Perhaps a way to monetize it would be to get the material out there with your name on it. This might result in higher visibility for yourself and increased work, for which you receive money. Do you edit at all? Do you own the copyright to the material?
I shot it, I own all the tapes, have all the releases.
have you thought of offering your interview with Liyer for the eventual DVD release of EPL? probably would make a good DVD extra for them.
This is what I am talking about – a Time magazine story on the healer Ketut Liyer... http://www.time.com/time/world/article/0,8599,2005158,00.html
I am fairly new to filmmaking, though I have shot a couple of student documentaries. I am looking for enough equipment to make a complete and reasonably good quality film. Most likely documentary. I currently have H2 Zoom (which I am not very familar with). I also have an old Sony camera, Hi8 and a first generation macbook. I am looking to spend under $1000 if possible. I have been thinking that the best solution is to invest the money in a new camera. I have a number of questions:
1. Is mini-dv a good investment? Currently, in Canada stores are not carrying mini-dv formats for cameras under $1000. However, I am inclined towards mini-dv because of their cheap storage format. Should I purchase a second hand mini-dv camera, what make and model would be best?
1.b. What sound equipment would I need to purchase?
2. Is the Canon T2ii a good alternative investment. What would I need for good sound? Could I use my existing H2 zoom? Would this be sufficient?
3. Are there any options for under $500?
4. What is a reasonable budget?
Thank you in advance,
In reply to Christopher Wong's post on Thu 22 Jul 2010 :
Sorry to take so long to respond, Chris. Yeah, It would be perfect for a dvd extra, I spend several hours trying to reach a human at Sony's DVD authoring division but was unsuccessful. If I could find out who was in charge of making those decisions, I think I could sell it.
10% commission for the email address or phone of the person at Sony who makes those decisions!
I have some technical questions for a small project I want to edit using iMovie, and I wonder if I may ask your advice.
I need to get the footage, from the person who shot the project, onto my computer. The person shot to cards using what looked like a flip camera. She claimed it was hi-def. I'm happy to edit it in standard def. She has the footage on her computer and she also has the cards.
I'm thinking that the simplest way for me to get the footage is for her to transfer the footage from her computer either directly onto my iMac or to an external hard drive that I have. I'm also thinking that another option would be to use a Firewire cable to connect her camera to my iMac and transfer the footage that way directly from the cards. In either event I think I should get the cards from her for back up. Does anyone have an opinion as to the best method for me to get the footage? Thanks.
About a month ago I attended a seminar by a Publicist who said that in the current climate it is wise to try and get a publicist on board before entering the major festivals. He said that because there is such a huge deluge of submissions, it's helpful to either know one of the programmers or find a publicist who has programmer contacts.
Does anyone have any thoughts about this? I've been advised by ITVS folks to submit to festivals as early as possible – is it worth sending in a version that is not quite "tweaked" to it's best in order to make an early deadline? Or, is it better to wait till you have the best possible version and make it into the last possible deadline?
Thanks for your comments.
while it is usually best to submit the best possible version, you also don't want to wait too long to get everything just right. top-tier festivals like Sundance only have one or two open spots left by their late deadline. probably the best thing to do is to submit the best version you have by the regular deadline.
regarding the use of a publicist, that is the dirty secret of film festivals. programmers don't like to admit it, but publicists play a very large role in getting their films to the top of the consideration pile. this is because film festivals are constantly in search of buzz, and that is exactly what publicists are good at doing. and once a publicist gets your film into one A-list festival, then all the other festivals will soon come-a-knockin'.
Welcome aboard, Judy. If it's Sundance we're talking about, I'd submit your best version RIGHT NOW. You're at a huge advantage getting something to them earlier rather than later and I'm sure they'll see how great your film is even if it's not fully finished (full disclosure: I moderated a DocuClub work-in-progress screening of Judy's film, so I know firsthand).
By the way, the Mentoring Room is pretty much for non-members. As a full member, this kind of question should go in our Festivals topic.
In reply to Seth Shire's post on Fri 6 Aug 2010 :
Likewise, Seth, the reason you might not be getting any replies is the technical folks generally don't hang around the Mentoring Room. As a member, you're better off posting in the Editing topic.
In reply to Doug Block's post on Wed 11 Aug 2010 :
I couldn't locate the Festivals topic last night – probably due to the fact that it was close to 2am!
Thanks for your note. We've locked picture but I wanted to get the sound in better shape before submitting. Festivals like Sundance are swamped with submissions – do you think it's helpful to know a programmer in instances like this?
(no need to "sign" your posts – they are already identified by your name and photo, if you have uploaded one.)
when submitting to sundance, EVERYTHING is important... but great sound quality is probably the least crucial. i agree with doug – if your picture is locked, then get the submission into them now.
the best course is to proceed as such:
1) Get a good publicist (e.g. David Magdael, etc.)
2) Have your publicist send out a feeler to one of the programmers (e.g. David Courier)
3) Submit your cut
4) Have publicist follow up soon after
Early bird (with publicist) gets the worm!
In reply to Judy Lieff's post on Wed 11 Aug 2010 05:50 UTC :
If you get into an "A" festival you'll be able to find a good publicist – plus the festival itself will probably have a really good person on board, and if the newspapers like you're film they will cover it. It's not surprising that a publicist told you to "buy early while supplies last"! What I would like to find is a publicist who works on a contingency fee; this much if you get a feature in the NYT, that much for a review in Variety, etc.
That's never going to happen. If you find a publicist who'd agree to that arrangement, I'd run the other way. Variety reviews every film shown in competition at A-list festivals though the reviews may take months to appear. They also review films that appear likely to gain distribution.
In reply to Judy Lieff's post on Wed 11 Aug 2010 :
I may be able to help you with the sound, quickly, if you haven't wrapped post production yet.
I am a new user of the site. Apologies if this question is already discussed somewhere on this site – I couldn't find it easily.
I am working on a feature length documentary related to dance and personal growth, for theatrical or broadcast release. My immediate question and quandary has to do with the degree to which I may undermine the ultimate product if I do incremental releases of related products (using some of the footage, for a different audience) prior to completion. It occurs to me that a lot of the footage that I am gathering will be of interest to the specialized audience of dancers who understand this form, and that this audience is different from the broader audience I hope to reach with the end product. So I am thinking about producing and releasing some products in the interim, either through digital download or DVD sales prior to completing the final film. One thing that will distinguished the final film is that there will be a core story arc completely different from the prior releases; also I envision a much broader audience rather than the specialized audience of the prior releases. This is partly an interim funding strategy, partly about creating buzz, and partly just a way of mitigating the artistic frustration of wanting to share footage with the smaller community that will most easily "get" it.
- Is this a bad idea?
- How much (or in what circumstances) would this undermine entering the final film in film festivals?
- What are the things I need to avoid?
- Though it would complicate things, and not be 100%, would it be advisable to make a general practice of designating specific clips EITHER for the final film or the interim products but not both?
- Is there a discussion of this dilemma/strategy somewhere on the D-Word site already?
I'm writing out some one page treatments this weekend and wanted to know if there's any specific font I should use for them. I know Courier is the traditional font for screenplays but does this also apply to treatments?
No. I would just try and avoid comic sans :)
Does a documentary live and die by its subject?
No. Helps, though.
Anybody out there recording their own voiceover? Got any microphone recommendations?
I'm a film student and my current set-up (basic though it may be) is a Shure SM57 straight into GarageBand. And I know it isn't ideal, but it's what I've got.
But sometimes a person might be in a position to upgrade. I'm just looking for a good vocal mic. Something in the $200-$400 range.
And if this isn't where a person should post these kinds of questions, I promise to slap my own wrist--just say the word.
In that price range, a Heil PR-40 will give you a nice, fat, clean sound. Much more pleasant than the 57. And, unlike condensors, will be less likely to pick up extraneous sounds, like nearby traffic, since I'm assuming you are recording at your home.
But, if you need a USB microphone, check out the Shure PG42SUB.
In reply to Rick Dillwood's post on Wed 15 Sep 2010 :
That should have been Shure PG42USB.
In reply to Rick Dillwood's post on Thu 16 Sep 2010 :
I know it doesn't cost as much as your target price, but I've had great results with the inexpensive and easy to use Samson CO1U USB mic.
If you want to save some of that $200 – $400.
Quick (not really) question about union dancers in documentaries . . .
I have an extremely small budget to shoot a little documentary about a Canadian ballet company traveling to Israel for the first time since 1975 and Jordan for the first time ever. The logistics of taking an entire ballet company from Winnipeg to the Middle East is quite something . . . as is the financial gamble of such tours for the company.
I have permission from the company to document the tour. The ballet company itself is in no way funding the doc.
Here's where it gets sticky. The dancers at the company are all very eager to participate, but they are all members of The Canadian Actor's Equity Association. Whenever it comes to the dancers being on film the Equity Association's contract defers to ACTRA.
My interest is to document this tour from the point of view of those who are running the show and the dancers who are performing. After a brief conversation with my local ACTRA office this morning I can tell that this isn't going to be easy.
I don't need or intend on having a lot of footage of the dancers actually performing in the ballets they are touring. I am more interested in what goes on behind the scenes . . . For example, while we are there a joint Israeli/Palestinian community centre is being opened and some of the dancers are going to give some free classes to the children there. The dancers would like me to cover this. I would like to cover this. I think ACTRA and Equity is going to want me to pay for this.
I don't have the money to put a company of 28 dancers on ACTRA rates for 3 weeks . . . nor do I feel I would be making a documentary if I did.
Has anyone here ever navigated these sorts of waters before? If so, any advice would be hugely appreciated. Or I might just end up making a documentary about Bob the Production Manager who is in charge of all the lighting and sets and carnets and customs and all of that fun stuff.
This is crazy, James. Firstly it's commonly-held assumption that a "documentary film" is synonymous with Hollywood and that the filmmaker is making a pile of money off the people who appear in it. Reality check: the vast majority of documentaries do not make a profit, barely break even if they are lucky. Secondly, unless someone is being asked to perform specially for the film, or an expert is being asked to do some particular research, it is not normal practice to pay those who appear in documentaries. There may be a very small, nominal fee paid to interviewees, but this is mostly symbolic and connected to a release form.
The way you explain your project makes it clear (a) that the dancers are going on tour at the behest of the company, not at your command (b) they are more than willing for you to document them. This is a good start. It seems that the problem lies with the local union office who are almost certainly in the grip of the Hollywood illusion cited above.
Firstly, with the performers agreement, you probably need to go over the heads of the local office and negotiate directly with ACTRA's head office. A brief google (= documentary!) on their website revealed the following clause (below) of a draft agreement with the NFB which seems the right direction for you to explore, especially as the alternative would seem to be abandoning your film entirely. Explain that you're not making a "for profit" concert film but focusing on the work with the children etc.
A2307 Waiver of Minimum fee for Documentary A Performer may voluntarily consent to waive his minimum fee for the inclusion of a performance, interview, or appearance in a Documentary Program, the subject of which is "the making of" the Production in which the Performer has been engaged.
Finally, I should point out that I am NOT A LAWYER and that you should make sure you have rock solid legal advice before proceeding with your film.
Fingers crossed that it all works out – keep us posted.
Wow John! What a great find!
Thanks for digging into this a bit. I think you've definitely found something here that I can use as a jumping off point for my future negotiations. This was a wonderful post to wake up to!
Well I had a few minutes spare and felt like helping out – The D-Word can't always promise to offer this level of service, though!
For future searches, you could try this ;-)
(PS you don't need to add your name at the end of your post – it's already there at the top)
Oh John . . . That hurts!
Not only have I googled ACTRA documentary, but I've taken the current ACTRA agreement to bed with me three nights running. My hat goes off to you though for finding this gem in minutes where I failed for days.
It's true – finding things can be a real needle in a haystack sometimes.
The main thing is that this temporary setback doesn't present an insurmountable obstacle.
Now am involve in a documentary about labour.
In this documentary I want to follow the life and working state of several workers and try to explore the real condition behind them. I want to look into with camera life of the labors of different sector and level and the reason for their dissatisfaction and possible some remedy on how this could be changed.
This will be a film about their problems and finding the solution from within them.
AS always am very much confusing about its structure.I have very much confusion about editing.So, Seeking help from senior.
How far have you got with the project, Manoj? Have you shot already?
John, I have already shot it.Now am in editing stage.But am facing problem on structure.Seeking brilient idea.
It sounds like you both shot and directed it and are planning to edit it as well, which may well be part of the problem. Is that the case? How much material do you have?
Manoj, here in the U.S. we're all but required to make a fundraising sample before we begin editing our film, usually somewhere between 5 and 15 minutes. We complain like hell, but it actually forces us to think through our story and work out structural issues. And it's a great opportunity to get feedback from others.
Since you're a D-Word member, this discussion actually belongs in the Works in Progress topic (the Mentoring Room is saved for Enthusiasts who have very limited access to the topics). There you'll find many other examples of samples our members are making.
In reply to John Burgan's post on Sun 19 Sep 2010 : John yes! I directed it and plan to edit myself.I have around 150 hour footage.
As Doug suggests, let's take this discussion to the Works in Progress topic
Hello! Maybe it's a bit an offtop, but I wouldn't know where else to ask it, except Mentoring room.
I'm thinking about applying for Documentary Campus Master-school and my question is: what does "self-presentation clip" means? Does it mean a video of myself telling smth about myself, or it should be a video clip of my works, or a trailer of the film with which I'm applying? If smb knows, I would appreciate the suggestions very much. Thanks in advance, Daria Khlestkina
In reply to W. James Meagher's post on Fri 17 Sep 2010 :
James, if you need peer support, Winnipeg should be good. Documentary Organisation of Canada (DOC) is an association of Doc professionals (in the main), that also does a lot of legislation-related lobbying (read: there are lawyers involved). http://docorg.ca/ and here's the link to the Winnipeg chapter http://docorg.ca/en/chapters/winnipeg/about-winnipeg-chapter .... Someone on that list, or known to them, will know to deal with this, what releases you'll need, and similar fiddly things. Nice subject (your film), by the way.
I put together this short doc called "Surgeon of Hope". It's about two children who undergo pediatric heart surgery in Nicaragua.
I would love some feedback and words of wisdom if anyone has a few minutes. I realize that it's already published, out and about, but I'd like to know if something should be done differently for future films? Is there anything I should try to work on?
Hi and help please ...
I come from a still doc photo background so working with others on a film is a new experience – it does help I'm in a film grad program but still...
the film I'm working on now is literally exploding with support from the community it's involving – the formerly incarcerated – and is blowing me away with its potential. of course I'm thrilled but for whatever reason my dp is slacking off, breaking scheduled shoots, and generally mucking things up in a major way. he's also a student and I'm not really sure how to go about handling this. we had a good one-on-one the other nite and he assured me he's on board but then turned around and screwed up again the next nite.
I've just posted an ad for a new dp but am wondering if anyone has any words about this situation? I've tried to include him as much as possible in decisions and progress of what's going on – I don't think I'm being too difficult or anything like that – he seriously seems to be sabotaging himself.
... polite but firm separation as soon as you find a reliable DP. Maybe he just needs a little more maturity, or has too much to do to meet his course obligations (?), but if the shooting involves protagonists and others, his unreliability bruises your reputation with them. We all know in the pro, freelance, competitive world, he wouldn't be given a second chance easily.
Jo-Anne – since you're the first one to reply – ok – I'm going to ask the q I didn't before – is this also happening because I'm female?
I wouldn't want to comment, I don't know the situation first-hand.
Linda, it really doesn't matter what the reason is. If he's not doing the job, find someone who will. There are many good, young, hungry DP's out there. Not to mention, highly professional and experienced ones.
ahh Doug – I understand what you mean but every time I post on craig's the posts are flagged and removed since I can't pay anything but a credit and a dvd.
we had another long talk last nite. he's definitely overwhelmed w/the subject matter. it's very intense for both of us; he's from S. Africa and old enough to remember apartheid. I can't imagine what's going on in his mind right now.
I'm kinda stumped I think at the responses here. Yes, I understand he's not doing his job but at the same time, this is a creative industry and especially in social justice documentary, I would think people would be offering a bit more insight into how to practice what we preach. altho I have to say, I've met some documentary filmmakers who seemed more ready to jump on the social justice bandwagon for the status symbolism than they are ready to put it into actual practice.
Jo-Anne – your 2nd comment is exactly what I'm referring to.
I'm here in this industry because I want to make a difference – if I can't put this into practice myself then what's the point?
and before anyone accuses me of anything, I'm only being honest and trying to open up a frank discussion in the mentoring room because I was hoping others would help me become the kind of director that shows the same compassion to my crew as I do to the participants/subjects in one of my films.
I'm not suggesting you be an asshole about it, Linda. There are ways of letting someone go that are honest and humane, and it doesn't necessarily mean that you drop them from your life.
But what can I say, if mentoring or providing opportunities for your DP is more important to you than making the best film you possibly can than go for it. If making a difference is what you're after, I'd argue you'd be making a bigger difference to society by making a great film. And if your DP is more of a hindrance than a help in accomplishing that, I'd do what needs to be done. Again, it can be done compassionately.
It looks as if my previous comment was removed. Was it? It was in no way meant to be insensitive. As JoAnne says – without knowing the exact situation – it's difficult to provide specific suggestions other than practical advise about what one would do in such a general hypothetical situation. As a female director myself – I've concluded that it's a waste of time to speculate about whether one's gender commands more or less respect among crew members. I do believe however that it is a reasonable question to ask when dealing with documentary subjects.
I think sometimes being a director means behaving in ways that might feel contrary to one's nature. If you're generally a friendly laid back sensitive person who likes to avoid confrontation , it's sometimes a difficult thing to muster up the courage to tell someone firmly that things are not working out. But you have to do for the sake of your film – and that is really the only reason.
Hi Laura – donno about your other post – maybe the server had a burp or something?
Doug – I hear you, just wanted to make it clear I didn't want to be too hardnosed and insensitive to other people's issues.
anyway – everything's moot now – my dp is now my former dp – he totally choked, flaked out, flew the coop, whatever you want to call it.
I think most of all I just wanted reassure myself I did my best. This has definitely been a learning experience. I've supervised people before, heck, I'm a teacher (tho just subbing presently) and just didn't want this to be business as usual.
I know now it wasn't, that it was him, for whatever reason, he couldn't cut it.
The only problem now is that it's the middle of the semester and everyone is working on someone's film or their own so I might be really screwed with this project. I have reached out so hopefully will be able to continue but am making a plan B just in case.
sigh, live and learn, huh?
and laura, your post wasn't removed, at least as far as i know. what was so horrible that you wrote?
Everyone here recalls that this is a publicly-viewable topic, right?
Well Doug – I certainly didn't think so – a little tough perhaps – could have been construed as a bit sarcastic.
Jo Anne – thanks for reminding us! Truth be told, I had completely forgotten. Since Linda is a member, she should probably be posting this sort of thing in the production topic don't you think?
This is mainly for Linda (LW, you may know this): If you are not logged into D-Word when you google your name, you will see what everyone with an internet access will see. (the host(s) can delete anything here that was added inadvertantly).
uh ok ? I guess? am not sure what I'm supposed to acknowledge but yeah, I stay logged in...
and no, I don't think this should have been posted in production because I'm a grad student, this is a student film, and I'm new at a lot of this and was looking for mentor remarks, as opposed to mngmnt advice. as a business person, the answer was all too clear but I wanted to make sure I had everything else in mind to consider.
moving on, please see my next q
this film I'm working on, about the formerly incarcerated, seems it's growing day by day and is becoming very exciting to work on.
in school they stress over and over again to concentrate on making shorts (this one will be maxed out at 20min) and IF there is interest and IF there is more to shoot, etc., etc., then consider using the short as an intro to the longer version.
I'm just wondering if anyone here has gone that route before – from a short to a longer version? and how did it work out? how did you make various decisions, like what to use in the short? how long did it take to make the longer version (and how long was it?), etc.
This is my first post for the D-Word but I wonder if you can help?
Sheffield DocFest have invited me to take part in their Mini-Meet Market at the end of the week. They chose and idea I proposed for a doc and now I have to pitch it to them on Friday. There's a panel of film and documentary professionals and I have just three minutes to pitch my idea.
I've never pitched before. Does anyone have any tips on pitching?
What should I concentrate on in such a short amount of time?
Thanks in advance of any help you can offer.
Congratulations – that's exciting!
First – and most importantly – make sure you really know your idea inside out. What length is it? What's the story? Where does the story begin and how does it get to the end? Over what period are you shooting? Whose point of view are you focusing on? Who are the key characters? How are you telling the story on screen? Using talking head interviews? Ob doc? Rare archive? Animation? And why does this story need to be told now? And indeed, why does this story best told as a documentary rather than a book, magazine feature or photo essay?
Once you've got it straight in your mind you can plan your pitch. Make sure you pitch the story and not the issue or research. The execs will be trying to 'see' your documentary as you pitch it, so make it unfold in their minds with some vivid visual details to bring it to life.
And you only have 3 mins so you don't have to tell the whole story from beginning to end (they'll start glazing over)- summarize it in one sentence e.g. "This is the story of...who...and then discovers that...until... happens". You can then fill in some of the details – how you came to the story, who the characters are and what their challenges are, for example.
The pitch should be a tease that leads to a dialogue. Once they start asking questions – shut up and listen. You can talk yourself out of a pitch by not listening and responding to feedback.
There are a number of articles on pitching here: http://www.tvmole.com/category/tvdevelopmenttips/pitching/page/2/ – scroll down the page and start with the one titled "Six Ways..."
Good luck – and enjoy the experience!
Hi Nicola, what a helpful answer! You've given real detail and that's what I was lacking. Plus 'shut up and listen' – great advice.
Thanks for the link too. I think my time this week will be spent talking to myself with a stopwatch.
Along the lines of "shut up and listen," whatever you do don't be defensive. If one of the commissioning editors says only a martian would be interested in your film, nod as if the person is a certified genius. Good luck, Ian.
Hi, i have a question about how much Natgeo or History pays for a chapter of 50 min for the US market. Can you help me with it?
Welcome, Sebastian. Everyone at The D-Word registers with their full name, so please add your surname to your profile.
Hello John, nice to meet you. Can you help me with my question? Thank you
I'm afraid I can't, Sebastian, but hopefully one of our many members can...
Visit Documentarytelevision.com for all kinds of useful channel budget information. Here's the entry on History: http://documentarytelevision.com/2010/03/10/what-does-history-pay-for-programming/
Well this seems weird posting in here but after trying t figure this place out, I was told to post my questions here.
So I have made a 23 minute DOCUMENTARY on TIGER SHARKS that I need help trying to DISTRIBUTE. It's about diving with Tigers and then how they get killed in the beach nets, wounding their population etc. It's categorized as part amateur part professional in that it was shot on a home movie SD camera, but I got professional people in post production on it, animation, music etc.
How do I distribute this film to it's potential? What Distribution companies or Acquisition companies can I find to get this film to? How do I find these companies? If so, what's the process of approaching them?
I'm interested in getting this shown anywhere. TV, internet any small channels or being inflight movies etc. I know there's loads of different avenues that could show this film. Does anyone know how to do this or where to basically start? Any help would be a MAJOR push, thank you.
(Nat Geo turned me down. Discovery are useless, can't find a proper person to get it to there)
Has anyone had any experience with CFMDC (Canadian Filmmakers Distribution Centre)?
I got an email from them expressing interest in a short doc I made last year (exciting!), but I wondered how many of these kinds of offers are legitimate.
They're asking for a $75 lifetime membership fee and a list of deliverables.
Any help would be appreciated,
Perhaps contact the DOC association of Canada, either the HQ in Toronto or the regional people, and ask who knows what, or find out from CFMDC which filmmakers are with them and talk to the producers or directors. DOC can help connect you with people who know more, or you may hear about their informal reputation (especially if there are "issues"). Hopefully this is a good outfit – I have no opinion. Good luck!
I am starting an edit with some HD files on an external drive and am not able to open the files up in QuickTime Player10 or in Final cut Pro 5.1.4. When I double click on the file to open it up in the viewer I get the warning bubble that says "Codec not found. You may be using a compression type w/out the corresponding hardware card" I am running an Intel imac on OX 10.6.4. Has anyone had this problem too? Whats the fix? Thanks.
In reply to Rick Dillwood's post on Fri 12 Nov 2010 :
Personally, I wouldn't trust any distributor that sends you an email and asks you to pay them money to distribute your film. A good distributor could offer an advance against future earnings if they actually anticipate being able to distribute your film in a mutually profitable way. But a distributor that asks you to pay them is just a scam operation.
Can anyone talk about the Oprah Winfrey Documentary Club that's premiering in 2011? I understand she's featuring one documentary a month? Anyone think this is a good opportunity? I can't imagine how having Oprah involved with your film could be bad. How can one get a film to Oprah?
Timoty, I think you submit through Annie Roney at RoCo Films.
Jason, wish we could be more helpful with suggestions about distributing your short. They're just very tough to get out there, and you already contacted the two most logical broadcasters.
Sorry to be flip. Doug is correct, as usual. That's why he runs the joint.
Thanks, Doug, I'll investigate. Have you heard anything about this "club"? I'd think if someone like Oprah was looking for documentaries, it would be another great broadcast opportunity but no one seems to be talking about it. Do filmmakers not know about it or is it a bad thing?
It is a good thing. Any invitation to watch documentary films is a good thing. Shun the Frumious Bandersnatch! But watch docs. We live in the real world.
Here is info on the OWN documentary project – you need to click into the Flash site from this link.
The "club" is based on the book club: one doc per month on cable TV and DVD mail order – an invitation to "get off the couch" have a discussion, do something.
I agree with James says: a good thing.
To me, it's sort of like a new model: traditional, digital, hybrid, Oprah.
My hunch is – to be broadcast by "the club' that your a doc already has to be successful – a hit on the festival scene, awards, nominations, etc. – I could be wrong of course....
Funny that an announcement was just made about acquitions to the OWN club.
Three of the acquisitions are One Lucky Elephant, 65_RedRoses and Most Valuable Players.
I cant remember where I got the information from on the website but a post was made about documentary researchers with there name and contact information. Could somebody help me find it again? I tried using the research tool but couldnt find it
In reply to Bill Jackson's post on Mon 23 Aug 2010 :
Hi there Bill, I haven't figured out how to post a new thread here, so i am replying to you hoping someone will see this post: fact is I know there are some sound studios specialising on inexpensive sound mix for docs in LA, would you know any places? sorry to bug & thx
for my sound mix, i used a really great guy who has a nice little studio in downtown LA. his name is Nathan Smith and he runs a company called NL3 Audio. very inexpensive rates, and he is absolutely obsessive-compulsive about good, clean sound. we had some troublesome air conditioning and street noises in various scenes, and Nathan did a great job with it. tell him i referred you! you can check out his work at www.nl3audio.com
Hello, my name is Derek and althought I have commissioned documentaries and non-fiction film work before. I am now taking a step to be D.I.Y. and do one myself for a bit of a change of pace and discovery.
I would deeply appreciate any help and advice experienced people like yourselves can offer someone as crazy and adventurous as me. I do enjoy diving head first into a new medium that I have no previous formal training. If anything this allows me to innovate, but none-the-less there are plenty of mistakes I could make that could greatly hinder the products production/budget/success etc and nothing is more important than the product itself and its purpose.
My first question has to do with affordable resources and crew suppliments.
I am mapping out the film schedule, travel arrangements, and appointments with talent and talking heads. Already there is multiple conflicts with traveling with my current DP. So understanding that I can't always drag him with me to every opportunity to film or meet with an individual.
So is there a network out there where I can cherry pick videographers, sound engineers, etc that are affordable or willing to do in-kind work from various parts of the country?
My next question has to do with fiscal agents. I am currently investigating and informing my associates about CID (Center for Independent Documentaries) and am in love with what I have found. Especially as someone who is normally playing the role of being the Fiscal Agent/nonprofit resouce. But these relationships can be competative and there is no guarentee that the board and staff will feel inspired to work with us on our topic/film. Are their other non-fiction film organizations that have a good track record and are experienced at being a fiscal agent? Certainly a documentary based FA would have much greater advice and resources to guide or film to reach the market and viewers.
Last but not least. Considering we still have a few months before filming starts. I have yet to invest budget monies towards the bulk of video and sound equipment needed. Our documentary will be taping multiple live performances/jam out sessions, talking head interviews, stills, and moving shots.
Rigs and all aside. We are currently looking at a Canon EOS Mark ii for filming and stills, can anyone recommend a sound setup that can pair with this camera that will caption quality sound? Or better yet, recommend a video/audio pair that you have found most effective in capturing the essense of asceticism in video and sensation of good sound at a comparable price.
I would appreciate any and all advice on these questions and am always willing to be of service should you have any questions for areas I am experienced in. Agreed these are more questions for the member area but I have no creditals thus far in the genre so membership is doubtful.
Maybe in trade of consulting I can help in your films with an environmental, activist, natural resource management, policy, elections, music festivals, community organizing, nonprofit themes.
Always open and always willing,
Derek A. Reuter
Derek – when your schedule has firmed up, feel free to post your crew requests here in Public Classifieds .
Additionally you can search by location/job at http://www.mandy.com/1/filmtvservices.cfm
Hopefully in this manner you'll find some competent and affordable collaborators. Not quite sure what "in-kind work" you're offering, though.
Thank's john, logging the links now.
I often do things for an altruistic purpose and try to cut costs everywhere I can so that the objective and community benefits are achieved or not compremised. Volunteering professional services on a chartiable or education project is in-kind time. If possible maybe some of these videographers would be willing to help for a day for recognition on the credit rolls, webiste, etc instead of wanting a chunk of the funding. By having a nonprofit umbrella the project and leverage their designation it allows for any person to get a tax write-off (in some cases monies paid later by foundation/invoices not project budget) for the hours, materials, supplies, services supplied towards the project.
As for "in-kind" work I am offering. Simply ask, each situation I have encountered in regards for help has always been different. If I am unable to help myself I may have a list of resources to direct you to.
I'm confused about the various "no student films" or "no student funding" or "film must not have been made while a student" etc. ad nauseum....
what's this about exactly? and does the fact that I'm a student and making a film, even outside of class, automatically target me as someone not eligible for funding??
it's sooo frustrating and just a bit unnerving... the current film I'm seeking finishing funds for and other guidance – it's grown outside of my original class project and truly taken on a life of its own. I'm happy of course and no longer see it as a student film (again, am not sure what that is even supposed to mean!).
can someone help explain this to me please??
As far as I know, student films are classified as this because they are made with film school resources. If this disqualifies you for certain finishing funds, maybe the school can point you to an alternative. Take this up in the NAmerica funding topic?
Jo-Anne, thanks but I'm still not clear what exactly constitutes a "student film."
also it raises a new question – what you said about school resources – why would that make any difference?
and no, my school knows no more resources than anyone else.
*this is posted here because the term "student film" is used in a number of designations not just for funding, i.e., film festivals, etc. sometimes there's even a separate category.
maybe every instance "student film" has its own definition??? it's so exasperating....!
Hi Linda, it's really not that complicated. A student film is a film for which you received credit toward a degree using the school's resources – be it their equipment or their editing facilities, etc.
so why the discrimination? who cares whose facilities are used? what's the dif?
and what about a film (such as the one I'm in the midst of now) where it started as a class project but outgrew it and now I'm finishing it separate from class?
some situations have also used the designation "no students" rather than "student film" which makes me feel like my work is somehow automatically disqualified just because I'm a film student.
Hello members, anyone have any suggestions as Gaffers, DPs, or Directors what lighting/camera combination has worked best for you?
It somewhat depends on what type of shots you're making. Talking heads inside will obviously need a different appreach than outside shots. You're also constrained by your budget. Care to tell a bit more what kind of project you're embarking on?
Filming subject is upon American Folk Music from the region and its events. From Old Time to modern emerging genres.
Most interview shots would be scheduled in home, office visits, classooms, archive areas, and outdoors. The other shots will mostly be from outdoor summer events, darkly lit venues, front porches, barns, and in home band jams. At times we will take shots of nature, buildings, homes, and scenes of natural discourse and activities of the human talent and scholars. Of course always expect random opportunities.
Budget most likely won't allow for multiple cameras and light setups but has yet to be invested on equipment so currently very flexible for any recommendations.
At the very least I want to be able to do a light triangle w/background light that gives a good rim on the subject and would be a bit too much during the night. Any suggestions on a package or combination that would work well and is travel friendly?
Derek – here's a pro bono promotional video I made for a school in Pakistan using a Canon 7D and a monopod. Edited using Final Cut Pro on a laptop – it was almost free to make it, apart from a few days of my time. I'm not sure that's exactly the style you're going for, but it's cheap and fast and fairly easy.