold your arms attached close to your chest and hold the camera with your left hand beneath it and your right hand on the right side. If you've preset your focus and have pre-framed your shot, ideally NOT on maximum telephoto but as wide as possible (but not so wide that you'll be including the inside of car in the shot), and you concentrate and relax, without stiffening your arms, this grip will allow you to act as a natural shock absorber.
Usually, this method has worked just fine for me. Some bumps are "natural"; by this I mean that if it is clearly visible that there are bumps in the road, the occasional bump won't disturb the viewer because they will see that you are travelling on bumpy terrain.
As a matter of fact, all of those mounts – from the indicated web site – are quite rigid and would work well only on a normal, smooth, highway.
I'm quite confident that if you're not using a large camera for this shot – I normally use my small (second camera) in these cases – the indications I have given you should allow you to manage just fine, unless (as I pointed out above) you're travelling on really bumpy terrain.
Of the two cameras you mentioned, I'd use the PD100 for this shot.
As I said, relaxation is the key. Breath slowly and hold the camera firmly but loosly. To get the idea, try holding your hands (without the camera) in the position I indicated and move them slowly up and down (as though they were attached to a big spring). You'll notice that you can move them smoothly and without shaking.
Do the same thing when you're holding the camera and you'll be able to absorb most bumps.
To check your shot, open the side viewfinder and tilt it upwards so you can control your shot just by glancing downwards, every now and then.
Once you've found the appropriate height (one that allows you to see the road without framing the dashboard, position your hands close to your chest (you don't want the muscles in your arms to tense up) , hold the camera firmly while keeping your hands loose so they will cushion the eventual bump and off you go!
Remember to stay relaxed because if you tense up you won't be able to cushion the camera and compensate for the bumps!
In reply to "Mark Barroso's post on Mon 7 Jul 2008:
Apologies for the misunderstanding... I never mentioned using any gear in auto. Nor did I mean to imply one (editorial vs technical) was more important than the other. My point was, as ADW pointed out, for this first timer to focus his efforts first on honing his story. I did not mean said effort should come at the expense of technical mastery. That's a parallel and ongoing effort.
And as to your notion of "real," as you said so well, 'prior planning..." I always carry a point and shoot (I prefer the term 'Happy Snap') camera in my bag (Canon S50), it lives right next to my Mark IIn. I've used it many times when playing the "tourist" and needed to get the shot. I've yet to have an editor ask, "Did you shoot that with a 'real' camera?"
Lets agree he should 'practice, practice, practice' both!
In reply to Wolfgang Achtner's post on Mon 7 Jul 2008 :
thanks for the detailed description--I was starting to think i would need to resort to that to get what i am looking for. I was hoping to figure out a way to run the camera while i was driving solo, but i think i will have more luck finding a driver than a perfectly smooth road.
In reply to Tony Comstock's post on Mon 7 Jul 2008 16:23 CST :
I am curious about how you rig that--could you describe? Is there a person holding the rig or can it run remotely?
I am also wondering about ways to rig for a car interview (presuming a relatively smooth road), in particular, trying to get a 2 shot, frontal view... or am i just dreaming? Does anyone have personal experience with any of the filmtools rigs mentioned above for this?
Oh. Solo. I didn't get that part.
The key is mass and dampening. The mass is provided by the weight of the camera and whatever weight you add. The dampening is a combo of bungies (like springs in a car) and the operator (sort of taking the shock absorber role.) Sort of a poor-mans fixed steadicam rig. I don't see it working solo
I think your best option is maffer clamps and magic arms, and short focal length. The wider the angle of view, the less noticiable the bouncing and shaking will be. Play around to find a wide to shoot yourself wide angle that doesn't look too distorted.
I don't think two angles is a pipe dream. In fact, it's probably a good idea (The reason I bought my pair of PD100a cameras was so that I could have two angles in a shoulder carryable kit.)
Depending on how important the two shot is for you, I would rent a three point suction rig and mount on the hood of the car, which can be seen on the same page Erica sent you to. It's a lot easier to use than it looks.
For inside or outside of the car, you should use a wide angle adapter – even fisheye lenses look good used from the passenger seat.
I've seen too many docs where the filmmaker had a great story but killed it with poor technical skills. I don't know Mike, or you, so maybe my advice was unwarranted, but my first reaction to first timers (including myself) is to learn the camera before you start shooting. Point and shoot is an aesthetic that works for some situations, but not all. It would suck to be in one where that look won't work for you.
I'm sure there are just as many bad scripts attempted to be shot by really good camera ops (probably both of us have done it many times) who knew their gear and their stuff, and still couldn't save them. I'm sticking with honing both skills.
And I'll let ya know how many times I sneak out my 'happy snap' in lieu of my Mark II in Beijing...
As to knowing me, I'd at least bet we know some peeps in common 'round the NC area.
Again-thanks all! will try out the suggestions...
okay okay, what i more so meant was not to worry about having the newest or best gear. For example, cant afford a shotgun mic? Figure out how to get the best sound with the on camera mic mix with the lav mics. Yes, you gotta know how to use your gear, but some people (and mike this has nothing to do with you) worry wayyyyy to much about having the latest camera and hottest gear. The best camera isnt going to help if a) your story sucks b) you have no idea how to use it.
Our latest project is on violence in youth sports. I found a package that aired on Good Morning America last year while surfing Youtube. Does anyone know the best way to approach GMA about the use of their archival footage? My Producer spoke with our film commission and all they said was that we would not be able to afford it. I think she was talking about stock footage in general though. Any ideas?
I think ABC charges $65 a second. GMA's video is with ABC in NY. Call 212-456-4040 and ask for archives. It's pretty straight forward, no inside deals.
Thanks! I give them a call and see what we can work out.
I am so amazed by how helpful everyone is on this forum. I am just finishing up college and about to enter the world of documentaries and this feels like a friendly community to mull about in. Well, I'm posting because I'm working on my first 'real' docs. I have made a 5 minute doc in the past but that was more of an exercise. Now, I'm currently in post-production on a documentary (my final college endeavor) about one of the nation's top college magazines, Flux. I am the director and editor and was one of the camera crew. Anyway, we followed 40+ students, focusing on a handful of people, for apprx 3 months and shot apprx 150 hours of footage. I have only worked on short pieces with around 20 hours of footage. Now I've got 150 hours? Oh geez, this is a whole new ball game. I also have about 30 hours of interviews. I have done my research and read a lot on how people organize footage with scene boards and colored post-its and xml sheets. I even read Walter Murch's book on how he edited Cold Mountain using Final Cut Pro. I decided to log in Avid (which is unfamiliar to me but love how I can organize footage) and export the logs as PDFs for reference as I capture the footage in FCP. I've written a rough outline of all the footage and what I think are the main points so far. But I'm getting a bit overwhelmed with all the footage and the fact that I don't know how to use it to tell a story. I go to a journalism school where I've learned how to report the news. Now, I want to tell a more narrative story through video but don't know even how to begin developing characters and plot. I know story is the key. I know about the basic elements that make a story. But how do I apply those rules I learned in English class to video? Anyone with previous cinema verite documentaries or, well, anyone with any advice as I move into the process of a) logistically organizing the footage and b) using that footage to tell a story would be sooo very much appreciated.
I'm one of the least experienced people here Amira, but one thing that helps me when editing is to first think of what I want to say and then look for the footage I can say it with, instead of going the other way around, which would be something like asking yourself what can I say with all this footage?
Obviously you need to become very familiar with the footage first. Try to be open minded when you're watching it. Then forget about it, just "close your eyes" and "conjure up" your story. Then just try to tell it clearly with the footage you have. This can keep you from being overwhelmed and falling in love with footage you don't need.
As to narrative vs journalistic styles I'd say don't worry about that. Just make sure you know what you're trying to say and that you're saying it. You'll develop your own style over time.
Back in 1984 or so I went to Guatemala with 3 other people and photographed some activities of the Guatemalan army and medical volunteers who traveled from the USA to give aid to the locals there. I stayed with the Guatemalan Army in Nebah, in the mountains, at the Sanidad Militar. At the time I was working for a newspaper but retained the rights to the photos. I still have a quantity of the 35mm Ektachrome slides which I can make available to people who might have an interest.
In reply to Joe Moulins's post on Tue 24 Jun 2008 :
True, I have a MacBook bought 6/2007. Despite what Apple says, I have 3 gigs of ram in it, so you might as well max out the ram as well. The current ones will use 4 gigs. FCP works too, although Motion won't.
In reply to Wolfgang Achtner's post on Fri 23 May 2008 :
I picked up a new Maxtor 300 gigabyte external hard drive with Firewire 400 and USB 2 ports from Office Max back in April for $79.00. It was not advertised but there it was on the shelf. Works fine with my MacBook.
After you've logged your footage, come up with a ten best list, or twenty to start and then go down to ten. The ten best list should be comprised of the golden moments of your film – the "I can't believe we got that on film" moments, the moments that you still talk about after hours and months of filming. This is where you should really be disciplined because you can't really have a top fifty list, or forty or thirty, even twenty is pushing it. Then arrange those moments in order (depending on your narrative structure – linear, non linear etc) and the rest is filling the gaps to lead up to those moments in the most effective, dramatic, and magical way. And along the way you'll move things around and loose some moments too.
I know I'm making it sound easier that it seems. It's tough but this is one way to not get overwhelmed by your footage and to somehow get on top of it.
Is anyone working on a project at the Democratic National Convention?
Ramona, that's a brilliantly simple way of explaining how to work backwards. Ten sounds right.
Lora, see the hidden section below for something I recently posted in the Classifieds (though I think I only posted in the Members-Only Classifieds). It's not my project – just passing the world along.
Lora, I'll be shooting at the DNC for the IFC. We are set with crew but if i hear of anything i'll post it here. Denver is going to be a mighty interesting place come aug 25th!
Hello wonderful community.
It is great to connect again especially now since I find myself looking for a magician and am very behind schedule.
Most of all I need a senior EDITRIX OR EDITOR.
Pressing Onward in spite of setbacks "SMOKE SCREEN" the documentary is (like a virtual cigar) quite oceanic. In all of this there is a particular magic to articulate real or imagined separations between people in Cuba and people in the USA while at the same time revealing many similarities and shared interests.
The character of this isolated island of Cuba is seen not so much in the great moments, but in the small ones. Most folks know that in 1962 Kennedy declared a blockade against the island but he died tragically before he could reverse the embargo.
I've got over 70 hours of footage. In places I open aperture allowing for a transporting feeling through the people I meet especially farmers. I feel grateful to experience being under the radar of this 'evil eye' that wants to steal attention from Cuba and latch tight another notch in the harness of the mask that binds and blinds.
My "Papi" suggested to me that there is magic, mirth and mischief in those intricate swirling gossamer vapors appearing form the tip of his beloved cigar. My travels to Cuba go against the tide of many other Cubans. There are people who refuse to help me because this film is about Cuban cigars, community and family oceans apart. (Pedestrian protest rallies against smoke are not about to subside any time soon.)
This doc has the potential to unite the folks who abide in 'el Che' together with the exile embittered embargo backing folks like my sweet aunt!
Please help make this 'socially irreverent' and 'highly relevant' film find its audience now!
I have 2 versions one 42 minutes and another 50 minutes and both lack the "ability" to insist on being noticed by the vast audience that this topic deserves. Also if you know of any slight of hand tricks please don't hold back!
I am open to receiving help.
You are invited to participate at any level.
I thank you for your time.
Any suggestions on where to look for a possible camera person to work with me on my project, I checked craigslist.com which someone suggested but nothing there. Any films schools in NJ you might recommend, otherwise I am running around with a new handcam scaring the beheba's out of all my friends trying practice on my own.
contact the Philadelphia Film Office or the New Jersey Film Office for lists of camera operators.
Hello. I recently bought an XH-A1 and I'm looking for recommendations on microphones. I need a lav and a shotgun. I have been directing a documentary and using professional shooters and equipment, but on my next shoot I'd like to use my own equipment. Most of the audio will be interviews in controlled environments, with some interviews conducted as we walk through the city. My budget is flexible. I was thinking $500-$800 per mic. Also, someone in an earlier post mentioned the possibility of wireless mics experiencing interference or having problems in Europe. Is this a widespread problem? How can it be avoided? (I am filming in Russia.) Thanks!
I'm a first time documentary filmmaker who just completed a feature doc called Ten More Good Years about the challenges lgbt elders face in America today. I've licensed the film to The Sundance Channel and Logo for five years giving up only national broadcast rights. I want very much to self distribute the film to universities, institutions, libraries, etc. I was hoping to get into New Day, but was denied. Is anyone aware of a good distribution solution? I am happy to do the work myself, but would like time to move on to my next project. If there is another co-op of filmmakers that distribute educationally I would love to know about it. Hell, if anyone knows of a decent distribution company that won't bend me over backwards and take 75% of the profits that would be good. I've had offers from several distribution outlets but the deals seem way to off point for me.
Any suggestions from seasoned veterans?
Best to you! Mike
Hi, beginning editor here, getting into it with my rear end facing the wrong direction if you know what I mean. I would love to hear what techniques you use to organize large amounts of footage for the editing process, think 200+ hours of footage. And what other practical things do you do to help the editing process be more efficient?
Anyone from michigan that could tell me of some good film festivals in the state.
Well, you just missed Michael Moore's Traverse City Film Festival ...
i'm only 6-7 years into filmmaking... but my advice to you is to organize your footage by 1) characters or subjects in the film 2) then interviews of those people vs. verite footage of them 3) next i'd separate the footage by topic or themes that you/director have identified and 4) b-roll: driving footage – night/day... kentucky, new york, interior mom's house, exterior prison, etc... AND of course you'll have separate folders for your stock/archival footage/pics
hope this helps. good luck
In reply to Michael Wisniewski's post on Fri 1 Aug 2008 :
Mark, if you like experimental film, Ann Arbor has a good fest. I would imagine there is also a festival in Detroit itself.
Thanks Doug and Erica,
I heard about the travese city film fest but ann arbor. I didn't know. Yes there is the Detroit-windsor internationa film Fest. If you ever get the chance. Thanks again gang.
Been a crazy summer, but I'm back and need to get my footage (on PAL – sd) digitized/time codes . . . that's the first step. Then I can translate/edit.
I don't have Final Cut, (just PC/MovieMaker) but someone offered to put everything (using a PAL camera deck – if I buy or rent it) into FinalCut for me and give it back to me on a hard drive (and I might ask him to throw everything on DVD as well – if I can get that with time codes).
So I'd have to pay him around $400 to do this. It's 16 hours of footage, plus buy a hardrive from BestBuy ($100) and rent or buy the PAL camcorder.
Since I'm not prepared to get/buy a MAC/Final Cut right now, I think this might be my best option for having my footage digitized.
But I'll still need to give it to a translator with time codes, so I can prob. ask this guy to put it on VHS/DVD whatever for me. . . that way I can also watch it (on my PC) and log the footage.
Does this make sense/sound like a deal?
Thanks! (Please excuse semi-newbie language)
If you're really looking to edit, I'd just take the plunge and get a Mac and FCP. You'd save $400 right off the bat by not having to pay this dude. Are you making a film or not?
Wow, Doug, that is quite a plunge for me. But I appreciate the candor/simplicity of your answer. Thanks!
darla, i really, really hope that you are not thinking about cutting your film (even the first version) on PC/Moviemaker... that would be disastrous for you in terms of wasted time and energy.
if you really can't afford to get FCP now, then the $400 arrangement sounds fair. to load 16 hours of DV tape takes about 2 days, and that's worth it. if you can get that person to get you DVDs of all the material (with timecode stamp) – perhaps for an extra $100-200? – then that also sounds reasonable.
but if there's ANY way that you can get your hands on a very cheap iMac or MacBook laptop ($1000 for cheapest model), you should definitely do so. and if you have a friend who can lend you a "trial" version of FCP – no, i'm not advocating piracy – then that might be a good way to see if FCP works for you. if you don't have such a "friend" available, email me and i might have a suggestion for you.
Advice on showing the main characters in your film the final cut?
I have heard varying opinions...show them alone...show them the film at a festival (so they can see how the audience responds)....we are debating how to do this and would appreciate any advice. Thanks!
Darla – for a DV project you can't go wrong with Final Cut Express which is cheaper than, yet fully compatible with its more powerful sibling.
Gita, generally showing the film to your main characters before the public sees it is better and more considerate. They'll probably need the first screening just to absorb it. It's not an across-the-board rule, but if they're even somewhat exposed or vulnerable in the film it's good to let them have their own private reactions first.