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The Mentoring Room - Ask the Working Pros

This is a Public Topic geared towards first-time filmmakers. Professional members of The D-Word will come by and answer your questions about documentary filmmaking.

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Susheel Kurien
Fri 21 Aug 2009Link

Hi all
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


Mark Barroso
Fri 21 Aug 2009Link

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.

stephen watson
Thu 27 Aug 2009Link

In reply to Doug Block's post on Sat 12 Mar 2005 :

Hi Doug
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?

stephen watson
Thu 27 Aug 2009Link

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?

Doug Block
Thu 27 Aug 2009Link

Stephen, I'd simply do a Google search: "sync licenses for film". I'm sure it'll turn up something useful.

alix de roten
Tue 1 Sep 2009Link


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

Robert Goodman
Tue 1 Sep 2009Link

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.

alix de roten
Wed 2 Sep 2009Link

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

Robert Goodman
Wed 2 Sep 2009Link

P2 cards are the same everywhere. Yes you can change the frame rate in FCP. And HD is HD despite the frame rate changes.

alix de roten
Thu 3 Sep 2009Link

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.

nick toscano
Mon 7 Sep 2009Link

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.

Robert Goodman
Tue 8 Sep 2009Link

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.

Andy Schocken
Wed 9 Sep 2009Link

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.

Shelly Helgeson
Thu 10 Sep 2009Link

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!

Michelle Ferrari
Sat 12 Sep 2009Link

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.

J. Christian Jensen
Wed 23 Sep 2009Link


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?

Marj Safinia
Wed 23 Sep 2009Link

Christian, since you're a member you'll get more response posting maybe here: Teaching Docs

Ted Fisher
Wed 23 Sep 2009Link

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.

J. Christian Jensen
Wed 23 Sep 2009Link

Fantastic. Thank you both.

Julian Samboma
Wed 30 Sep 2009Link

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.


Alexandra Branyon
Wed 30 Sep 2009Link

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.

Doug Block
Wed 30 Sep 2009Link

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.

Julian Samboma
Thu 1 Oct 2009Link

Thanks for that, Doug. Just finding my feet, as one does!

Maria Yatskova-Ibrahimova
Mon 12 Oct 2009Link

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...

Edited Mon 12 Oct 2009 by Maria Yatskova-Ibrahimova

David W Grant
Tue 13 Oct 2009Link

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?

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