I'm looking for a Line Producer for a feature doc. Where do I go? The film is on Women and Men and their relationships and will be structured around interviews shot overseas and in the states in several locations. Is there an appropriate forum here to put it out there?
Members Classifieds is a good place to start. You could also put it on the public classifieds – and there are a lot of media-centric job sites (mandy.com, mediabistro.com, craigslist, even) if you're just doing a random sort of cattle-call for resumÃ©s...
Just remember, Jack, that the public classifieds is open to Google searches. So be careful about what information you're giving out.
This is my first posting so I hope I do this correctly :)
Advice sought: Recommendation of films to watch for reference
I'm hoping someone might be able to recommend a documentary that successfully tells a character driven story while also exploring this individual's culture and highlights other characters from his/her world. I'm not looking for a traditional biographical piece (I understand my description might come across sounding that way). This is a silly example, but it might help in understanding the type of film I'm looking for... (I just made this up so it might be totally ridiculous, but hopefully it will serve as a helpful illustration.)
A once celebrated under water basket weaver is looking to make a comeback. She decides to build a store in which she will sell her baskets and through the process of building the shop, she will face some of the demons from her past.
In order for the film to be accessible to the everyday viewer, the film must put the story in context – tell a bit about the history of under water basket weaving and why it is significant to some. We should also learn about others in the field so that we are able to see what makes this particular weaver different (or maybe the same) as others out there.
Does this make sense? Can anyone point me in the direction of a film that follows a similar path?
Thank you so much for your help!
Ashley, first of all, welcome to The D-Word. And bravo for leaping right in with a post. You did it fine, except that the Mentoring Room is mainly for those we call Enthusiasts and the professional members rarely hang out here.
We don't encourage double-posting but in this case we'll make an exception. You should post this again in the Documentary Film topic and you'll probably get a good deal more feedback.
Also want to encourage you to tell us a bit more about yourself in the Introduce Yourself topic.
Thank you so much for responding. I will make my way over to the Documentary Film area and see about posting there.
Thank you for your help.
We're about to go into the editing phase for our indie documentary. For the post-workflow process (using a Mac Book Pro 2.4GHz 4GB), we're about to transcode the (Canon t2i) H264 files into APR422 files using MPEG Streamclip. This seemed to be the best practice at the beginning of year 2010.
- is it still the best practice today?
- while editing in FCP, is it realistic to source the video files from an external FireWire800 HD? I was hosting my video files on an external USB 2.0 HD on a previous project, and it's just too slow. So I'm wondering if FireWire800 would do it or if I need to have the video files on my local MBP drive.
Thanks in advance,
Martin – I'm not the tech geek that some of the filmmakers are (so perhaps other will have something to add)- but there are some other options besides MPEG stream clip. EOS Plugin allows you to use FCP 'log and capture settings' to transcode files.This is supposed to be faster and also allows you to imbed timecode onto your footage. Some have had problems with it however. Magic Bullet Grinder allows you to simultaneously create both ProRes Proxy files and higher ProrRes files simultaneously and creates timecode. Oh but I just noticed that you're transcoding to something called APR422. I've never heard of that. Just about everyone I've talked to uses Prores. Yes FireWire800 should be fine. FYI – you need FCP 7 to convert to Prores Proxy (which takes up a lot less space). I think the timecode option offered by EOS plugin and Grinder is a huge advantage over MPEG streamclip.
Laura, APR422 = "Apple ProRes 422"
Oh! Well that's good – I'm glad to know it's not some new codec.
I think the MPEG streamclip option works fine, especially if you then copy your THM files into the folder that the new files are in and use the free version of QTChange (search for QTChange 0.7) to add timecode and reel numbers. The EOS plugin has me plenty of issues, and I'm not the only one who has run into them – I've spent plenty of time with other filmmakers in the Madison area trying to solve their issues with it.
You're definitely better off keeping your footage on an external FW800 drive (make sure the drive is 7200rpm not 5400) than on the internal. Also, backup, backup, backup. When that drive fails, what do you do?
first q – you should always be editing off a firewire drive for many reasons, much of what has to do w/how FCP operates. also it doesn't have to be a 5400; I have 2 of those and 1 7200 drive; they all work pretty much the same. However, if you are editing HD, then you will probably see a difference w/the 7200 but your processing speed will likely be the limit rather than the external.
you can actually run into some problems with a USB drive so please do stay away from those when running FCP.
your backup files should be on your hard drive; it's called the Autosave vault and you should find it in your documents dir which is the default when you loaded FCP unless you changed it. you can set it in your system preferences in FCP.
next q about transcoding files – didn't really understand what you were referring to until someone mentioned App Prores 422; I export all my files in this codec even if I've imported into FC as another such as H.264. just import the files and change it in your settings; you can also click on the timeline, then go to your settings for your sequence (go to Sequence, settings, you have to be in the timeline or it will be grayed out) and set your codec there for prores or whatever.
fyi, if you join D-word as a member you can post over in the FCP section as well as editing.
In reply to Randy Lee's post on Mon 31 Jan 2011 :
your backup is in Autosave vault which is on your hard drive; you set it in your FCP preferences so yes, you do have a b/u on a different drive.
Your opinion guys. I know some production people in the film industry may not take well to unsolicited contact about video work, but if you were to stumble upon a production company of which you like their work and would like to shoot for them on their upcoming projects, what is a good way (notice I said "good" way, because there's probably no "best" way) to approach them so they aren't initially turned off by your unsolicited contact? A phone call first? An email first? Both consecutively? A phone call to set up a meeting (if they are in the same city/state?) I have an approach I've used for years, which works out fine most times, but I want to know your opinions.
Ever since I started doing video in '03, I've worked mainly from referrals, so my former clients usually do the trumpet-blowing for me when it came to future projects with other directors/producers. But every once in a while I will find a project that I'm interested in and would like to work on, and I sometimes scratch my head, thinking of how to approach this particular person/production company.
What are your thoughts? If you ran a decent-sized production company that's been around for years or was a producer of a newly conceived film, how would YOU prefer potential shooters contacting you? Would you even mind them contacting you? And if you WOULD mind, what was the turn-off?
Do you know of anywhere that someone involved hangs out? Or a group that they're a member of? I'm a member of MCA-I here in Madison, WI, and have been able to get a foot in the door on several great projects by keeping in contact with people that I've met through the meetings.
Otherwise I can't see an email with a phone call follow-up hurting – have a reel or website ready, of course, but it can't hurt. Some places don't want outside involvement, or don't keep track of good people until it's time to hire, but some do, and are happy to keep your card in the rolodex – I'd say at least try contacting someone there. Research the place a little first, see if there's a particular person who you should ask for, and take it from there. I know that at the company that I work for, if someone calls when we don't have a call out for resumes, they'll be sent to some middle-management guy who's goal is to send you on your way as quickly as possible. If you know the name of our DP, though, or an editor, and ask for one of them, you're in in no time.
Thank you, Randy. Some good information, especially that note at the end about how big production companies think.
Errol, it's hard to imagine someone being turned off by an email genuinely expressing appreciation for my company and wanting to become a part of it. They may not respond enthusiastically (and that's their loss), but why would they be upset?
Can anyone advise me on the simplest way to light interview subjects, as a one man band? Next week I'm doing a shoot in a house with lots of windows and pretty good light. Whenever possible, I hope to take advantage of natural light. But I just want to be prepared should I need to throw some light on a subject. In the past I've used kinoflos and lit people with the people of a PA, but this time I need to keep it to just me. And I don't want to be messing with c-stands, sandbags and the like. Any advice would be hugely appreciated.
Neil – try to use the natural light as your main source and add a reflector to the opposite side. Or use a soft box, umbrella or diffused light as your key and the window as your fill. Don't forget to use CTB to match to daylight. Of course figuring out how to add a back light is important.
Much appreciated, Ron.
I am making a short (10 minute) historical documentary. I have all of the important information, but so far the documentary is a little boring. Any advice on how to make it a little more interesting while still professional?
I'd have to know a little more about what it's about. But the key with any documentary is to remember that you are still telling a story. The story is more important than imparting facts and information.Think about Ken Burn's documentaries. Also figure out why you're using a visual medium to tell the story. What can you communicate in a visual way? Watch lots of historical documentaries. Try to figure out what makes you like them and figure out how you can apply that to your project.
Thank you very much for your help. I will try to keep that in mind and will follow your advice before I start filming and putting together information. Also, the documentary is on Susan B. Anthony and her work as a suffragist for Women's Rights if that helps.
Hey, can anyone provide some general advice on which of the following cameras would be better to use:
Canon XH A1
Canon EOS 7D
Someone is letting me borrow the XH A1 for a couple of months to shoot a documentary I'm working on, but I can also get access to a Canon 7D through school. I also have access to professional lighting and audio equipment through school, compatible with both cameras, so I don't see that as much of a factor (although I am new to filmmaker, so maybe it is).
The lens that I have for the 7D are the following:
Nikon DX Af-S Nikkor 35mm 1:1.89
Canon EF-S 18-135mm lens
In terms of image quality, which do you all think is best? Also, do you think that I could use both, or would there be a noticeable difference between the two?
I am really new to film-making, so any advice here would help!
If you are really new to filmmaking I would strongly recommend the XH A1. The DSLR's have a variety of issues that have been well documented and although there are work arounds for many of them I would focus all your energy into making a film not dealing with the equipment.
Great point Nigel, indeed I think I will go with the XH A1. Thanks for the advice :)
Dean, I would get neither. The XH A1 only shoots HDV, which is QUICKLY becoming less favorable. I would recommend getting a Sony EX1R if you're a beginning filmmaker. It shoots XDCAM which isn't disappearing for a while, shoots at a significantly higher bit rate and gets a truer white balance in MY opinion.
Video shot on a Canon XH A1 Video Camera tends to have this greenish brown tinge to it even when you supposedly have correct white balance. There is a technical reason for this, but I won't go into that detail. Also, with the Sony EX3, you have more handling options thanks to its ergonomic hand-grip.
But yeah, if the ONLY options were XH A1 or 7D, I'd choose the XH A1 for the same reason Nigel said.
I would definitely make use of the 7D while you've got it available though, too. It's a great tool when used properly, and there are enough people using it that avoiding using it is a bad idea, because you never know when it'll pop up as what you need to use. But as far as focusing on telling a story and learning video gear go, definitely the XH A1.
I've been approached by a distribution company in Europe regarding my first documentary film.
I've never gotten to this stage before and am looking for advice on international distribution. I would really appreciate any and all information, from basic to specific.
My main specific questions are
-Is it normal / OK to give exclusive distro rights for all of Europe or internationally to one company? Do you often pick distributors based on countries and break it up that way?
-What are some questions that I can ask them to discover what level of a distributor they are? WHAT SHOULD I KNOW? How can I make sure they have the contacts / experience / can get my film out there...
-What % is normal for a distributor to take as a commission of sales and pre-sales?
Angela, first of all, congrats for getting your first film made, and for doing it well enough for there to be interest from a distributor.
For U.S. filmmakers, it's pretty typical to have a distributor (and sometimes even a sales agent, if there's theatrical potential) for domestic distribution and another company handling sales for international distribution (especially, broadcast). Since most of your international sales will be to broadcasters, you don't need a distributor in each country. You just need one sales agent who can approach all the broadcasters at markets like the EFM in Berlin and MIP in Cannes.
The best ways to tell if this company is legit are to check out the films they have in their catalogue, check out their website to see how well they promote the films online and contact the producers of some of their films and see what their experience has been like. Did the company work hard for them and make sales? Have they been reliable in their reports and payments? Were they easy to communicate and collaborate with? Stuff like that.
I've found it pretty typical for an international sales agent (or distributor acting as one) to charge a 30 to 35% fee for their sales. I think it's generally less for pre-sales (25%?), but I'm not sure how common it is anymore for them to actively look for pre-sales.
Thanks so much, that's the best feedback I've gotten thus far in my quest. So, it is normal to contact past producers that worked with them? I've gotten this advice before. Most are European films that I'm having trouble hunting down contact details for, would I / could I ask the company for referrals?
This company is pretty small, so trying to determine if that can be a good / ok thing.
Angela – It's absolutely acceptable and normal. And if the company is reluctant – that ought to be a red flag.
I agree with Laura, and they'll steer you to the producers who they know are happiest. You might want to use your internet detective skills to track down other producers they don't list.
In the meantime, you should register for professional membership here, which will give you access to all 50 of our discussion topics.
And don't forget the overhead clause...<http://vimeo.com/14071168>
that's some funny stuff
In reply to Angela Snow's post on Mon 14 Feb 2011 :
... where you can list a couple of titles, and we in Europe may know the people who made the films.
In reply to Daniel McGuire's post on Tue 15 Feb 2011 :
HAHA. Amazing. Could always be worse.
How are you? I am a first time film maker and live in Bali.
Tracks Magazine in Australia are interested in providing the finishing funds for my documentary about an Indonesian surfer. However, they want to produce a DVD for the front of their magazine but I want to broadcast the project and I would like to find a broadcaster with your help at the D-Word.
This way I will reach beyond the surfing audience which has always been my vision. Please post advice soon.
Welcome to The D-Word, Karen. It's quite a challenge to find a broadcaster, particularly as a beginner and another thing again to produce a piece for a specialist magazine. Have you already shot some material and do you have a trailer online?
Hi, yes they have seen the 12 minute trailer and then offered finishing funds. They are media partners with the sponsor.
We already have 1/3 footage. The rest to be shot in Oz and maybe a return to Sumbawa. There's vintage stock footage to add that requires conversion from 16mm
I'll chime in – I've seen some of Karen's piece.
It's a portrait of an Indonesian surfer from a tiny, remote village who has made it to the big time of the surf world.
There are so many unknowns here – The key one as far as I can see is exclusivity – does the magazine want some ownership of your film in exchange for the finishing funds? If all they want is to put your film on a DVD with your magazine, but you have all broadcast sales rights, that might be a good deal for you. But you might not be able to get your film in certain festivals if it has already been distributed on DVD. I am not certain that magazine/dvd distribution will hurt broadcast sales, which would be aimed at a general audience. Perhaps you could negotiate with the magazine that you are given a window (before dvd distribution) where you could enter the film in festivals.
You should also research your market and find other films in the genre and talk to their producers – how many surf films get TV sales? How much do they sell for? Are your hopes and expectations realistic, and based on an understanding of the market for this genre of film?
Karen, seems like you're getting good advice from others. So I'll mostly just welcome you to The D-Word and let you know we've upgraded you to Professional status, as befitting how far along you've taken your film.
This is an interesting discussion and now belongs in the Funding (Europe, Elsewhere) topic, where more people will see it and weigh in. We don't encourage double posting, but in this case feel free to post again there.
Hey, I had three quick questions related to a short doc I just did, related to sound editing, classical music licensing and posting this on the Web. Any advice on any of these would be greatly appreciated!
-Sound editing: I have a short problematic portion with a low electromagnetic hum related to, I think, someone's cell phone being turned on. It's not loud but it's noticeable, and occurs for maybe 5-7 seconds of a 30 second interview portion I'd really like to use. Is there any way to remove/minimize something like that in either Pro Tools or preferably Final Cut, because I'd prefer to handle this myself and I don't have Pro Tools?
-Classical music licensing: I want to use a 30 second portion of Vivaldi's 4 Seasons, and this piece is for someone to post on their Web site to promote their business. Is it necessary to pay to license the music for something like this, which won't be widely seen, and if so any recommendations on good Web sites or sources?
-Web streaming: I want to deliver this in a version that's going to be a good-looking Web viewing experience. In the past, when I've posted something on Vimeo for example, I've just exported a Quicktime using the Broadband choice. Is that the best way?
Neil, the Mentoring Room is for Enthusiasts who don't have access to the many discussion topics open for Professional members. Since you have Professional status, in the future please ask these questions in the appropriate topics.
In reply to Neil Orman's post on Wed 16 Feb 2011 :
If it is just that one clip, you can send it to me and I'll send it back. I probably can completely get rid of it in Pro Tools, depending on what it is.
If you have Final Cut Studio, Soundtrack Pro Audio Restoration can lessen or remove it.
Music – You would need permission to use the recording, unless you record/perform the music yourself. Someone on here knows more than I do about the legalities.
Can't answer the Vimeo part...
Got it, sorry about that Doug. Bill, I really appreciate that and will get in touch via email. Thank you!
In reply to Neil Orman's post on Wed 16 Feb 2011 :
Neil – cell phones generally don't make humming sounds on recordings. They make twittery, high-pitched interference noises. To minimize a hum sound in Final Cut, try using the multi-band equalizer tool and find the frequency with the hum. Then turn down that frequency for the duration of the problem. Any tool that allows you to selectively adjust volume across a small band of frequency will work for this. You might not be able to completely eliminate the offending noise, but you can make it less horrifying.
About Vimeo, try making your video 720p H264 format, assuming you are starting out with HD material. Without knowing your original format it's a little tricky to advise you on this.
But Doug is right (always) – you should be asking these questions in the pro topics.
In reply to Avery Morgan's post on Fri 4 Feb 2011 :
What is your topic? I'm a novice doc maker, but a seasoned public historian.