Thank you Thank you thank you...I was looking at IFP and NYFA. NYFA charges a higher percentage but seems to provide more services ...and their in NYC where I am.
The IFP is close enough, Yixi. They're in Dumbo (right down the block from my office), and it's just a short subway ride from midtown Manhattan. It was a while back, but I wasn't impressed with NYFA when they sponsored my first film. Wheras I'm very impressed by the IFP as an organization. But you should speak to some producers who've worked with both firsthand.
I just found out about a programme being offered by Seneca College here in Toronto called the Documentary and Filmmaking Summer Institute. It's an intensive 14 week course in doc filmmaking and the faculty list looks impressive (guest lectures by Alan King, Sturla Gunarsson, Jennifer Baichwal, etc.)
But, does anyone feel that these kinds of short intensive courses can really teach you filmmaking? As someone with a day job, this would require at best an unpaid leave of absence (and at worst, my resignation), so I'm looking for some guidance as to whether the filmmakers here think this would be worthwhile.
Probably a better solution than a 4-year college program. My feeling in general is that no one can teach you to be a filmmmaker. You can learn techniques and a sense of the job but experience makes a huge difference. Filmmaking is an art form and as such requires process.
I think a lot depends on you, James. Some people learn best by hearing from experts and having the time and space of a classroom setting to experiment, work on teams with other students, and make mistakes without consequence. Others learn by going out and just start making films, either on their own with the help of a few mentors or by working on others' projects before tackling their own.
The faculty certainly looks impressive and 14 weeks seems more than feasible to work on a student documentary piece. But that said, I don't know if I would recommend quitting your day job to do this. Surely there are other educational programs which you could take at night or on weekends. And especially if your end goal is to become a writer or a publicist, you might be better off just working on somebody's film to get a sense of what's involved. I'm sure you can hear what a lot of these experts have to say on a panel at Hot Docs or elsewhere.
Thanks, Robert and Erica, for your wisdom. I think if I wanted to, I could make contact with some filmmakers here and get some work on a film doing something, so maybe it's not so important for someone like me.
I guess the thought of "running off to join the circus" for 14 weeks sounded pretty good.
I have just put up a documentary on funeral directing i made a couple of years ago.
I am looking for some feedback or ideas on where to go from here, possibly make an extended version.
Ideas and feedback all appreciated!
Apologies as i know this isn't the place for this post but i haven't applied for full membership yet! I'll do it, i promise i will!
And this is a loooong shot I expect but i am scouring LA for Office space, nothing huge just somewhere downtown that is secure and has a few desks, power points etc.
Oh and cheap as possible!
In reply to Claire Forgie's post on Sun 12 Apr 2009 :
Hi Claire – Just watched it, it's pretty good so far, i enjoyed it. In the opening scene with the guy taking the call in bed, that deep, donnie darko-esque ambient sound, did you create that? Or did i imagine it?
If you were thinking of making an extended version here are a few thoughts..
If you can do more filming It would be interesting to see some of the different funerals that people have whether religious or especially not so. What kind of unusual requests do people make? Items in coffins for example, the red wine bottle and the football scarf that are mentioned. If you could get permission it would be nice to see some of these things to get a visual. I guess access to actual funerals could be key, to see real people grieving death and celebrating life is usually powerful.
There is a mention of "the history of funerals" maybe that's an avenue to explore a little? Along with the change in law regards cremations? What about the guys that work there? What are they like when they're not at work? What kind of houses do they live in? Do they go for drinks after work? Christmas parties etc?
Oh also you show a framed portrait of an ancestor? Can you scan this and use in the film that way? If it's a family business are there photos of fathers or grandfathers that could be shown and talked about?
I found it pretty engrossing generally. I mean to see deceased human beings – i find it quite affecting, most of us have no experience of such things. I notice there's no music but maybe it doesn't need any...
Hi all, I am new here and have not yet gotten to introduce myself. I am an anthro/film student at Columbia University in NYC and currently tossing ideas, scribbling in my journal and generally obsessing in thought around ideas for my first film. I was wondering if any one would suggest a good small handheld and would also not mind telling me what their choices pro's are, why they like their suggestion.
I have a PD 150 and still love it, but I was thinking of something much smaller...
I am feeling tongue tied. Every distribution workshop I have taken thus far has suggested that you call the programmer of the film festival that you have submitted to and strike up a conversation/introduce yourself. I keep picking up the phone and drawing a blank on what will be important for me to say, what will not seem redundant and irritating to someone who might get these calls all day long. Any suggestions?
I think that advice may be overrated, Katinka. Personally, I've never done it without a specific question. You might, for instance, call to say you have an updated sample and is it too late to swap it for the one you submitted. Or even a new synopsis. And it is a way for to get your film on their radar. But I'd only do that if you actually have an updated sample or synopsis that's significantly better.
any one knows where are the pitching forum for CROSS MEDIA or 360 degree projects in Europe? any help appreciated!
Can someone link me to a good legal refresher on filming in the US and, if possible, Massachusetts? I'm about to embark on a large scale project here and I don't want to get unreasonably hassled by the man. Thanks!
What do you need to know? An hour with a good entertainment lawyer – one specializing in documentaries – would probably be as good as any course.
Basically, you want releases for everything – if you're filming in the US. Individuals, locations, etc.
If you're signing a contract of any kind, you want a lawyer.
Where would I get a good draft of a legal release to use people/places in my films?
Thanks already for your help!
Andrew, I would highly recommend you get the book Clearance and Copyright by Michael Donaldson. It's geared toward the independent filmmaker.
I am about to do a doc in Mexico. Any ideas of a good point person or company to help insurance against local hassles?
Hello – I have a silly question can u all tell me if in the film world is the word "narrative" just used for fiction films?
Ive heard the word thrown around for both documentaries and fiction long form. I always though that the word 'narrative' just meant 'story' example: what is the narrative? (to me means what is the story)
for better or worse, the term "narrative" is commonly used when referring to fiction films. obviously, we all believe that "narrative" should be able to equally describe a documentary; but in regular industry-speak, TITANIC is a narrative and HOOP DREAMS is simply a doc.
Narrative documentary – you might like to check out Sheila Curran Bernard's "Documentary Storytelling for Video and Filmmakers", also check out D-Worder Karen Everett's website
Thank u both John and Christopher :)
Does anyone know how much a 20-30 clip of a film like "Enchanted" would cost in order to be used for a documentary? I also wanted to use a clip from the show "Roseanne", I love Lucy, Leave it Beaver and other similar shows.
IMDB Pro doesn't have the video stock departments listed for Disney or the 5 major networks.
Also can someone like Disney prohibit the usage or referencing of their company's name or logos in a documentary that depicts them in a bit of an unflattering light? Do I need their approval?
I know the producer/director that did "Supersize Me" was able to shoot inside different McDonalds and use the McDonalds logo and his doc was against McDonalds – so I'm wondering how he got away with that.
There's a short answer to this: get yourself a lawyer. You can be sure that clearing the legal side of satirical/critical films like "Supersize Me" takes quite a bit of time and money.
It's also my understanding that McDonalds made a strategic PR decision not to take legal action against Super Size Me, judging that by giving the film additional publicity through a lawsuit they would do more harm than good for their business.
Looking to start the research process on a documentary should I dive first into the library or is there a tried and true method to scouring through massive amounts of information. If anyone has any tips to share I'm all ears.
Shyla, diving in in the only method I know of. Of course you might find Google more fruitful than the library to get a grounding in the topic.
Hi, I am new to The D-word community. A teacher recommended I join. I am a Photojournalism student and am working with nursing homes for my student project. I am trying to find a model release that is basic, but covers the consent of caregivers. If anyone has any recommendations I would greatly appreciate it!
so ive finished up my doc, and i need a score for it, its a doc on social workers dealing with children in grade school, any musical advise?
tell me what you guys think of my first draft,
(make sure to press the HQ button!)
Hi Dustan, your draft makes it very clear for me what the programme is about and what it aims to achieve.
I have three issues (all audio).
1) The music you chose for the draft gives it a bit of a "infomercial" kind of feel. I was not charmed by it, but wouldn't know immediately what other music to recommend.
2) the part where the voice of the main character overlaps with another scene of him talking confuses me as it seems that he's out of sync with the audio. It was great seeing him (not talking but doing the excersize with the string) and hearing his voice, but the shot immediately after it makes for a weird effect.
3) Do you think you can get rid of the audio overdrive (or whatever it's called), there's a few ugly bumps in sound.
you right, however choosing music has been one of the hardest things for me. Its hard to choose something that fits perfectly? not too cheesy but not to controlling over the video. Ill fix it up and bring it back up to this site, cheers,
Can someone explain what the Fernanda Rossi – aka The Documentary Doctor ad on d-word is all about? and is it free?
It's an announcement not an ad, Diane. Fernanda is our guest expert for a special 5-Day topic on the subject of story structure for documentaries. It will start on Monday and be open to the general public (aka Enthusiasts), as well as to all D-Word members, and will be archived after the week is over. And, yes, it's free.
that sounds fantastic
Hi hi hi.. i was wondering if anyone has any feedback on FRACTURED ATLAS fiscal sponsorship program?
Hi! I'm trying to break into the business working on documentary films. I currently work as a TV reporter so I have background in shooting, writing, interviewing , editing, ect but want to change career paths. How do I get a paid position working on films? I've gone through craigslist but haven't had much luck. Any tips?
What is it you want to do in documentaries, Jennifer? Produce? Direct? Most folks just start out by making a film themselves. Another option is to try and find Associate Producing or editing gigs. It's actually pretty hard to answer that question.
I'm having issues putting together a budget. I'm shooting with miniDV and editing with FCP and all the sample budgets I found have have a lot of things on the budget pertaining to film and renting avid equipment and such. Plus I don't understand some of the categories such as beta tapes, video 1' stock, video dubs ect...Help!
Yeah.. I was thinking about making one while keeping my day job. I would want to do the writting, researching and setting up interviews and shots. I think that would be more the producer side? I think I understand that there isn't just a company that churns out films.. it's more a labor of love with money making jobs on the side?
I've enjoyed this week so much. Thanks.
I would like to use a 70s theme song for my film. Do you know how I go about getting permission to use the song.
There's quite a few companies (and freelance individuals) who specifically work on music clearances .. they're the best resource for clearing music.
In reply to Jennifer MacDonald's post on Thu 21 May 2009 :
I think the best way to go about making a living with documentaries is to target one specific role, and hone your craft. You'll rarely make much money directing or producing docs, but you can do fine earning a day-rate as an editor/sound recordist/cinematographer... So I would focus on that, and make your own films on the side. Eventually, that part of your work will start taking precedence.
I would like to know a bit more about release forms for documentaries, for locations and for people.
To what extend are they really necessary?
I have tons of interviews with people who all agreed in advance (generally by email or over the phone) to participate in my film. They have a clear understanding of what the film is about. The fact that they do a one hour interview with me already proves that they are willing to participate, right? Some of them have signed release forms, other ones haven't (yet), simply because we didnt have any at hand at the time. should i contact all these people again and get them sign this paper?
Also, what about people who are in the shot (e.g. street shots, shots on conferences...you know, b-roll footage that establishes a location etc. surely it would be impossible to go up to every single one of them in the shot and get them sign a paper?
For you documentary makers out there, what's your views on release forms? I often find it rather threatening to the subject I am interviewing, to do an interview and then shove a paper under their nose with lots of legal terms. I think it can frighten a lot of people, even if you tell them it's just a pro forma document.
And what about logo's and advertisements that are in the frame, even in the background? does all these have to be cleared as well? Is this only needed for the US, or do European and Asian distributors and broadcasters also demand this?
looking forward to hear your views on this
Stephan, I try to get written releases from everyone I interview and who may be in the film. Or if it's a quick spontaneous interview or scene, I get a verbal agreement while the camera is rolling before or after the interview.
I can't recommend this book enough, it has helped me tremendously: Clearance & Copyright: Everything You Need to Know for Film and Television by Michael C. Donaldson. It's an essential reference book to have around.
If you want your movie to end up on television or in theaters, you generally need to have a release from basically everyone in the film. You can use a very simply worded release that people will understand. So yes, I think you should get releases from everyone in the film. That is unless you don't intend on buying E and O insurance to show it publicly.
As for the b-roll question, you don't need releases for crowd shots. However if one person is singled out on screen for any significant amount of time you need a release.
As for logo's in the background of the frame, so long as you didn't put them there, you are good. Incidentally shot logos are generally covered by fair use, which means you don't need clearance. However if you intentionally put a logo in frame, that is another story.
FUNDING APPLICATIONS QUESTION
I am in the process of drafting various funding applications for a feature-length documentary currently in production and firstly I want to thank you for the amazing wealth of information you have all helped to create on the d-word. I have a few questions, however, that I have not been able to answer by looking at past posts.
1. Is it a good idea to reference other films in the proposal as a way to describe intended style, structure etc?
2. I know that some funders say they like pictures in the proposal, but is it ever not a good idea to put pictures? If you do have pictures, how do you usually use them?
3. Does anyone have experience with the Sundance Documentary Fund application? I am looking through their guidelines and they specify that they want a summary and then a synopsis. Do you know if by synopsis they are really looking for a treatment? (Is it ok to contact them and ask?)
I would really appreciate any input you might have.
Thanks a lot.
2. Use photos if they're very strong and support and enhance what you're saying in the text. I'd wrap the text around them, but you can also put it at the top of your synopsis or treatment.
3. By all means you should call them. They're very nice and helpful and speaking to them will give you an opportunity to get your film on their radar (especially if you've found a good way to describe it in a sentence or two). Wait until you have a couple of questions, though.