no worries :)
Hello, I just joined, so please let me know if my post does not adhere to the rules of the community. I'm producing my first documentary and plan to shoot in HD and would like to meet broadcast standards. I'm considering purchasing Panasonic's new AG-HMC-40 (H.264 MPEG-4 using 3-1/4.1" CMOS image sensors). Can anyone tell how to be sure the camera I'm considering meets broadcast standards?
I just joined too and am planning my first doc with a similar camera. I am not sure what broadcast standards will really be as the web blends with TV in the near future. The camera I plan to get is the Panasonic hdc-tm300, which is a stripped-down version of the one you want. It has very similar specs, though. I am interested to hear about your doc and how you plan to gather the material.
Thanks for the info. I wasn't aware of the camera you mentioned, but I checked it out and it is very similar to the one I'm considering. I plan to cover my topic by recording my subjects in their natural settings as well as through interviews. As of now, there are approximately 25 specific days over a 9 month span that I'd like to cover. I have some flexibility on the number of days I can devote, but not much. If needed, I'll trim some of these days to add other material as it develops. Tell me a little about your doc.
I'm just trying to figure out how to do a character-driven doc on a local woman who is on a personal mission to save unwanted pets. I hope to do it in episodes for a start-up web/cable TV station. Then,who knows, maybe there will be enough good stuff for a real doc. As I mentioned before, I plan to shoot most of it on the TM-300, which is really small and lightweight. The interviews can be shot on my JVC hd200. When I picture this story, it vaguely looks like Jon and Kate Plus Eight...that kind of reality. When the episodes run in this two county area, I hope it builds awareness of the plight of the animals and that people will donate and/or adopt. The documentary will have a bigger focus on an over-arching topic when I can get enough material. I am the shooter for this and my husband is the editor. He uses FCP. What is your doc about in general?
I'm Jane Taylor and currently studying an MA at the University of Salford, Manchester, UK in Television Documentary Production.
I am at the stage now where I am conquering my dissertation. I got extremely inspired by the Documentary Campus event at the Manchester Town hall â€“ Leaner Meaner and Keener, and have based my dissertation on the effect the internet has on documentary.
I would really appreciate some opinions, experiences and professional advice on this subject. How the internet plays a part in documentary distribution in a good way and bad way? advantages and disadvantages? What's the future? How it has helped you business or film? Everything and anything would be highly appreciated.
Jane, the short answer is that the internet has been a great boon for marketing and promoting your docs, and hasn't nearly reached its promise as a serious distribution platform, especially for long-form docs. Whether it ever will is the (multi) million dollar question.
I've just joined and was wondering if there were any posts about copyright violation on torrents sites. They're offering my film on free downloads and i need to find out how to have it removed
I am shooting a film that has extensive performance of jazz standards. The musicians have given us releases for their peformance but I need to understand a) how to get performance rights from the publisher b)what these rights would cost.. I am trying to budget this and appreciate any help ..FYI examples: Green Dolphin St, Cherry Pink and Apple Blossom White, At Last, Moanin' etc
In reply to Jaty MacMillan's post on Fri 21 Aug 2009 :
I can't help you, but I'm curious how you found out. I'd like to check for my own work.
In reply to Doug Block's post on Sat 12 Mar 2005 :
I have a similar question and the weblink for that article is no longer available. Do you have any other suggestions on obtaining synch licenses?
In reply to Kyoko Yokoma's post on Fri 11 Mar 2005 :
What was the outcome relating to the licenses for the songs u needed?
Stephen, I'd simply do a Google search: "sync licenses for film". I'm sure it'll turn up something useful.
PAl/NTSC in HD?
Hello everybody! I'm new there but it seems this is the place to ask a technical question.
I'm going to shoot in Latin America for a documentary that will be edited here in Spain. I will do it with a Panasonic HD, AG-HVX200, so recording on P2 card. As it is the first time I shoot in HD, I don't know if we still have the PAL/NTSC problem.
I have a good oportunity to rent the Panasonic in Latin america, but I need to know for sure that it will be no problem.
Someone can help me about this?
thank you a lot
Countries that are on the PAL standard for SD have HD cameras that record at 25 and 50 frames per second. Panasonic cameras from NTSC countries (US/Japan)record at 24 and 30 frames per second. Editing is not a problem though best not to mix 24 fps and 25 fps material unless you really have to.
Thank you Robert. I understand from you answer that, when you record in HD on P2, the only difference bw PAL and NTSC is about frames por second.
So I have another question, as it is the first time I will be editing in Final Cut (changing from AVID), does Final Cut allow you to import material recorded at 30 fps, and change it into 25 fps?
And another question (sorry but nobody is able to tell me that in Barcelona). The P2 card for the camera are the same for PAL / NTSC cameras? (means I can buy the cards here (europe) and use them for the NTSC camera I will rent there (america).
thank you very much
P2 cards are the same everywhere. Yes you can change the frame rate in FCP. And HD is HD despite the frame rate changes.
Ok great! thanks a lot for your help Robert.
For those who needs to understand the basic issue PAL/NTSC in HD, here is a very didactic article.
Hope it can help others.
new to this and figured someone here could answer questions. I'm filming a female boxer whos trying to make it to the next olympics. The backround music at the gym brought up some copy right issues and wasnt sure if i need to try and edit the backround music. This is my first film so not sure how the legalities work.
if you don't edit a visual sequence to the background music, and it is in the background, it should fall into the fair use category. Read up on the rules for claiming fair use.
and it depends where you plan to exhibit it. for background music, i wouldn't worry about online or festival usage- it's only likely to be an issue for broadcast or theatrical. not that the other uses are necessarily legal, but it's very unlikely that anyone will do anything about it.
Hi Everyone! This started on the introduce yourself forum, but was told it would do to move it over here. Any help would be greatly, GREATLY appreciated. Thx – S
Now for a question: The doc I'm currently working needs a male actor to mimic the voice of one of our subjects for use as scratch narration. We'd like to get some one who can come very close to the person's real voice as we may use a cut with this narration to send into festival applications, etc. Does anyone know the best way to go about finding and hiring voice talent or actors? Our budget is small, so I'm sure we couldn't pay too competitively but, would try to offer a decent wage. I've posted on Backstage but was hoping for more suggestions. Does anyone know anything about contacting talent agencies or casting directors? Any advice would greatly help as I am totally inexperienced in dealing with actors. Thanks!
It's been a long time since I worked with an actor I didn't already know, so I apologize in advance if this method proves outdated. That said, it used to be that talent agencies had CD compilations of their voice-over talent, which can help a lot in narrowing down the field. (SAG can provide a list of agencies. The commercial or voice-over division of a given agency is the one you'll want to contact.) Depending on the talent, their level of interest in the project, and your ability to negotiate with their representation, you can sometimes get voice-over talent for well below scale. The trick is to get around the agent. You might try writing a letter (sent to the agent, but addressed to the actor) that really talks up your project and states in no uncertain terms how vital the actor's participation is to its success, but does not mention pay. Try to get him/her interested first. In my experience, if an actor wants to do something, he does it, regardless of whether or not his agent thinks it's a good idea. Say in the letter (in a p.s., so it's the last thing he reads) that you'll be following up with his agent, and then do that. With any luck, the actor will have told his agent he wants in on the project and the money will be less of an issue.
All that said, if you're only planning to use the actor for scratch, you may be facing an uphill battle – when an actor forgoes money, it's usually in exchange for exposure. If you're not offering exposure, you'll definitely want to focus your energies on smaller agencies and lesser-known talent.
STANFORD MFA IN DOCUMENTARY FILM
I'm in the process of selecting post-graduate documentary film schools. Is there anyone who has graduated from Stanford's MFA program that could make yourself known? Or is anyone in contact with other filmmakers who are significantly familiar with the program. I'd love to ask some questions.
Is this the best place to post such a question?
Christian, since you're a member you'll get more response posting maybe here: Teaching Docs
In reply to J. Christian Jensen's post on Wed 23 Sep 2009 :
I believe Michael Attie just joined after completing that program. He can probably give you some useful info. He posted recently in the Introductions forum.
Fantastic. Thank you both.
Thanks for the warm welcome, Doug. Nothing less than I expected!;)
Right. My first question. My next project is a 30-45 minute doc on an aspect of the UK economy. This is going to be my first major production, not like the previous two, which were essentially "teeth-cutting" exercises.
They were self-financed and I did everything myself. This time around, I am exploring the possibility of seeking funding from various sources – if for nothing else but for employing a top editor.
My question is how much do i factor into the budget for said editor,and how to find one?
Also, my camera is the pana gs400, an sd camera. Is it a good idea to include the cost of a decent hd cam in the budget?
I hope this is the best place to post this question. Thanks.
I am about to complete my first documentary. I can't find the original source of some of the photographs, which may have belonged to a person or may have been published in a newspaper, magazine or book. What can I do to protect myself? Any thoughts will be greatly appreciated.
Julian, it's not the best place because you're now a member. Ask fundraising questions in the Fundraising (Europe) topic, camera questions in the Camera topic, etc.
Thanks for that, Doug. Just finding my feet, as one does!
In reply to Alexandra Branyon's post on Wed 30 Sep 2009 :
I think you have to be a bit more specific for anyone to help answer that... what are the photos of? how did you get them? when were they taken? when and where were they published to the best of your knowledge? how do you intend to use them etc...
I've completed, to my satisfaction, a speculative video essay, 28:45; edited on Final Cut Express. I want it to be technically as perfect as possible. Does that mean next step is 'audio sweetening' and/or 'color correction'? What are my options? Do I send the DVCAM cassette to a commercial house? Do rates vary widely? Is it best to do it locally?
I am applying to grad film school and I am interested in schools that have great documentary filmmaking programs. Does anyone have any suggestions? At the moment I am looking at Cal Arts and UCSD. Is there anything else out there?
Stanford – I'm an alum. You can emal me offline and I'll give you the lowdown. Are you from the Philippines? email@example.com
Magee, you might want to consider The School of Visual Arts in New York City. They have a new MFA program in documentary that I hear very good things about.
stanford and berkeley come to mind as the top grad schools for documentary production. ucla is also quite good, but it provides the extra benefit of giving you exposure to fiction narrative production as well. (if you are a CA resident, ucla would also be substantially cheaper than a program like stanford)
Thanks for responding! I will check that out. If anyone else has anymore ideas, I would love to hear from you.
I'm an alum of American University in Washington DC. It is not specifically a documentary program but, since non-fiction is the bread and butter of the area, the majority of the students are focused on documentary. I can't say how it compares academically or artistically to the other aforementioned universities, but it does position you firmly in the real world of actually finding work in the industry.
Is there an experienced line producer that can send me sample budgets of a documentary – I would really appreciate it, I know that budgets vary depending on different elements, but I just need detailed budget to look at.
firstname.lastname@example.org is my email
Thanks in advance!
In reply to J. Christian Jensen's post on Tue 4 Aug 2009 :
An MA won't help you get much in getting work in academia – A doctorate in Communications or Art Hist Concentration Film Studies would. To teach filmmaking then an MFA is considered the terminal degree – so that is more useful than an MA. That being said, going into debt for 100k or so to get a degree should be questioned in this day and age – better to use that money to make a couple of good films.
Hi this is Krishna from Sri Lanka. Can some one help me to find out an online course in documentary film making. Please.
hi there – i am doing two different series – one is a set of one on one interviews, the other is trailing a team of people for a day. it's for a great idea but i have no documentary filmmaking experience, so i was going to hire film students to do it – or have them do it for deferred pay as i have no money. for the one on one interviews, i dont need anything fancy, right? i just need someone who has shot interviews, with a camera and lighting adn sound kit? these are going to be aired on the web – tey're sort of long. what sort of camera should i ask that they have? i'm clueless, please help! thanks
and also for the part where they are trailing a team of people, should i hire more than one camera person? that could get tricky...
tackling second question first... if you and your crew have little to no experience with documentary filmmaking, you should definitely limit yourself to one camera only. you don't want to be worrying about shooting from the wrong side (it's called "crossing the line" and results in major difficulties when it comes time to edit), and you also don't want to have to avoid being in the way of the other camera(s).
as for the 1-on-1 web interviews, it sounds like you just need basic lighting and framing, nothing tricky or especially artistic about your setup. so, yes, just find someone with a lighting kit (2 or 3 lights should do) and a basic DV camera. you can use HD if you want to, but it's not necessary for the web.
by the way, hiring film students to do work for you on a deferred pay basis is a difficult proposition. film students are not known for being extremely reliable, and if they are not being paid, you never know what you're going to get. if i were you, i wouldn't even promise deferred pay – i would just sell the project on its own merits, and hope that whoever wants to do it just needs the experience. good luck.
Hi Ginger, it might be difficult to find students who have their own cameras, lighting and sound kit so I would start out by seeing what you get. But in terms of cameras try to find someone with a 3ccd camera that has manual modes. Also, try to find someone with a lavalier microphone. And if someone doesn't have lighting or sound you could try renting from DCTV (downtown community television center)--they have pretty reasonable prices. If you're following people for a whole day, I think you'd get a lot of footage with one camera and be able to follow the action but it really depends on how much is going to be happening in your event, and how much material you need for this series. Good luck!
wow, incredibly fast responses! you know what, they dont even have to be students – i'll just post on mandy, but selling project on merits & for their film reel is a good idea. so is renting from dctc, thanks! so no one will notice quality difference between dv and hd camera? i know nothing! thanks
In reply to Ginger Rose Lee's post on Wed 11 Nov 2009 :
I do have one recommendation: when you set up the interviews, consider what sort of shot you can gather that could be used to cut away to or to otherwise allow your editor to break up long sections of the interview. There are many possibilities: b-roll shot outside the interview, or detail shots taken at the time of the interview, for example. But definitely find something that will give your editor reasonable options when they are editing the interview. Ideally, you'd like to have the option of shortening, clarifying or repairing parts of the interview, so get those shots that will allow you to "cover" the editing.
Okay, and now my own question. I've been doing a lot of handheld camera and my wrist starts hurting soon into shooting. It didn't used to do this, and I've been wondering if people wear wrist braces during or after shooting? It feels strained.
also is there a program where i could get an actual mentor, like an old documentary pro, to help me? it's a real do-gooder project. i dont know if ifp and similar organizations offer stuff like that...i just want to make sure i do this right!
thanks ted! GREAT suggestion. is there a place to get free b roll? god you guys are awesome!
i meant b-roll – not the type you mention of things happening during or immediately preceding interview, but like b-roll of related actions that the subject is talking about...
oh, another thing – compensation for subjects. this section of the series i'm asking about is the interview section (not really a documentary sectopm). let's say i'm interviewing a famous woodworker who is also going to spend a large portion doing a demo of his work to show you how to do it. he gets to publicize his own site and name in agreeing to be interviewed – but is it standard to offer these people compensation? my site will be ad supported, i dont think i will charge people to use it, but it will be a for profit company. thanks so much for your help!
ginger, it sounds like you are really starting from the beginning on this... i would recommend that you do a quick read of Michael Rabiger's book called "Directing the Documentary". it will get you up to speed very quickly. also, it wouldn't hurt to watch a few docs from the library: Hoop Dreams, Fog of War, Salesman, Capturing the Friedmans, etc.
Joanna, given that you're a Member, no need for you to ask questions here. This is for newbies like Ginger. And nice to see you taking advantage, Ginger.
Arjuna, you're a Member, as well, so you should take your question to the Teaching Docs topic. Believe me, many more folks here will see it there.
ah, I thought I'd better ask here because the working pros sound like they have wrists of steel, but I'll try a different topic...
Naaahh, we're all softies here. Try us.
In general, do the docs we see nominated for Oscars have distributors prior to festival attendance or are they picked up at the festival?
Does anyone know of an online hosting site where you can upload what you have edited thus far to attract funding for completion? I have gone as far as I can go without money, and the film needs money to be finished...i simply need the forum where someone may wish to contribute to see it completed!!!
I am literally starving and need to finish the project! Thanks in advance!
Hi; every body ;
i 'm moloy from INDIA;very glad to meet you here.
I'm now working as an assistant film director with the most eminent indian film maker; BUDDHADEB DASGUPTA. But you all know that in INDIA its very difficult to be an independent film maker . i've completed the research work for two of my ducomentaries .
my first project is about the children who lived on footpath of calcutta;but they all have a very pain full history; and the causes are very socio-economical.........
and my second project is on MEDICINE;how the people of INDIA are cheated by those multinational medicinal companies.......
i've approach to many people and tried to make my dream true' but i faild. so i'm requesting you to give me some suggestions for it (i.e:how do i find producers.....). thanking you; moloy
In reply to Nicholas Varga's post on Tue 17 Nov 2009 :
Reelchanges.org is a great place to post your project and collect donations. indiegogo.con is also another good fundraising site.
I actually found that website and was fortunate enough to have them accept my piece as an addition to their site. There aren't many films on there nor was there contact info other than an email, so I am wondering how wide of an audience they actually have. Time will tell. I will try indiegogo as an additional forum to display what we have edited thus far. Have you had any luck with Reelchanges? I only need $95K to finish and am positive this thing is going to make money. I just need one person to step up to the plate without having to jump through all the hoops and wait 6 months for Sundance and organizations like those to dispense money if they do decide the film is worthy. I HATE how money stops change even though it's probably the biggest catalyst when evoking change! UGGH! The system SUCKS!
I will try kickstarter as well. I don't mind breaking it up at all.
In reply to Nicholas Varga's post on Wed 18 Nov 2009 :
I've had very little luck in collecting funds ($70 on reelchanges, $50 on indiegogo), but I keep them there in case some bigwig comes along and decides to drop a ton of loot in my lap. You need $95k to finish, I need $25k to start. I'm gonna check kickstarter to see what it's about. Good luck.
HAHA! We have the same exact expectation/motive for keeping our projects on those websites. My problem is that even the people I know who are business owners, and are able to donate money through a 501c3 and write it off, don't have profits this year to be able to justify doing it for me. I am taking a beating every which way I turn. It's frustrating more than anything because I can sit and edit for 16 hours straight and do not hesitate to come in the next day because I love to do it. However, my hands are tied because I need the money to do narration and can't go any further until it's done so $$$ is what's holding me up. This is for the very same reason why I HATE the industry. You work on any fictional film or tv show and there are 10 people there to do a 3 person job, all getting paid union rates. I want to blow my brains out because I HATE sitting around and am the only person who actually wants to work and it pisses people off! Oh well, gotta love creating change rather than getting rich!!!
Nicholas, So you will let a funder decide whether you continue or not? Turn a closet in your house into a sound room (blankets and foam), buy a digital recorder and mic (Zoom H4 or better), post on Craigslist for VO talent and learn how to record narration yourself. The internet is full of tutorials to do every one of these things.
Hello, I made my first short, a nine minute piece about a very unique high school physics teacher, that recently premiered at the San Francisco Doc Fest. I was contacted this week by a woman who represents the feature that I was paired with. She said that their film was finishing it's festival run (it opened at Silverdocs) and they are starting to take it to colleges for screenings and putting together a dvd. The director liked my film, and he wanted to use it as an opener when he does the college screenings, and he wanted to put it on his dvd. That's great news for me, and I'm happy to have my work seen by more people, but when the issue of compensation came up, she offered $200. That seems a bit low to me. Do you have any idea what I should be asking for?
that's stunningly low, even for a short. if she just happens to be taking your film on a tour, it might be almost worth it. but if she's actually packaging your film in a DVD, i think you should probably negotiate for a share of the DVD revenues. maybe something like a $1.00 per DVD? under such an arrangement, you might not even make $200 total, but at least it will be a fair deal...
Hello cameraman or woman, I need you to make a shot at DESIGN MIAMI the 5th of December for a documentary. Can I hire you? Please email me soon at email@example.com Our company is based in the netherlands. Please mail me soon!
In reply to Jessamy Meyer's post on Sun 12 Oct 2008 :
Hello, I am now looking for a fixer in Laos for a french program if you might be able to help.
Thanks in advance.
Please don't get me wrong...I work forward everyday on the project whether there is money available or not. As an editor, as the film is already in the can, EVERYTHING left to do is up to me to accomplish or oversee getting done being that the others involved know nothing about production. We do need narration, the film needs to be scored, GFX...there is a TON of post to be done. The point I am at now, after sifting through 1000 hours of footage, capturing what I know I need, organizing and beginning post...it is VERY hard to move forward to make the project the quality I envision it with 0 dollars. I am a firm believer in doing things the "right" way, the first time without cutting corners. So for me to hire craigslist talent when I know "who" I want to narrate it is working backwards in my opinion. I will never "throw in the towel" but am committed to accomplishing what I deem necessary without too much compensation of quality for the project. Do you know what I mean...
I do and I respect the amount of work you have put in already and the commitment to your project.
My point is you will be surprised at what you can accomplish on your own and given the choice of not moving forward because you donâ€™t have the money to get specific narration or getting narration that is good enough, which are you going to choose?
If your goal is make more films then the most important thing is completing this one as quickly as possible and taking what you have learnt to the next project so that one is better.
I looked at your project online. You have an interesting topic, character (likable?) and good access but you need to think about putting a shorter fundraising trailer together. The work by Fernanda Rossi is a good place to start.
Good luck with your project.
Nigel, thanks for looking online at the topic...
I agree a short TRAILER for the film needs to be cut. It is the next in line. Essentially what you saw was me putting the RAW footage into "buckets" so that an investor can see how high impact the reality footage is and who it involves. Needless to say, in moving forward, a TRAILER is the NEXT thing I plan on doing.
As far as the character being likable, you and I both agree that the audience is more than likely NOT going to be sympathetic with him...which sucks because of his image! What I want to do is find a woman who has been a true victim of domestic violence to narrate "on camera" her own experience and then furthermore tell Ben's story of how he is inevitably a "victim" from false allegations of abuse so that the audience sympathizes with him. Ben by himself telling the story isn't as powerful as someone else telling it for him.
Custody is HUGE right now and his case is HISTORICAL by having the first woman ever in the US convicted of perjury on the stand in a custody case. This film has to be done right so that it is "THE" Custody film of its kind. I know where I want to go with it, I simply need the resources...
You rock for taking the time bro! I will let you know when the trailer is complete!!!
My advice would be to finish your film, by hook or by crook, as polished as you can make it, THEN approach the narrator of your dreams. I have some experience in this. If you want an A-list or otherwise very successful or well known narrator, they will not agree to narrate your film until they have seen your final cut, with sound design and final score. Big names need to be assured, by seeing the finished product (with everything except the VO), that the work is of the highest quality, and that they will be proud to have their name associated with it FOREVER, which is what you are asking. It is a big ask. But you can be successful with it if you make a fine film with excellent (scratch) VO that is well-written, and approach a potential narrator who has a connection with the subject matter in some way.
In reply to Nicholas Varga's post on Tue 17 Nov 2009 :
In reply to Nicholas Varga's post on Sat 28 Nov 2009 :
also DocuMentors is doing a free teleseminar tomorrow about getting funding from ITVS.
Thank you all! Great advice and much appreciated!
Hello I have a question about what is needed to be handed over to a network in order to qualify for distribution. Is it true that you have to give proof of E&O insurance? What else is needed?
Has anyone here worked for a production company who has a first look deal with a major network or someone here who is a UPM and can help me out?
Many networks have their "deliverables" posted online in a "producers" or "filmmakers" section. The required deliverables vary from network to network. Google the networks you think might be a home for your film and see if they have that stuff online. PBS does. Happy Hunting.
Hi, I am about to film my first documentary on the difficulties that face young disabled people in Glasgow and to portray the extreme difficulty in accessing the services they need to live even a modestly fulfilling existence. I just need info on the correct standard procedures to do this. This is very low budget so it's just me and my equipment.
Not quite sure what you mean by "correct standard procedures", Robert. Do you mean filming your subjects publicly? Would help if you can give a bit more info.
How would you start to organise a low budget documentary? You've been approached by a disabled person who wants to interview 4 other disabled people and follow them for a day each to highlight the difficulties they face. This is intended to be a hard hitting DVD to target various government bodies, ie NHS.
There's no standard way of shooting. I would suggest you do several inventories:
1. What can I record with the equipment I have? Work with those limitations. If you only have the microphone on the camera, for instance, you need to shoot wide and close. If you try to shoot from a distance your sound will be horrible. Another example would be low light – some cameras don't do well so count on shooting in well lit places or out of doors.
2. Who, when and where can I shoot? Who's in the movie and who's not? The more focused you are in the beginning will translate into less work sorting everything out in the edit room. Sounds like you want to confront a government official. If so, figure out how you're going to do this. Ask for an interview? Ambush outside the office?
3. What am I not good at? If I can't shoot or edit or anything related to the process then I need to get help. (Have you taken a class in filmmaking?)
These are some ideas to get you started. Good luck.
I am starting to shoot my first documentary soon in NYC and I am currently looking for some advice:
1) I am looking for camcorder to shoot the movie, I cant afford anyting expensive but would appreciate some advice on which camcorder to buy. I went to B&H and the salesman recomended Canon HV40.
2) I need someone to help me edit the footage as I have no experience in that area. As I am paying for everything from my own pocket I wont be able to pay for the job but I will def put their name in credits.
Dear Faraz, as in most other businesses, freelancers like editors are overworked and underpaid, desperate for the next gig to come to pay the bills. An experienced editor would have a hard time working just for the credits, even if it was a high profile project with good quality material to work with and most likely to help advance his/her career.
Why not try 1st-2nd years editors in film school? They might be inspired by the subject of your doc and want the experience. While you wait for someone to reply to the notes your sticking up, also start messing around with all the good semi-pro editing software out there.
I'm currently working on a written assignment based on new media technology and its impact on documentary film and its makers. I would really appreciate it if you could answer one or two of my questions based on your own experience.
Have you experienced the shift from analogue to digital? If so, what has changed in your work routine? How different do you work now?
What equipment do you use (currently)?
Do you choose equipment that you are comfortable with and meet the standards of broadcast? Or are they determined by the nature of the documentary you are making?
Do you feel it is necessary to be constantly aware of new technology or do you think that current standards are sufficient for you?
Hashim has just updated his biography to give a bit more of his background. Perhaps it would be easiest to email him directly if you are able to help.
I just completed a fairly refined 55 minute rough cut of my documentary on men in the pornography industry. I have an inside contact at HBO and currently waiting for it to be screened. But I am also shopping it around at other networks in the hopes to receive finishing funds.
Has anyone been in my position with a rough cut and sold a documentary to HBO, Showtime or any other network? If so, I would love to talk with you further about the business side of a deal like that.
I've worked with HBO on my last 3 films, Matt. Email me with a bit more detail about the project and I'll share some insight. My email address is in my profile (he says, testing your linking acumen).
I am gonna be shooting my documentary using Canon HV 40. What would be the ideal stand to put the camera on to avoid shaking ?
I was thinking of tripod stand but then someone recomended monopod bcz I will be moving around alot following the character at their work place.
Can anyone give better suggetion which stand should i use ?
The BBC is looking for people to tell us the story of their world in a two minute film, with winning films assembled into sequences by leading figures in documentary film.
No-one sees the world the way you do. Make a short film about life from your perspective – and enter in this competition to be judged by professional documentary makers.
Only the second time I have posts anything, usually a reader. I am working on a music doc of a small town and have done several intvs and shows. I have two questions not related at all.
1.) When getting clearances in the intv. process. Do I still need to get another clearance from the same band to shoot the performance. Essentially, do I need two clearances one for the show, the other for the intv.
2.) Many co-workers have donated thier time helping me with this project. One in particular is really pressing her ideas. I keep reminding her of the direction that we should be taking. Nine months in she says she is not sure if she can continue, becasue she doesn't believe in the project. I have been the only person who has invested in this project (financially speaking). Trying to keep an open mind.
Ideas? sorry this is so long.
In reply to Albie Garcia's post on Sun 31 Jan 2010 :
1 – your release for the interview can include the shows – I would include all the shows in the release for the band and have each band member sign one.
2. Not sure what your question is. Have you done crew deal memos with each person working for you? Even if they work for free, you should have them sign a work-for-hire crew deal memo that says you own everything they do for you. But, again, not sure what your question is.
I have a 22-minute documentary, "A Box with a View" about the influence of cable television in a farming community located in South India. The short has been received well so far. Most recently it was nominated for best international documentary at the Queens International Film Festival in NYC, but now I am in a situation where I do not have enough money to continuing submitting to Festivals. You can watch the full documentary at this link: http://www.vimeo.com/5024075
Is there anyway to team up with a company that promotes films like mine and the deal would be for them to take a cut if the distribution rights are sold? Any Suggestion would be a great help! Thank you so much.
Does anyone have any experience working with Lombardo Films?
They've expressed interest in distributing a film I'm working on and would love to hear from any of you who have experience with them.
Hi, I'm new to this stuff and just had a question. You know in some TV shows when people film their travels when they go someplace in the world or something like that? Well the camera they've got is something attached to them, and the lense stuff sits right in front of them to film wherever they want it to film, without having to hold the camera. It's hard to explain, but thats the big picture. I was wondering if someone could tell me what they are called, or where i could buy one. Thanks!
It could be they are using one of these cameras.
Actually, since I have now read and re-read your post several times, it occurs to me you may be trying to describe the kind of camera support systems made by Steadicam and other companies.
When they are designed for professional use, these types of camera support systems can be quite expensive and cumbersome. If you are just starting out as a cinematographer, you may find it more expedient to use a small, light-weight camera, and practice holding it steady to achieve the shots you want.
A small monopod can also be extremely helpful in stabilizing a light-weight camera, and is an inexpensive solution for steady filming. A good monopod for a small camera will be one that weighs enough to provide a counter-weight to the camera, so that the balance point lies just below where the camera attaches to monopod. This counter-weight will allow you to "fly" the camera through the air with your arm, avoiding much of the vibration, pitching and rolling movements normally found with hand-held videography. Another good trick is to use an elastic camera strap in conjunction with a monopod to further stabilize the camera.
Tiffen makes a product called the Steady Stick that some people have found quite handy.