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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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Bonnie Friedman
Thu 18 Aug 2011Link

Hi again everybody. I have more questions of course... I am planning a trip to France to screen the finally completed doc for the participants (the few who are left) and another filmmaker has asked if he could schedule other screenings there for me. I have been told that it's not a good idea to have screenings if I am planning to do any festivals. In an ideal world (for me) I could find a sales agent and go straight to a broadcaster, but if I am unable to find an agent I may yet want to try to do a few festivals for exposure.
So my questions are: yes or no on the screenings? And any ideas on how to go about trying to find an agent?
Thanks.
PS thanks again so much Andrea for the release form!


Deborah Dobski
Sun 28 Aug 2011Link

I'm seeking technical assistance surrounding a particular issue. I teach film & video in a high school. In an attempt to move my students into HD, I bought a black magic deck link and installed it into our 4-core mac pro. We edit with Final Cut 6. I'm able to feed an image back from the computer with HDMI onto a HD screen just fine. However, I am having problems with log & capture using firewire from a Sony GV-HD700 mini-DV deck into Final Cut. I found that if I use Apple Intermediate Codec, I'm able to capture on the fly, but in Log & Capture, the deck is not recognized by Final Cut with any Codec. ideally, I'd like my students to use Log & Capture, and I'd also like to be able to feed the timeline in HD back to tape. Any suggestions would be most appreciated. Thanks in advance.


Eli Brown
Mon 29 Aug 2011Link

Try this thread: https://discussions.apple.com/thread/1334513?start=0&tstart=0
Read to the bottom, as it seems like there are some more in depth settings nearer to the end of the thread.


Deborah Dobski
Tue 30 Aug 2011Link

Dear Eli: Thank you for trying to help! Where are you in Brooklyn? I teach at Saint Ann's School in the Heights, and live in Carroll Gardens. I've been upstate during the hurricane and just got electric and the internet back and so have just seen your response to my inquiry. – I've seen this thread, but I'm in a stage one step beyond these folks' discussions. With the Sony deck, I've never had an issue capturing HDV. But my desire has been to be able to screen the work in HD on a large monitor, and to be able to print back to tape. As a test of how I understand to accomplish this, I purchased a black magic deck link studio 2 which is supposed to allow the HD image to feed back via HDMI to an HD monitor (which it does) and to allow the HD image from Final Cut to print back to tape. I can't test this second feature because I am totally unable, now that the black magic deck link has been installed, to capture HD footage other than on the fly (i.e. NOT in Log & Capture) and only able to do that while using Apple Intermediate Codec which I don't believe is the correct Codec to be using. So, something I COULD do before installing the black magic deck link, I am now unable to do. And, of course, I have no idea if, once I figure out how to get Log & Capture working again, if I'll be able to print back to tape. Any thoughts, or do you know anyone who has used the black magic deck link successfully? Thanks so much!


Eli Brown
Wed 31 Aug 2011Link

I have 2 blackmagic cards, but don't work with HDV decks, so this might not be completely accurate... but, my guess is that you don't use the blackmagic card to print to tape – it's a converter, for lack of a better description; it takes HD sources and allows you to output those via it's HDMI on a monitor or to a device that takes an HDMI signal. However, it doesn't output back to HDV through the card. So, I would ingest the footage via HDV/firewire, then to output to a monitor, use the blackmagic card (they should install with several easy setups; one of which will probably have a name similar to Blackmagic HDV 1080i or something). To output back to HDV Tape, you'll want to use the Final Cut Easy Setup that is for HDV (not via the Blackmagic card). I'm guessing that in the basic HDV easy setup, you should have deck control restored. The Blackmagic card is looking for an RS-422 deck control signal, probably, which is why you aren't able to see it/control it.


Marina Lutz
Mon 5 Sep 2011Link

Hi Everyone,

The next edition of CINECITY The Brighton Film Festival (UK) is interested in combining a screening of my short film, The Marina Experiment, with a guest lecture, and they wish to know my terms and conditions –

Can anyone recommend what I should ask as a screening fee and lecture fee, in addition to travel and accommodation? I don't want them to think I'm too costly but I need to make it worth my while.

I live in New York.

Thanks.

Edited Mon 5 Sep 2011 by Marina Lutz

joseph Santarromana
Tue 6 Sep 2011Link

Deborah try this its for a kona card but i think it would work with the black magic card
http://library.creativecow.net/articles/poisson_chris/hdv-prores.php


John Burgan
Tue 6 Sep 2011Link

In reply to Marina Lutz's post on Mon 5 Sep 2011 :

The Mentoring Room is one of our few public Topics, Marina, meaning that it is fully open to the world and will come up on Google searches. As you're a Pro Member of The D-Word you can ask your question in one of our dedicated, closed Topics such as Documentary Festivals


Kristen Kellogg
Tue 6 Sep 2011Link

I am returning to Bali to film my first documentary. Last year I had the idea, but realized there was still too much I needed to learn before shooting. I took the last few months and worked with a local filmmaker who produces commercials and also makes documentaries. I am now feeling confident and ready to make my film. I am looking for another filmmaker who would like work with me. I could shoot it on my own, but would be great to have another camera and set of ears and eyes. Any suggestions for looking for someone who might be interested. The dates are October 26th-Nov. 11th. Any suggestions to finding someone who is in the area would be greatly appreciated!

Edited Tue 6 Sep 2011 by Kristen Kellogg

Reid B. Kimball
Fri 9 Sep 2011Link

Hello,

I apologize for this being so long, but hopefully it's not overly complex a question. In summary, I am trying to decide if for my first documentary I should go big or make it small and then at a later time do my grand vision.

I am faced with a decision that I need some help with from those who are more experienced than I.

I am directing and self-funding my first ever documentary. It’s a passion project and I am teaching myself the art of documentary filmmaking, along with all the technical equipment and editing skills needed along the way as I develop the film.

I work on the film part time with my other part time paying the bills and film costs. I realized the other day that if I want to accomplish my grand vision for the film, it will likely take me 2 or 3 more years at this current rate of production.

I’m confident I can do that, but I am worried about the film coming out in 2 or 3 years. My topic is health related, one that I feel can help nearly 60 million in the US alone who suffer from devastating digestive conditions such as IBS, Celiac and Crohn’s disease, the latter I have.

The grand vision of my film is about people with those digestive conditions who use alternative medicine instead of the conventional approaches when they don’t work.

Additionally, it will ask the question, if people like me and the patients I interview can overcome an incurable disease like Crohn’s disease without using conventional medications and surgery, why aren’t more people doing this?

That question will lead to exposing the systemic healthcare and government failings that are prohibiting patient access to healthy food and alternative treatments.

There are also concepts about modern western society being out of alignment with the natural laws of life and so we are seeing more diseases.

Lots of interconnected and heavy topics, and I feel they are important to make the film help as many people as possible. But people need help right now, people are dying frequently from the ravages of Crohn’s disease which eats away at a person’s intestines.

The other option I have is to make a smaller, tighter focused documentary that only discusses the patients and the treatments that have worked for them along with a few key medical experts. I could probably wrap production this year if I haul ass and release it next year.

But I’m afraid of doing that because I want to make my grand vision and I fear that if I make a smaller version first, something will happen and I’ll never get to make that original version of the film I really wanted. Are my fears warranted based on your experiences?
What do you think I should do?

Stay colonized,

-Reid B. Kimball


Rob Rooy
Fri 9 Sep 2011Link

Reid, is there any way you can go for the more tightly focused documentary now, and then still do the big one later? You say you're worried that if you go the easier route, "something will happen" and you won't get around to making your grand vision; isn't also possible that something will happen anyway if you embark on a much longer path to completion?

As someone who has also learned by doing, I would encourage you to choose the more immediate goal first. Especially if you want this film to be seen and be of immediate benefit to others who suffer similar diseases. And, as a newly minted filmmaker, all the things you learn the hard way on the smaller film can greatly benefit you on your next film, when you get to start with a clean slate! My experience is that docs can take twice as long and cost twice as much as you think they will. Unless you're a real glutton for punishment, I'd start small(er).


Reid B. Kimball
Sat 10 Sep 2011Link

In reply to Rob Rooy's post on Fri 9 Sep 2011 :

Rob Rooy, thanks for your advice. I've been thinking about this more and am leaning towards the shorter version.


John Burgan
Sat 10 Sep 2011Link

It's good advice – learn to walk before you run. Good luck Reid and keep us posted.


Reid B. Kimball
Sat 10 Sep 2011Link

Thanks John.

I have a gear question now. I'm using a Sanken CS-1 shotgun mic that requires 48v phantom power. Can anyone recommend a battery operated 48v phantom power supply? I find it's drawing too battery power from my Zoom H4n.

I'm looking for AA battery powered and ultra portability.

Here's a great example of what I'm looking for, but I think it only works for Sennheiser shotgun mics.

http://www.bhphotovideo.com/c/product/92927-REG/Sennheiser_K6RD_K6RD_Low_Sensitivity_Battery_Phantom.html


Bill Jackson
Mon 12 Sep 2011Link

Reid, this one looks good to me. Phantom Power I haven't used it, but it uses a 9 volt battery and seems to be a good design.


Karina Whitmarsh
Wed 14 Sep 2011Link

Just started out and need to put a production log book together. How is this done. I'm the director and my one and only producer just told me he is going to join the Navy. I'm all alone now and need to continue making my doc. film. We never started one out in the first place..been only working with him for the last 2 months and only two shoots, so not much work to be done..however now I'm wearing all the hats. Help, please.


Doug Block
Wed 14 Sep 2011Link

Karina, as you're a professional member, you should probably ask this question in the Editing topic where you're bound to get more eyeballs. This is more for "enthusiasts" who don't have access to much beyond this topic.


Reid B. Kimball
Thu 15 Sep 2011Link

In reply to Bill Jackson's post on Mon 12 Sep 2011 :

Thanks Bill, that's probably the one I'll end up getting.


Jennifer Reiman
Fri 16 Sep 2011Link

Hi everyone :)
I am editing a political documentary which is my first full length project, and find myself in need of some good tips. I have a lot of creative control as to the direction of the film as well.
I watched 'The Cutting Edge' and found it very helpful. I would love some suggestions on more educational videos, and free courses to take.
Other than that, if anyone has some time they would like to share to help me along, please message/email me, or let me know if you are available for a phone chat or two.

Thanks :) positivecontact (at) inoutbox.com


Reid B. Kimball
Fri 16 Sep 2011Link

In reply to Jennifer Reiman's post on Fri 16 Sep 2011 :

Jennifer, can you tell me more about 'The Cutting Edge'? I doubt you mean the movie about the hockey player who becomes a figure skater, :)


Jennifer Reiman
Sun 18 Sep 2011Link

In reply to Reid B. Kimball's post on Fri 16 Sep 2011 :

Heh heh..no.

Here's a link:

http://www.imdb.com/title/tt0428441/

It's a must see in my opinion! Informative and entertaining :)

Edited Sun 18 Sep 2011 by Jennifer Reiman

Jennifer Reiman
Sun 18 Sep 2011Link

In reply to Reid B. Kimball's post on Fri 16 Sep 2011 :

Btw, I wasn't able to find the whole movie streaming online, but I did find it via bittorrent file on xxxxxxxxxx :)

Edited Sun 18 Sep 2011 by John Burgan

John Burgan
Sun 18 Sep 2011Link

Jennifer, we don't appreciate links to illegal downloads at The D-Word, which is why your post has been edited.

As it happens, The Cutting Edge, The Magic of Movie Editing is available new and second-hand at Amazon

As you are currently editing your first full-length project, it might be worth thinking about how you plan to survive in a business where the fruits of your labours are made available for free. It's basically the difference between a hobby and being able to pay the rent.

Edited Sun 18 Sep 2011 by John Burgan

Doug Block
Mon 19 Sep 2011Link

Great point, JB. Ditto.


Jennifer Reiman
Mon 19 Sep 2011Link

Hi John,

I was wondering after I posted that if someone would say something.

First, just because a file is available for download through a bittorrent site does not mean it's 'illegal', and also in my case, I will make my documentary available for people to see for free, as well as purchase hard copies, as many in the genre I am working in are doing.

I support people in the industry by buying documentaries from them (usually after I have watched them) and I often give them away to people.

That being said, I appreciate you communicating with me about your edit

Edited Mon 19 Sep 2011 by Jennifer Reiman

John Burgan
Mon 19 Sep 2011Link

The movie in question is not available legally through any bittorrent or download site, Jennifer – if you believe it is, please email the link and we will happily post it. It may be available on Netflix to subscribers in the US for online streaming – but that's not bittorrent.

Edited Mon 19 Sep 2011 by John Burgan

Jeremy Ansell
Mon 19 Sep 2011Link

Actually John it is available. You can watch it on Youtube and it has a standard license. It can be found via a simple search. The first part has over 90,000 views and was posted in 2006 so the assumption would be that it is legally available to watch for free.

Documentary filmakers might want to think about how they plan to survive in the business without considering other ways of distribution. This is the reality, embrace and think outside the box.

Edited Mon 19 Sep 2011 by Jeremy Ansell

John Burgan
Mon 19 Sep 2011Link

Although some sections are there on Youtube, the whole movie is not available to watch, as you acknowledged in your original post.

The bittorrent link that you posted which we removed was certainly not legal – is that what you meant by "thinking outside the box"? :)

As it is, D-Worders are already exploring alternative methods of distribution online, such as our Distrify and The D-Word Topic.

Edited Mon 19 Sep 2011 by John Burgan

Jeremy Ansell
Mon 19 Sep 2011Link

That was my original post? I've not posted a bit torrent link. I wouldn't encourage illegal downloading but I would encourage 'thinking outside of the box' when it comes to distribution and not just assuming that making your film available for free is not part of a viable distribution plan. This is a model that threatens the more established filmmaker and it shouldn't. You get what you pay for.


John Burgan
Mon 19 Sep 2011Link

Sorry Jeremy, the illegal link was posted here by the other poster which we removed – and I think the smiley shows that she knew it was content you didn't have to pay for. I mixed the two posts up – my mistake.

Edited Mon 19 Sep 2011 by John Burgan

Nick Ravich
Wed 21 Sep 2011Link

ARCHIVING/LONG TERM STORAGE FOR DIGITAL ORIGINAL MEDIA

Hello all-

For some reason having a really hard time getting folks to talk to me about this issue so wanted to throw it out to the D-word community (doesn't seem to have been really covered in past forum posts.)

I work for a small, non-profit arts organization that produces a pretty high profile nat'l documentary series for PBS. We’ve got a growing amount of digital original video material (multi-GB, broadcast-intended digital video files; mostly XDcam EX and P2 original) and we need to get serious about more long term/archival preservation – a system where I can reliably expect to access the media 5/10/20 years down the line. Currently all this media lives on multiple, but non-networked, non-RAIDED external drives; given the life expectancy for these kind of drives, I realize they’re really only a short term solution. Up to the last couple of years, almost all of our original footage was shot to tape; we’ve been creating protection masters, and storing masters and protections in separate climate controlled facilities. Obviously digital material requires a different solution.

One important thing to know about us – we have serious aspirations to preserve all of our originally-produced footage beyond the life of the organization, to eventually make publicly available for researchers, students, etc. So this is not a client-mandated need but instead something generated internally, motivated by our contemporary art and media centered mission. Being smart now about how we ensure the longevity/future usability of this material is crucial for us.

I know the terms "archival" and "long term" probably bring up more questions than answers but I'm wondering how folks in similar positions – smaller production companies producing a consistent (if not broadcaster level volume) of digital original material, who own their media and have a vested interest in preserving it – have dealt with this. Transferring to LTO5 tape? Some kind of cloud/network-based solution? In house? Out-sourced?

Honestly, very surprised there isn't more discussion out there about this. Really hoping I can spark something here.

Sincerely, Nick


Doug Block
Thu 22 Sep 2011Link

Hope to see some answers myself, Nick. It's a huge problem.



Daniel McGuire
Thu 22 Sep 2011Link

The guy at that forum wrote:

"That said, I can't afford LTO. I archive my stuff on external hard drives, and copy it over to the next latest and greatest drive every several (~5) years. With hard drive capacity continuing to increase (at virtually no higher price), this is a viable method for the mid-term."

Given that the cost of storage is minimal – a hundred hours of SD or HD footage fit on a 1TB drive that costs around $160, (That's a fast, G-Drive), why would you use magnetic tape? Clone or back-up the drives every 5-10 years, depending on usage. If you are getting to be an old fart, perhaps begin discussions with a film or university archive to handle your footage after you die- with stipulations for tape back-up or whatever.
To me the real problem is how to organize it. I'd like to have a workflow so that, say, 100 hours on a drive would also be mirrored (with BITC) to a private youtube account – each tape divided into 6 10-minute sections – so that other people – researchers, collaborators – anywhere in the world could be roped in to log, translate, and work on editing sequences.
If you have historic and valuable footage, you might be able to have a university buy the collection library.


Scheffee Wilson
Thu 29 Sep 2011Link

I'm producing a documentary about the lifestyles of the women in Brazil. I working with a small budget and looking for some advice. I may need a super affordable documentary producer. Someone who has experience with small budgets and a foreign women subject. Please contact me.
TheGolfTrip@Live.com
I really need some advice.


Chan Park
Mon 10 Oct 2011Link

Hello,

I have been making a documentary, titled “Tango Your Life,” whose trailer can be seen at http://www.youtube.com/watch?v=0atvWyQ4rrs, if you care to watch it.

Basically I filmed and used in my documentary film many dance scenes, which come with copyrighted music, being played during the filming sessions. As these were dancing scenes, it’s not possible to avoid the music.

When I approached a law firm here in Buenos Aires, their interpretation is that I sync the copyrighted music to the film. That means, I have to pay the copyright loyalty to two groups: one representing composers/authors and the other for record companies. The loyalty is extremely high enough to put me out of the game.

When I asked the firm about “fair use,” their response was:
1) Fair use is provided by our law only for the limited use of a work for educational o scientific purposes. Other uses are not comprised within this exception. If you proceed to sync fractions of music themes with your documentary without having prior authorization from their authors, you could be subject to a lawsuit.

Then I discovered “Documentary Filmmakers’ Statement of Best Practices in Fair Use,” under which I believe the music recorded and used in my documentary falls under the protection of “fair use.”

I admit there are some incidents in the film, where the music was used beyond “fair use.” For example, some scenes start with a dance scene, which later is overlaid with an interview while the music continues to play to the end of the interview. This kind of scenes will be fixed to comply with “fair use.”

So my question is, “If the documentary shows dance scenes that come with copyrighted music, does it fall under “fair use?”

Please provide your advice here or to tangozen@hotmail.com. Thank you and I look forward to hearing from you.


Marj Safinia
Tue 11 Oct 2011Link

Hey Chan, since you're a professional member, I suggest you copy and paste your whole question in the Legal Corner , where you're more likely to get the kind of reply you're looking for.

Edited Tue 11 Oct 2011 by Marj Safinia

Chan Park
Tue 11 Oct 2011Link

Thank you, Marj. I am new to the forum. I'll do...


Marj Safinia
Tue 11 Oct 2011Link

We normally strongly discourage double posting in more than one topic, but in this case I think it's appropriate.


Benjamin Prawer
Mon 24 Oct 2011Link

Hi mentors,

I'm making a documentary tentatively titled "Life is Good," and am currently looking for a non-profit to fiscally sponsor the project. We have donors who want to give money, but need a non-profit to funnel the money through. Topics in the film include: life optimism, sailing, aerospace, hypothermia, young death, living life to the fullest.

Here is the log line:
In the wake of Tyler Lorenzi’s unexpected death, an adventurous list he made of must-dos in his hometown of San Francisco inspires four of his best friends from different walks of his life to take a trip to the Bay Area in his honor. As two of his college sailing buddies, his best friend from high school and the young woman whose life he saved undertake the difficult task of paying tribute, they try to emulate Ty’s outlook on life as they each struggle to find meaning and transformation in their adventure.

Info packet attached. Any ideas would be GREATLY appreciated. Thanks!
-Ben


Marj Safinia
Mon 24 Oct 2011Link

Hi Ben. Lots of organizations offer fiscal sponsorship. Try the International Documentary Association for a start: http://www.documentary.org/community/sponsorship

There are many others too...


Benjamin Prawer
Tue 25 Oct 2011Link

In reply to Marj Safinia's post on Mon 24 Oct 2011 :

Thanks Marj, much appreciated!


Lucas Catton
Mon 31 Oct 2011Link

Hi, I joined the D Word earlier in the year when I started some of the research for my first documentary and have found some great information, but I confess that my visitation has been sporadic. I completed "Curing Addiction" in September and have submitted to some film festivals and working some circles to start with. I was wondering if anyone knows of some good educational distributors for colleges and other institutions that I could contact.


Doug Block
Mon 31 Oct 2011Link

Lucas, go to "Search Posts" at the top of the page and plug in "educational distributors". Should turn up some previous suggestions.


Lucas Catton
Mon 31 Oct 2011Link

Thanks,Doug. I did try to do that over the summer but a few of them were no longer in business. I will do that again and look for other ones that I'm sure I missed.


Marshall Burgtorf
Tue 1 Nov 2011Link

Any help with this would be greatly appreciated. I discovered a developing story in Iraq 2 weeks ago. I approached the parties involved about tagging along to tell their story. They made a spot for me and one of my investors purchased airfare today.

Here is the issue. In the past when I have traveled in countries such as Kenya or El Salvador my "press pass" was simply a badge provided by the organizations I was traveling with. Do I need some kind of official press pass? I will contact the US Embassy as soon as it is morning in Baghdad but I thought someone here might be able to help out. Thanks.


Vijay Dewan
Thu 3 Nov 2011Link

Lucas,

You might want to check out New Day Films. I honestly do not know much about them, but am working on a science-related doc myself and know they did the education distribution for Kansas vs. Darwin. Here's the website: http://newday.com/ and their wiki page: http://en.wikipedia.org/wiki/New_Day_Films

Best,

Vijay


Reid B. Kimball
Thu 10 Nov 2011Link

Hi everyone,

I am trying to use Excel to enter my IN and OUT timecode information. I am having trouble getting my format to appear correctly. My timecode is based on 60 frame/sec so it may look like 00:04:34.51 but freakin' Excel will change it to 04:34.50, truncating the hour 00 and rounding down the frame number. I have tried setting the column cell type to Number, Text and custom (which I don't understand well) with no luck.

I did search for Excel macros for timecoding info and most are based on 24 or 29 frame/sec. It would be a bonus to have a timecode macro that can calculate the elapsed time between IN and OUT but that is not essential.

My main issue is getting the formatting right because I am copying and pasting from a word doc with the original timecode format.

Right now I have to copy from my word doc, paste into notepad, then copy from notepad and paste into Excel for the format to appear correctly. Talk about a productivity nightmare.

Thanks.


Robert Goodman
Thu 10 Nov 2011Link

why are you using Excel to do time code?


Reid B. Kimball
Fri 11 Nov 2011Link

In reply to Robert Goodman's post on Thu 10 Nov 2011 :

Hi Robert,

I am trying to use Excel because my volunteer producer who is much more experienced than I says it's a must. Have another approach you like better?


Robert Goodman
Sat 12 Nov 2011Link

A must for what?


Reid B. Kimball
Sun 13 Nov 2011Link

In reply to Robert Goodman's post on Sat 12 Nov 2011 :

A must for logging video footage to keep track of who said what and the images contained in b-roll.


Robert Goodman
Mon 14 Nov 2011Link

there are far better programs for logging video footage than excel. Avid has one, Imagine Products makes expensive ones, and there are bunch of others floating around. These days I wouldn't even bother. Just do it in your editing program – if space is an issue – bring everything in low res. That way you can organize bins too.


Reid B. Kimball
Mon 14 Nov 2011Link

In reply to Robert Goodman's post on Mon 14 Nov 2011 :

Thanks Robert, I will investigate those other options you mentioned. Love learning about new tools!

I'll experiment with bringing in low res video too.


Todd Leatherman
Fri 18 Nov 2011Link

Hello all-
I'm a documentary film student (about to graduate in December) who is looking for an internship here in NYC. Aside from the standard job posting sites, does anyone know of a good way to find and research available internships in the field?
Thanks!!


Annmarie Pisano
Wed 30 Nov 2011Link

In reply to Todd Leatherman's post on Fri 18 Nov 2011 :

Hey Todd,

I might be looking for a few interns at Corra Films (www.corrafilms.com for more about us). Can you send me a note at annmarie@corrafilms.com?

Thanks!


ben epperson
Wed 30 Nov 2011Link

In search of the "perfect" camera:

I am a photographer in Knoxville and have been roped into this crazy adventure in the spring. It's called The 555.
Basically all of the crazy motor heads here are travelling across the country again. The only catch is that they must use motorcycles under 500 ccs, costing less than $500 to rebuild and orginally built before 1975.
and they want me to sit in a homemade side car and film the trip for two weeks
I am looking for a camera that is in the spirit of the 555
grimy, beat up, sturdy, drunk, a one man show
Can anyone recommend something?
What kind of camera does a crazy person take on a dangerous motorcycle adventure in hopes of capturing the truth about "The 555"?

ps. how the hell am I going to get sound for this if I'm the only one doing this project?
help

ben epperson


Robert Goodman
Sun 4 Dec 2011Link

canon 2Ti with a Atomos Ninja.


Stephen Cooper
Thu 8 Dec 2011Link

Hi, everybody—

I’m new to the D-Word, new to the world of documentary filmmaking, and I have a ton of questions. I’ll confine this post to question number 1 but first a few words of introduction.

I’m a writer in Los Angeles, working in collaboration with a veteran European filmmaker on the development of a doc film project that’s been accepted into IDA’s Fiscal Sponsorship Program. On page one of the FSP Agreement it says that as Project Manager I’m required “to obtain appropriate liability insurance for all aspects of the project in an amount of not less than $1,000,000, which shall name IDA as an additional insured.”

I’d like to ask folks with experience in this area where I should (and maybe also should not) go to inquire about such insurance, how much I should expect to pay, if there are some plans better than others, etc. Any and all information will be appreciated.

Many thanks, and it's great to be part of this group--

Steve Cooper

P.S. Thanks to Lisa Hasko of IDA for telling me about the D-Word!


Stephen Cooper
Fri 16 Dec 2011Link

Here's my second question for the Mentoring Room and it's also about insurance. At what point in the long process of development should Errors & Omissions coverage be purchased? Compared to liability insurance, the quotes for E&O are way more expensive. Early on, we're trying to figure out the best way to spend what money we have. Any thoughts or anecdotes will be appreciated--

Steve


Doug Block
Fri 16 Dec 2011Link

Stephen, wait until you're finished (or close to finished) and have a sense of what your distribution will be. You'd need it mainly for theatrical and broadcast, so why pay for it when you may not ultimately need it?


James Longley
Sat 17 Dec 2011Link

Basically, if a broadcaster (like HBO or the BBC or Discovery or whoever, for example) wants to buy your film, they will tell you if they have an E&O requirement and what company they prefer you to get the insurance from – because the insurance is really to protect the broadcaster, not the filmmaker (but you should still make sure that the insurance policy also covers you.)

This is because broadcasters have a lot of money, and filmmakers generally have none. So any potential lawsuit resulting from your film will likely target the broadcaster, not you, the filmmaker.

However, in most cases such lawsuits are few and far between – this E&O business is mostly just a formality required by the legal departments of large media companies.

What you can do to prepare for this process is to get signed waivers from the principal participants in your film, if possible.

Edited Sat 17 Dec 2011 by James Longley

leonard schillaci
Fri 30 Dec 2011Link

Is there anyone in Atlanta/LA – Cartoon Network/ MTV experienced out there I can bounce a few ideas around with?
I have a cartoon series in development and need help!

Thanks

Len 704 491 2821
EnergyNC@hotmail.com or ClaimsNC@Gmail.com


Stephen Cooper
Sun 1 Jan 2012Link

Thanks, Doug and James, for your 12/16 and 12/17 responses to my question above about E&O insurance. You're both helpful and encouraging.


Doug Block
Mon 2 Jan 2012Link

Glad we could help, Stephen.


Maureen Ridley
Wed 4 Jan 2012Link

In reply to Ray Metoyer's post on Fri 13 May 2011 :

Can anyone tell me what are the typical rates for selling a documentary to a US TV channel or where I might find such information? I have a client here in the UK who has made a documentary which should be of interest to the US audience.


Doug Block
Wed 4 Jan 2012Link

The rates are all over the place, Maureen. Could be as little as next to nothing (small cable channel) or as high as a million or more (HBO, if they really really want it). Would help to know what kind of doc it is and the length.


Maureen Ridley
Thu 5 Jan 2012Link

In reply to Doug Block's post on Wed 4 Jan 2012 :

Thanks, Doug. Pretty much as I suspected. It's an hour-long documentary about Buffalo Bill's visit to Scotland.


Doug Block
Thu 5 Jan 2012Link

Sounds like The History Channel is your likely target. Don't know their license fees (does anyone here have any experience with them?) but my guess is it's not high for an hour-long "one-off" acquisition. 10 to 20K, perhaps? Don't hold me to it, though.


Robert Goodman
Thu 5 Jan 2012Link

these days likely less than half that figure.


Maureen Ridley
Fri 6 Jan 2012Link

In reply to Doug Block's post on Thu 5 Jan 2012 :

Thanks again. I'' pursue the History Channel lead. Doesn't sound as if the chap is going to make much of a return on this.


Maureen Ridley
Fri 6 Jan 2012Link

In reply to Robert Goodman's post on Thu 5 Jan 2012 :

Good grief. His prospects of success are being radically pruned.


Doug Block
Fri 6 Jan 2012Link

Welcome to the glamorous world of documentaries, Maureen :-)


Ajay Brar
Tue 10 Jan 2012Link

Hi, I'm working on a documentary feature for which I'm finding it really difficult to raise any funding at all.
The documentary is on the Maoist rebel movement in India and looks at the rebels, the conflict and its human cost, and the underlying issues of mining and indigenous tribal rights.
I have filmed one round and will be going back to film more (me being the director, cinematographer, producer, editor and all).

Based in Australia, I have had no luck getting a broadcaster. The commercial ones don't care and the public broadcasters require Australian content / connection so a suggestion was for me to film myself which I think detracts from the story – its not about me but about the people there.

So I was wondering if anyone has any suggestions / ideas on how to go about raising funding for documentaries on issues that aren't exactly mainstream? How do I finance this (so far its been self financed but that won't cover a lot of the post work)? And what are the possibilities for distribution, theatrical release etc?

thanks


Oggi Tomic
Tue 10 Jan 2012Link

Hi Ajay,

Your film sounds like a good idea. I have been to India doing a short promo/doc for a charity on Yanadi tribe and luckily they supported financially filming of it all.

Anyway, in regards to your financing, have you tried http://www.indiegogo.com/

Hope it all goes OK for you and if I can do anything to help or advise you please let me know.

Oggi


Reid B. Kimball
Thu 12 Jan 2012Link

In reply to Ajay Brar's post on Tue 10 Jan 2012 :

I am not sure if Kickstarter.com is open to those outside the United States yet, but I raised $11,000+ for my documentary.


J. Christian Jensen
Fri 13 Jan 2012Link

SUBJECT: BEST STUDENT FILM, DOC SHORT, and DISABILITY FILM FESTS/COMPETITIONS

Hello Mentors,

I've just completed my first of several short film as part of Stanford University's MFA in Documentary Film program. The film is solid, about 5 min, and focuses on disability but in an unexpected way.

I had a bad (and expensive) experience applying to festivals with a short I directed as an undergrad. Can someone suggest (or direct me to some posts about) some of the better film festivals or competitions for student films and films about disability? I have a fear of blowing a lot of money applying to festivals out of my league or that don't really have much value as a networking event.


Ajay Brar
Mon 16 Jan 2012Link

In reply to Oggi Tomic's post on Tue 10 Jan 2012 :

Thanks Oggi. I've been trying to avoid crowdfunding but looks like that will be the way to go.


Ajay Brar
Mon 16 Jan 2012Link

In reply to Reid B. Kimball's post on Thu 12 Jan 2012 :

Kickstarter is only for US residents. There is a crowdfunding thing here in Oz too, I've just been avoiding it and trying for production houses and broadcasters.


Jacob Brady
Wed 18 Jan 2012Link

Hi all, I'm currently trying to raise funding for a documentary about a network of controversial adolescent drug abuse programs that I was a member of for five years. We just released a pitch trailer and launched an IndieGoGo campaign.

I would love to get some feedback from professionals on what we are doing right and what we could be doing better. This is my first time trying to do something like this and I could use all the help you can offer.

The trailer and IndieGoGo page are here. http://www.indiegogo.com/thegroup

Not asking for donations here, just looking for feedback. Thanks in advance.


Jill Morley
Thu 19 Jan 2012Link

Hi Jacob,

This looks like a really interesting story, especially since you have the inside scoop.

I am wondering if you have any other footage besides the talking heads and pictures. Are there scenes you can shoot? Or can you come up with some creative B-Roll that relates to the feelings that everyone is talking about? I know you are just beginning with telling your story, but I think it is always good to think in these terms. Best of luck!


Jacob Brady
Thu 19 Jan 2012Link

Hi Jill,

Thanks for checking it out.

Right now, we have about 13 hours worth of video footage that was shot by members of The Group and more coming. We didn't use any in the trailer because we are still working out the legalities of using it, but we intend to use some of it in the film.

As for B-roll, we plan to get footage of our interview subjects in their daily lives, plus just shooting anything interesting that comes up when we are on location.


Jill Woodward
Fri 20 Jan 2012Link

Subject looks compelling so far. I have heard of extreme drug programs (like the right wing christian ones that periodically get shut down by a state gov and then pop up elsewhere under a different name) but this is the first I heard about one totally run by kids. Lots of parallels though in terms of the brainwashing, peer pressure and torture lite techniques. Was there money involved? Anyone profiting?


Jacob Brady
Fri 20 Jan 2012Link

In reply to Jill Woodward's post on Fri 20 Jan 2012 :

Hi Jill. There is definitely a profit being made. My family, for example, which is a working-class family, spent around $70,000 in the five years that I was involved. The money is from treatment programs (in-patient and out-patient). They convince parents that without the treatment their child will literally die.

We were very limited in what we could go into with the teaser trailer, but we plan to explore the whole history of the organization in the final film.

The entire operation was founded by one man who is a convicted-felony, former heroin addict and self-professed murderer. There has been a lot written about the organization going back to the 1970s. Here's a link to a little background information, if you're curious.

Thanks for checking it out. If you have any advice, I sure could use it.


Jill Woodward
Fri 20 Jan 2012Link

sounds very similar to Kids of Bergen County, where my friend was incarcerated, it changed names and moved around a lot to avoid regulation. From your trailer I almost thought it was the kids organizing themselves, but it sounds very much like there is an adult orchestrating and profiting. Good luck!


Jacob Brady
Fri 20 Jan 2012Link

In reply to Jill Woodward's post on Fri 20 Jan 2012 :

It's very similar to the Kids of Bergen County and the Straight program.


Reid B. Kimball
Sat 21 Jan 2012Link

Jacob, nice job on your first film so far, but I do see a couple areas to work on.

Sound quality is inconsistent, some sounded echo-y while others sounded high quality but too soft and quiet, I'm hard of hearing. I like to make sure the sound is loud but not too loud. People can always turn their sound down, but I had maxed the sound on my sys and headphone and still had a hard time hearing a lot of what was said.

Also, be more conscious of where your key lights are falling on the interview subject's face and which direction they are looking in. In one scene, in the bedroom, the key light was behind the person, not in front. So, we see most of their face being dark with the back side of the face lit. Other scenes the subject is to one side of the frame (rule of thirds) but is looking towards the short side, not the long side.

I've made all these mistakes myself. It's a challenge to keep all this conscious when you are trying to setup equipment and think about the interview questions, etc.


Jacob Brady
Sun 22 Jan 2012Link

In reply to Reid B. Kimball's post on Sat 21 Jan 2012 :

Reid, thanks for the feedback. We had a lot of difficulties with light in one of the interviews. We were using natural light and had issues with the sun moving behind clouds and also getting dark early. We tried out best to fix it with some color correction, but there was only so much we could do.

Hopefully, if we are able to raise the money, we will be able to budget for lights and have much more control over the finished product.

As for the sound, I confess I don't know much about it, but I did notice that it jumps around from interview to interview.

Thanks for all the feedback. I really appreciate it.


Kevin Spahr
Thu 26 Jan 2012Link

I'm purchasing E&O for my first doc deal. I have no idea of what this should cost. I have a quote for a 10K deduct on a 1M/3M policy for 3 years for $5500. Is this in the range of what you guys have paid?

This doc is pretty safe – no digging up dirt, no famous people, not based on other works, etc, – it has a happy and positive message. I know that doesn't really mean much in today's world.

thanks


Doug Block
Fri 27 Jan 2012Link

It means right around $5500 for 3 years. A pretty accurate quote.


Mike Lynch
Sun 29 Jan 2012Link

I recently paddled the 740-mile Northern Forest Canoe Trail and took video along the way. I conducted interviews, got action footage, scenic shots, etc. The one thing I didn't do was get location releases. My footage was filmed on public waterways, public streets and a few private campgrounds. Will this be a problem if I try to distribute the film or show it publicly. Which locations would require release? It's my understanding that the footage on public lakes, rivers and streams, I'd be allowed to use. What's the consequence of not having a location release and then showing the film?


Arv Acharya
Sun 5 Feb 2012Link

Hello, I just joined D-Word. I have a question. Does anyone know of footage of Nice, France in the mid- to late-1920s? Also, footage of the Ottoman Empire in the early 1920s? I am looking for these to incorporate into a planned documentary on the life of the Ottoman Royalty when they went into exile. I can be reached at arvindach[at]gmail[dot]com. Thanks in advance. This looks like a very supportive community, judging from the answers to various questions asked by others.


Lillian Baulding
Mon 20 Feb 2012Link

Hello All: Can anyone recommend a good, inexpensive video stabilizer for my Canon t3i? I've been looking at the Dot Line DL-0370 Hands-free Video Stabilizer but don't know anyone who has one. Thanks!


Yacine Helali
Mon 20 Feb 2012Link

Lillian, you'll find this and a lot more in this article from Chris Jones, 'The Perfect Guerilla Film Makers Camera Kit For Under £1k':

http://www.chrisjonesblog.com/2012/02/the-perfect-guerilla-film-makers-camera-kit-for-under-1k.html

Hope this helps,

Yacine Helali
www.vetofilms.com


Lillian Baulding
Tue 21 Feb 2012Link

Thank you very much Yacine!

Best,
Lillian Baulding


Jesse Zook Mann
Tue 21 Feb 2012Link

In reply to Arv Acharya's post on Sun 5 Feb 2012 :

i was just watching the bbc doc the first world war. lots of stuff from the ottoman empire – might want to see their sources and see what else you can dig up.

http://www.amazon.com/First-World-War-Complete/dp/B0009S2K9C/ref=cm_cr_pr_product_top

the episode is jihad – its also on youtube


Damien Pollard
Tue 28 Feb 2012Link

Hi Everyone,

I'm in a very similar situation to Mike above. I recently filmed a short doc about a small-time rock band in the UK, the first half of which was filmed in a rehearsal studio that they frequently use. I phoned the managers of the studio prior to filming and they said that they were happy for me to film there and take shots of their building.

However, during the first day of shooting there, they refused to sign a location release. They said that they were still very happy for me to film there and that I could film what I wanted and do what I liked with the final film. They didn't want to sign anything however, as they felt this would, potentially, leave them exposed to me later using the footage in a way that was damaging to them. I've spoken to them a couple of times since filming, as have the band, but they're sticking to this line. Apparently bands film at their studio quite frequently and this is the stance they take in all cases. I'm a stickler for crossing t's and dotting i's legally, so am not comfortable accepting verbal consent alone.

I'm planning on putting the film up on Youtube and Vimeo. I have no current plans to send it to festivals or secure broadcast distribution. Is this lack of a written location release something I should be worried about? My specific questions are:

Could the studio hypothetically take legal action simply because I have filmed on their premises, or would they need to show that I have damaged their reputation in doing so etc?

Would it be possible for me to put the video online and ask them to sign a release form just for that edit of that film (ie so that I'm covered, but they are also reassured that I can't then go and re-edit the rushes into something damaging to them).

I am in the UK and the doc was filmed here. I have signed releases for the other locations, all identifiable contributors and all the band's music.

Any thoughts would be hugely appreciated – this issue's held the film up for too long! Thanks a lot!

Damien


Jill Woodward
Tue 28 Feb 2012Link

Personally I'd put it on the web and forget about it. Secondly, I think it's only broadcasters that require such extensive paperwork, not even festivals, generally. However, hypothetically any studio or any person could take legal action at any time for any reason whatsoever.


Doug Block
Tue 28 Feb 2012Link

If it were me, I wouldn't worry about it a bit, Damien. But if it's keeping you up at night, you might want to get something informal with them via an email, even if it's just to explain their rationale as to why they don't want to sign a formal release. At least it's something where they state it's ok for you to film. But it's very unlikely they'll now turn around and sue.

Edited Tue 28 Feb 2012 by Doug Block

Damien Pollard
Tue 28 Feb 2012Link

Thanks a lot Jill and Doug, I really appreciate your thoughts.

I doubt this makes a difference, but I forgot to mention that I did not include the studio's name anywhere (eg interviews, on-screen text or shots of signage). It would be recognisable only to those who are already familiar with it.

That's very useful info (and good to know) about festivals Jill, thank you.

Thanks a lot for that suggestion Doug. I'm planning to email each contributor/location individually as soon as the film is uploaded with a link and message of thanks for their help. With the studio I thought I'd add a note saying that I appreciate their desire to look after their reputation and invite them to watch the film and let me know immediately if they have any objections. If they do not have any then at least I can move forward with evidence that I've taken reasonable steps to consider and account for their interests even without a signed release.

Thanks again both!


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