The Mentoring Room - Ask the Working Pros

Yes, Sarah, you're crazy! Totally bonkers!!! Then again, so are all
of us. So, you're in good company. But you're also ahead of the game
since much of producing is doing all the agreements yourself that you
wish you had the money to pay a lawyer to do.

I'd also say don't go back to school. What for? Use all that money
you save towards making your film. There are plenty of ways to learn
outside of school. Just one recommendation: if you're gonna wind up
shooting yourself, get a camera and practice, practice, practice.

Sarah, just noticed you applied to the community. We don't normally
let in inexperienced doc makers, but if you promise to hang out in our
Legal Issues topic and restrain from asking too many basic questions
we'll make an exception. When you get in (later today), please
introduce yourself again there.

Thanks Doug, you've made my day!

do you have any recommedations for transcription services? I'd like
to have my footage transcribed for paper editing..thanks

in NYC preferably

Hi every one,

Forgive me for sounding stupid... Ive finally managed to shortlist
two topics for my first school documentary:

1. Since Im an immigrant Im very interested in the plight of
children born of Immigrant parents.

2. The Hare Krishna Consciousness and their way of life (supposedly
aiming for a kind of spirituality). What kind of spirituality are
they aiming for really?

Now for my question:

Im in America at the moment and have to hand in topics the day I
land NZ (where I study and will be filming). So I have chosen topics
based on very minimal research done abroad. Im scared that mid way
in my research if I discover that there really isnt much to
discover...

I guess my fear is partly born out of the fact that I might not be
able to go back and change my topic...

Hope Im not sounding too vague...

Shazia

Shazia,

Without knowing more about your circumstances (when is the project
due, whether you are working with a crew of fellow students, whether
the school is funding it entirely or you have to fund part of it,
etc.), it is hard to give really good advice, but here are a few
thoughts...

I'm assuming by your saying this is your first school documentary
that this means you will probably go on to make a second school
documentary. So, in a sense, you could think about both of your
choices as possibilities -- one for now, one for later. Your real
choice is which one are you more passionate about right now and which
one seems achievable given the likely limitations of time, money,
crew, etc. Do you have an advisor at your school who has given any
feedback on which one looks more realistic as a first project?

It'obvious what led you to choice #1, but how did you get interested
in choice #2? Are you Hare Krishna or do you have connections to
Hare Krishnas? Are there many Hare Krishnas near where you are in
New Zealand? It is certainly not a requirement to have a pre-
existing connection -- sometimes being somewhat removed from a topic
but curious about it can make you look at it more objectively. But
you do have to be interested enough in it to carry your passion
through the ups and downs of following the subject (starting with
research and getting the access and the trust level of people who may
feel they have been misrepresented in the past)

In terms of the first topic on children of immigrants, it is one
which has been done a lot, which is not to say don't do it. Issues
of cross-cultural identity are always ripe for documentation. I am
not sure how many other documentaries have been done specifically
about immigrants in New Zealand compared to issues in U.S., European
countries, Australia, etc., so I am not sure if the stories would be
similar or different. I assume you may have noticed some
similarities and differences between immigrant experiences since you
have been in the U.S. You may also want to look at other films which
have dealt with this topic.

The advantage of having a personal connection to a story is that you
could either introduce yourself as a character or have a means to
make your subjects more comfortable since you share something in
common with them. The disadvantage is that you may make assumptions
that those who don't share that identity might miss. So it's also a
question of who is your audience? Would you want this film to reach
others who are immigrants to make them feel they are not alone? Do
you want it to make people who don't share that identity and either
know nothing or think they know something to know more about the
experience of immigrants? These are two very different audiences and
it is hard, but not impossible, to make a documentary which would
appeal to both.

Good luck, what ever you decide!

Thanks so much for responding Erica.

Well to tell you the truth, a lot of this apprehension stems from the
fact that Im in America and have to make a documentary in New
Zealand.

I was on a summer break all this time and will start my third year
the day I return. I have to pitch three topics to my school on paper
the day I land and that is creating a lot of frustration because I
havent got a chance to directly meet the people/ institutions I want
to film. And there is only so much preliminary research you can do on
the internet. So the deal is, my tutors will pick a topic from the
three I shortlisted.

This will be the only documentary I make this year. It is a
collaborated effort... I will have a student crew and the doc will be
under ten minutes. I have done a bit of reading... I read the Rabiger
book on making docs and I completely agree with you... right from day
one I really want to make something that I strongly feel about. I
definitely want to avoid at all costs a shallow "dabbling" in
something that is apparently different.

The Krishna Consciousness subject is definitely something that I'm
more than curious about. On the contrary its something that I
strongly question. Not to give you an offhanded summation of their
spiritual philosophy, their spirituality which believes in
renunciating materialism strongly triggers off questions like
escapism (from the real world) etc... which brings to mind a
question....

You mentioned something about your subject being able to develop a
trust in the film maker... how does one then approach a subject who's
practice you question from the start...

Thanks again for your time...

Shazia

Shazia, you just need to show the subject that you're genuinely
curious and that you've done your homework and you'll gain their
trust. It's not about whether or not you agree with them or question
their beliefs (though I certainly wouldn't flaunt that). As long as
your not out to get them from the start you'll be just fine.

Good luck.

Hello everybody, my name is Lorenzo Meccoli and I am a documentary
filmmaker and producer. I recently finished with Gabriele Zamparini a
long documentary, "XXI Century" (www.thecatsdream.com) which was
recently showed at IDFA and had a very good response from the public.
The question is: anybody knows were can I find prices of how much
buyers pay, on an average, for documentaries (small and big
broadcasters, DVDs and Tapes distributions, Theaters ecc.)? I know it
is a very general question but maybe, gaining some information here
and there I can try to have an idea. I read the whole forum "SELLING
IN THE INTERNATIONAL MARKETPLACE" but there were really not the
information I was looking for. Also: has anybody had experience in
selling in Italy to the printed media market? It is very common there
to buy film at the newsstand/bookstores where tapes and dvds are sold
with magazines, newspapers and books. Thank you for any help you can
give me.

Lorenzo, please join The D-Word Community where the doc professionals
hang out. You're much more likely to get answers to these kinds of
questions there. Go to: www.d-word.com/community/join

As for what buyers pay, it varies, of course, and fluctuates all the
time. What ZDF/Arte paid me seven years ago for Home Page (90 minutes
in length, contractually) is almost irrelevant to what they'd pay now.
Also, you're talking about separate distributors for the various
ancillaries -- broadcast, theatrical, dvd/home video. Each with their
own price ranges.

Doug, Lorenzo is already a member of the Community.

Lorenzo, you'll find a Marketing and Distribution topic in
{LINK NOT IMPORTED} ...

Well, shut my mouth. A perfect illustration of how the community is
growing faster than my poor beleaguered mind can follow.

Thank you both!

Hi to all:
It's been a while since I checked in here, glad to see engaging
questions since my last visit. Of course, my question is fairly
mundane in comparison.

I've shot a good amount of footage for my doc and am about to edit a
demo reel. I've installed Final Cut Pro 4 and am in the market for a
new external hard drive. Does anyone have any good recommendations? I
know it needs to be 7200 rpm but beyond that, I have no experience
with what would be good.

Any info is greatly appreciated.
Thanks!
Diane

Dear Diane, I had a very good experience with the La Cie hard drives.
But you should not look at the new ones (Porsche design) which they
told me are not strong as the traditional ones. You can check on LaCie
website http://www.lacie.com/products/product.htm?id=10022 PS: they
are not paying me! Actually I paid them more then one time!!!

Thanks a mil for the advice. I checked out the La Cie info and it
looks good and I also found a good price on one at a nearby Apple
Store. So I'm about to go out and get one.
Thanks!
Diane

In answer to question posted here about music rights
{LINK NOT IMPORTED}

Even if you have a signed agreement with the cabaret performers for
rights to their rendition of the song, in most cases, you will also
have clear rights for the song itself (usually with the publisher).
You can check with ASCAP to see if the songs you want are created by
one of their members. It doesn't really matter if your project is
not-for-profit. If you are planning to screen your film in any kind
of public space (including the Internet), you will need rights.

Can't recall if you said you were based in NYC, but, if so, AIFV is
holding a session on production legal issues soon, so you might want
to attend to get more specific answers to your questions.
http://www.aivf.org/

*I am producing a documentary about a cabaret group in NYC. The main
feasibility questions that arise are about music use. Hopefully you can answer
these questions or can give insight as to who can help me with them.
*The project is not for profit. The songs used in the shows are popular ones,
but they are being played by a piano player with a singer. Must I secure rights
to use the music if it is being played by someone else in a stage show? What
other legalities must I look into to use it in a doc?
*Any information you can give would be greatly helpful and appreciated.

Thank You,

see my answer in the post prior to your question (makes me feel like
i have psychic powers)

Here's a very good article published in AIVF's magazine, The
Independent, about clearing music rights:

www.holytoledo.com/clear_music.htm

Hi filmmakers,

Just introduced myself & now I have QUESTIONS!

In the early stages of production of my first documentary on a
transgender pianist/singer who will be returning to her home country
(after having not been there for 25 years!) to perform in a series
of concerts. That's all I want to say about the project right now.
My question is regarding how much footage to shoot.
The return trip/concert is not for nearly another year and a half
yet, and I already have 16 hours of footage! Now, partially, I
realize my collaborator & I will have a ton of footage 'cause we're
novices, and need to work out a lot of kinks. But I'm also
concerned 'cause I keep wanting to shoot so much of her life. I do
plan to have the return trip be the final shoot, and we'll begin
post shortly after we get back. But, as I said, that trip is still
a year and a half away. Should I have a plan NOW for a maximum
amount of shooting to do? Any wisdom and advice would be greatly
appreciated!!
Maureen

Hard to answer that question, Maureen. It's largely going on
instinct. Wouldn't hurt to do a lot of interviews with your subject,
particularly when she's in the midst of doing something. Also seems
you have a possible built-in structure of beginning as she's taking
off for her trip, then continually flashing back as the concert tour
moves forward. Sort of like the past colliding with the present. In
the end, I recommend erring on the side of shooting, but also trying
not to overdo it. Tape is cheap but editors can be expensive.

Greetings to all: I haven't been here in months, and never
really "got to know" the folks in D-Word, but I need some advice.
I've recently moved back to the US from South Africa and I'm
struggling to catch up with changes in the production world in the US
since 2000. I'm pricing a job now, trying to figure out what kind of
camera equipment to budget for. In SA everybody was using DVCam or
miniDV (PD150) for almost everything. Here that doesn't seem to be
the case. I'm trying to choose between shooting in BETACAM-SP or
DVCAM for a project in which the video segments will ultimately end
up on the web (for use in a web-based training program). The
surprising thing is that DVCAM seems to be more expensive than BETA
here. In South Africa it was the reverse. Anyone understand my
confusion and can help enlighten me? Thanks. Carolyn

That's a surprise to me, too, Carolyn. Can you give us some examples
of the pricing you've run across? Because a PD150 shoots dv-cam and
goes for, what, $3500? Where can you get a beta-sp camera for near
that price?