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?