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.
Doug has given you good advice.
On the other hand, there is no simple answer to your question.
Many different factors may came into play. Just to mention one or two: what kind of story you've told, what kind of relationship you have with your subject, what role your subject has in the documentary, the way you've told their story, etc., etc.
In some cases I'd say it would be best NOT to show it to them before your film comes out (goes to a festival, airs on tv, is released in the theaters, on DVD, etc.), in others, there wouldn't be any valid reason not to show it to them privately.
Unless you give us some additional details about your film and your relationship with your main character, it's almost impossible to say what might be best or more appropriate in this particular case.
I work as a clinical counsellor for children and youth. As a volunteer project I help youth make their own documentary films. Our current film is about the perception of female body image and its correlation with eating disorders. For our b-roll, we added motion to images that we downloaded from the internet and scanned from magazines. These images are often advertisements or pictures from fashion magazines. In addition, we have included clips from movies and music videos as part of our b-roll. For example, a kid is talking about the stupidity and sexism in music videos while we show a clip from a 'Girlicious' video.
1) Is my use of these copyrighted images and sources of media legal seening how I am making an educational/research based film.
2)If I am allowed to use the aforementioned images in my film, am I allowed to alter them in any way. For example, I took a photo from the internet of a best buy advertisement which showed a skanky looking model. I used the image of the model as part of my b-roll but, in doing so, I used adobe after affects to delete part of the ad(words and other pictures}?
Is it possible to make a biography on a famous musician without their permission?
If so, can I use their name in the title?
I have intentions of distributing to Canada & USA.
I contacted their management and this was their reply--I removed their identity.
"xxxx is a very private person and isn't looking for this type of recognition.
In view of how xxxx would feel about the whole thing, we would not be allowed to license any music nor would the band be available for interviews."
Well you could argue that the musician is famous and therefore you can make this film about the public persona. BUT how can you make a film about a musician without access to his/her work – i.e. the music? If management and the band are unwilling to give you permission to use the music, you can't use it. What would be the point of the film?
So, simply because someone is famous I can make a doc about them without their permission?
Would I be able to show the inside of previous homes and schools that he mentioned in his books or is that too private? Where is the line?
They say he is a private person and yet he's a celebrity who has written several books with intimate details about his private life.