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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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Ben Kempas
Fri 12 Aug 2005Link
I just tested the access request pages, and sadly I have the same
problem on Opera. It looks fine on Internet Explorer, though.

Randolfe Wicker
Fri 12 Aug 2005Link
I used Mozilla. I'll try again using Internet Explorer. I thought
the problem was with the link on theD-Word site or in my computer.
I never thought it could be the web browser.

I had trouble accessing Ameritrade through Mozilla because they said
Mozilla connected me "through a link". When I used Internet
Explorer, I had no problem.

Randolfe Wicker
Fri 12 Aug 2005Link
I just tried using Internet Explorer and everything worked. I think
you should mention the necessity of using Internet Explorer.

I tried before, was unsuccessful, and sent an email. Actually, I
missed the public forum section the first time around. I ended up
getting involved elsewhere.

I started using Mozilla because the About Technology daily
newsletter and/or Wired Internet News suggested it. I was getting
too many pop-ups on IE. Mozilla has been much better in that regard.

However, someone who might be a real asset might encounter the same
problem I and the Opera user encountered and simply give up and
leave.

The problem with having two browsers is that you have two sets
of "favorites" or "bookmarks". You sometimes have to search both
lists to find the link you want.

Ben Kempas
Sun 14 Aug 2005Link
I'm still trying to figure out why this happens... hope to have it
fixed soon.

Ben Kempas
Sun 14 Aug 2005Link
OK it should be fixed now. An HTML line was missing, IE just
tolerated the error.

Very sorry for any inconvenience the mistake has caused.

Randolfe Wicker
Mon 15 Aug 2005Link
No problem. Just as long as things are fixed now, everything is
fine.

Tim Pearce
Thu 1 Sep 2005Link
Hi,

I'm a newbie Canadian filmmaker living for a while in Osaka, Japan. I
am shooting a no-budget documentary about my time in Japan (and then
India as well for an additional 8 months). My project in self-financed
(so far) and I hope to join with the National Film Board beginner
filmmaker programme for them to act as producers and possible
distributors after I return to Canada. This is my first production and
I don't know what to expect in terms of final use but I'm hoping for
at least some small festivals and maybe some very small canadian
release of some sort. I am the only crew member and I am in the midst
of contacting the Osaka city government for permission to shoot in the
streets, and also a train company about trains/subways. I send a DVD
copy of my footage that I want to use off the the city Film Council
and was told today that most companies or buildings would want a usage
fee for me to use my footage in my doc. I was told that at least 2
places would want 60000 Yen (about 550$ U.S.) each! This is way out of
my non-existant budget which for the most part has been used to buy a
camera and editing setup. My budget so far (mostly on equipment) has
been about 9000$US. Seeing as I have 6-7 locations like that, I'm not
sure what to do. Are usage fees standard for location shoots? Any
suggestions from people who have dealt with this issue? Thanks!!

Doug Block
Thu 1 Sep 2005Link
ahem, i'm no lawyer and, ahem, OF COURSE you should consult a
lawyer... but no, they're not standard. i've never paid a location
fee. just be as unobtrusive as you can and shoot it.

Randolfe Wicker
Thu 1 Sep 2005Link
It sounds like a rip off to me. I'm no expert. However, I've read
a lot of discussions and have had experiences with several
documentary makers.

From what they say, you run into all these "release" problems when
you try to get your final product broadcast on television. I gather
that "release" problems are not nearly such a problem when it comes
to getting film festivals to show your work.

I gather you are not in a position to "give" your work away. I
personally am going to try vlogging segments (five minute sections)
of a documentary I am working on to create interest and gather a
following. You can check out vlogging by looking at tutorials on
www.freevlog.org There is a great Yahoo Videobloggers Group.
However, you'll be buried in a hundred emails daily if you get them
delivered individually.

Maureen Futtner
Fri 9 Sep 2005Link
I imagine if I want to use stills of stories from a newspaper or
magazine, I certainly have to get permission to license rights to
that, right? Whom, or what department, would I contact at a
newspaper or periodical?

Thanks, as always, for being here.

Maureen

Doug Block
Sat 10 Sep 2005Link
In short... yes, you do. They may have a legal dept. or you could
try the editor in chief. Doesn't really matter. Just explain what
you're doing and ask for whoever it is you'd need to talk to.

Steve Holmes
Sat 1 Oct 2005Link
Michael posted: <<I am currently working on a documentary about an
Iraq war veteran, who shot his own video footage in Iraq, and has
since been speaking out against the war, including in the local
Binghamton, NY area, Crawford, TX for Camp Casey, etc.

Are there any grants or film financers interested in the current
political climate?>>

Probably so, but the potential for controversy might scare off a lot
of groups. I wonder if I heard right, that Michael Moore provides
funding for "leftie" kinds of shows.

One group that controversy won't scare off is ITVS
(http://www.itvs.org/), a funding arm of the Corporation for Public
Broadcasting. You can apply for a production contract (they don't
like the term "grant") on your own or join forces with a PBS
affiliate and go through the LInCS program.

You might try the Foundation Center's database search
(http://fdncenter.org/funders/grantmaker/index.html). Enter a
relevant keyword. The Center has donated copies of its core
collection of grantwriting books to libraries around the country.
Check the website (http://fdncenter.org/collections/) for the
collection nearest you.


<<I have a good fifty hours shot.>>

Have you put a trailer together, a three- to five-minute piece that
features your best bang-up, rockum-sockum material? That's your best
bet for funding: show 'em the story you have so far.

Michael Lieberman
Tue 18 Oct 2005Link
Thanks for those tips.

I'm kind of struggling with this political mess. I am indeed to the
left, but I'm doing my best to understand this individual from a
non-political standpoint.

In my opinion, the problem with the recent leftist films is that they
are not terribly cinematic. Perhaps not even films, but essays or tv
programs in a different medium.

They also don't look at the subjects and/or subject matter from a
"foreign" point of view, and by that I mean from the point of view an
outsider, not in the loop. Of course anyone in the left (or right) can
identify with some filmic gestures on the part of whomever is behind a
camera, as their political cinema eye and ear makes these notations.

I'm seriously trying to shed as much slant as I can, but not my identity.

And I will put a five minute piece together. I think a visual
explanation is far better than my huffy-puffy way of doing so verbally.

Again, thanks again for those tips. I will look into all of them.

Laura Harvey
Wed 26 Oct 2005Link
Hi I have been in video production/media services long time. Now I
want to start my own business and want to produce several
documentary videos and selling to schools and individuals. I am
not sure how to produce documentary, legal issues. Is there a book
or a place that I can read and understand the process? In my
hopefully documentary that actress in movies and TVs and i would
like to use some clips. How can I get them? fee? who right person
to contact about it? Thanks

Maria Vougioukalaki
Wed 26 Oct 2005Link
i think this is the right post to ask you guys(sorry if its a stupid
question...)
ok so i have to do my dissertation and i was thinking music
documentary..I looked up a lot and pa pennebaker seems to be the guy
for the job:p
what do u think ???Im not really fond of bob dylan or rolling stones
(sorry dont yell:p)but i do love the beatles and also monterey pop
looks interesting..Apart from that im a HUGE fan of electro pop any
suggestions for documentaries on that?Pennebaker's film on (my fave
group of ALL time)depeche mode though i havent watched seems more
like "greatest hits moments on a tour" than real documentary, what do
u think?
thx anyway:)

Doug Block
Wed 26 Oct 2005Link
it's actually d.a. pennebaker, maria (although i saw him the other
day and found out he's got 8 kids, so i guess he is a pa). anyway,
he'd be fantastic for your dissertation, imho.

Maria Vougioukalaki
Thu 27 Oct 2005Link
hey there doug!!
jesus im so ashamed of that(which makes really not informed on the
subject:(...)..thanx a lot!!!!
ps1:u actually know the guy???Could it be possible(maybe im too
optimistic) to contact him somehow??(wow 8 kids!!!)
ps2)what did u think about the depeche mode film???

Doug Block
Thu 27 Oct 2005Link
yes, you could contact him - do a google search, but i think there's
hegedus/pennabaker film company. he's a sweet guy, very approachable.
haven't seen the depeche mode film, alas.

Maria Vougioukalaki
Fri 28 Oct 2005Link
thanks again!!he must be sweet hes into music docs plus a father of
8!!!!
i have to rent it ha??maybe ill just buy it when/if i get paid...:(

Wilson Santos
Wed 9 Nov 2005Link
hi

i just joined this forum and found a lot of good info from reading
through the site. i have a couple of questions i'm hoping some one
here can help me with. i've never shot a doc before but have ideas
for several. i'd like to start asap but have no funds. no experience
with video as my background is film school.

questions
1. would it be best to buy a camera or rent for a first time outing?
if i buy, is the panasonic dvx-100a a good choice? is there anything
a little cheaper that can get the job done?

2. since i have no funds, but might be able to scrape up enough for
the camera, should i begin shooting in the hopes that more funds will
come my way? i have ideas for fund raising but i need to start
shooting my subjects asap.

3. is it difficult to acquire archived news footage from some of the
top networks? if not, is it expensive?

4. i'll have a very small crew of myself, a camera guy and a sound
guy. i don't have to pay either of them and i won't have to pay any
of the subject i'm interviewing. i don't think i'll be paying for
locations either. where will my expenses come from? what is it that
will cost me the most? is there an easy way to estimate the cost? i
will probably have to pay an editor unless i try and learn the
software on my own. i can provide my own original music no problem.

5. is there a standard release form for interviewees? if so, where
can i get a copy of it? if not, what should i include when i draft a
release form?

i know this is a big load. any tips would be greatly appreciated.
great forum btw

Robert Goodman
Wed 9 Nov 2005Link
1. Find a camera operator who owns equipment and convince her/him that
your project is worth doing.

2. If you are in the US, start shooting. Put together a trailer and
use that to raise money.

3. News footage from the networks is easy to acquire. It is also very
expensive.

4. If you don't pay people you'll need to cover their meals, travel,
hotel, etc. There is no easy way to estimate your costs. Don't learn
software - hire an editor who knows how to tell stories. If that isn't
in your budget - buy a book about how to tell stories - "Editing
Digital Video" (the one I wrote) or Walter Murch's book. Then get one
of the free software programs that does simple cuts and dissolves for
whichever computer platform you like.

5. There are standard release forms available on the web. Search.

Erica Ginsberg
Wed 9 Nov 2005Link
Assuming you don't need to travel for your shoots and you don't have
to pay your crew, your biggest expenses will likely be post-
production (editing, sound mix, color correction, getting rights to
archival, etc.) and outreach (website, postcards, attending
festivals, markets, etc.)

Wilson Santos
Wed 9 Nov 2005Link
thank you robert and erica for your insights. i figured the biggest
expense would be in post production. i am a music producer and work
with logic on the mac, so i can handle that aspect. robert you are
right, i probably wouldn't want to learn the software since i'm
already involved in so much else at the moment. do you know the going
rate for a video editor?

my project would rely mainly on interviews, shooting real time action
and some news archives, so i guess the bulk of the budget will be in
the archives. i'll look into it.

thanks for the advice.

Robert Goodman
Wed 9 Nov 2005Link
again - enlist someone to help you. Doc editors charge from $1500 a
week on up. Figure for every hour of footage, you'll need 2.5 days. A
rough guess.

Jamila Gaskins
Thu 10 Nov 2005Link
I'm sure someone has spoken of this, but I'm wondering about writing
query letter to a production company, the format, etc. I introduced
myself in July. I'm developing a movie about living with HIV/AIDS in
America. I just finished training for and running the Dublin marathon
to raise money for AIDS Project Los Angeles. This is my first movie.
I was wondering if anyone could point me in the right direction.
Thanks in advance.

Doug Block
Thu 10 Nov 2005Link
what is it exactly that you're looking for from this production
company, jamila? and why don't you try to arrange for a meeting in
person? i would think that would be much more effective.

Jamila Gaskins
Thu 10 Nov 2005Link
Doug,

I've never produced a film before so it's all new to me, budgeting,
crew, etc. I've begun my research and have contacts across the
country willing to help with the story, but I am in need of help
putting it all together. The person I spoke with at the company said
I should proceed with a query letter. But I'd love a meeting
instead. I agree it would be much more effective.

Ross Williams
Thu 10 Nov 2005Link
I'm editing a personal documentary right now... when I began shooting
it, I didn't have much plans of trying to get it released or
anything, but as it's coming together I think I'll at least try to
show it at festivals... and if it all works out, I'd love to sell it.

Since I wasn't planning ahead for that I didn't get release forms
from any of the places that I was shooting. (I did get some release
forms from people that I knew I wouldn't be able to track down again.
And plan on getting release forms from my friends and family that
appear in the film.)

My question is, what sort of legalities are behind the places that I
shot. The majority of it takes place in our old apartment?... will I
need to get a release from the owners. My biggest concern is the
hospital where we shot some footage?... If I don't tell the viewer
where we are exactly and never have any identifying features, do I
still need a release form?

Can anybody answer these questions or point me towards a website or
book that'll answer them for me?

I'm a newbie at the legal side of it, been shooting guerilla style
for years.

Thanks!

Doug Block
Fri 11 Nov 2005Link
i'm not a lawyer but... i don't get location releases for my docs,
personal or otherwise, unless it's a really obvious place (say, yankee
stadium, disneyland) that would sue my ass in the blink of an eye. do
get releases from your friends and family. like, right away.

www.marklitwack.com is a good site for legal stuff.

Marc Maurino
Sat 31 Dec 2005Link
hi there, i'm afraid this may have been asked before but after some
fairly extensive searching i can't find if it has or not. i'll be
shooting a short doc that will be some talking heads, some action, not
too much big landscape, some handheld stuff. my ultimate goal is film
festivals and public television, and i'm shooting on one chip mini DV.
do folks have any opinions on shooting 16:9 vs. 4:3? I think
widescreen (16:9) looks so much better, and I imagine it would be more
appropriate for television also. (PS I'll be editing in FCP.) Any
opinions are greatly appreciated. Thanks.

Doug Block
Sat 31 Dec 2005Link
as far as i know, hbo and pbs still want 4:3, while many foreign
broadcasters, like the bbc, for instance, want 16:9 (though zdf/arte,
which i pre-sold my current doc to, was fine with 4:3). it's easy
enough to make a 16:9 master from 4:3 footage - might be harder the
other way around.

that said, by the time you're done, u.s. tv may be going more towards
16:9. it's a hard issue.

personally, i'd opt for a 3-chip dv camera rather than one chip.
that's a huge quality difference, without a huge difference in
expense.

Georg Schmitt
Sun 1 Jan 2006Link
Yes do get a 3 chip, and shoot in 4:3 since most consumer cameras fake
16:9 mode is worse than just cropping the picture later in post.


Hey, I have a different format question, that is 52 or 58 min.?
Here in Europe we have a 43:30 slot, but since I own the international
rights on the project I´m working on right now I opt for a int.
distribution. I have heared about both lenght´s reffered as one TV
hour, now I´m not sure what would be best?

In addition I´d like to ask a similar question about festival formats.
Is there a min. lenght for major sections or festivals.

Thanx so much for your help, I hope that hasn´t been discussed 100
before.
G.

Doug Block
Sun 1 Jan 2006Link
i believe sundance lumps any film over 45 min. into the doc feature
category. others, like berlin, wants an hour or more (don't know if
they consider 52min an hour, but i think they would 58). i'd look at
the websites of the various festivals you're considering and read
their eligibility requirements.

an int'l sales agent i've used, films transit, has told me he doesn't
have a problem with anything between 52 and 60 min. for sales to
broadcasters with one hour slots. in the u.s., pbs generally likes 57
min.

John Philp
Tue 3 Jan 2006Link
Hi. Great forum.
I'm working on a doc about yoga that is 90 percent shot, 25 percent
edited. I have a few private investors interested, each good for a
small fraction of the budget, i.e. $10,000 of $400,000. What can I
tell these investors to ‘expect’? I’ve heard “first monies will repay
the capital contribution of the investors” is a good thing to say,
but I have no idea what it means. I’ve also heard a 50-50 split of
the profits between investors and producers is typical. But that only
seems to make sense if one investor funds the whole thing. Very
confusing.
Also, I’ve been told I need to provide a “limited offering
memorandum” and maybe a “Limited Partnership Agreement”. Does anyone
know a good, NYC-based lawyer who could cheaply draft such an
agreement?
Thanks,
JP

Marc Maurino
Wed 4 Jan 2006Link
thanks for the advice about 4:3 and 3ccd. I'm taking both bits of
advice, i'll shoot in 4:3 and do my best to borrow a 3ccd from the
local cable access channel when I can.

onward for more advice: first of all, is there a reliable "search"
function to go through the discussions so that if a question was asked
before we can find the answer? i've been trying to figure it out to
no avail.

secondly: has anyone ever made a documentary about good friends, and
if so, how did it work out, did you explicitly lay out any ground
rules (ie, tonight is pizza and beer, no filming or talk of filming),
were there any lessons you learned the hard way, what worked and
didn't work; as a corollary question, has anyone ever directed a doc
in which you had a significant interest in the outcome of the
subject's journey? how did that work, what did you learn/caveats,
etc. any real experience advice or opinions are welcomed.

here's the quick background: i'm embarking on a film about the nine
month run-up to the opening of a montessori school, as a married
couple will (hopefully) find the funding, get the space, and get
children signed up. there will be informational meetings with
interested parents, meetings with real estate agents, signing a lease,
renovating a space, planning the curriculum, signing up children, etc.
the married couple also happen to be our neighbors, our very good
friends, and we intend to send our child to the school.

i'm interested in doing a doc not as a promo piece but to document the
nine month journey starting now (they've already been working at this
a long time) to the start of the school in september. the subjects
are game as it appeals to their desire for transparency as they build
this school, and because they trust me. i intend to do several
interviews but also to document a lot of their journey such as the
real estate stuff, etc., etc. i support what they're doing
wholeheartedly and have been on an informal steering committee of
parents for the past year; plus, of course, i've been to dinner at
their house or them at mine countless times and shared thanksgiving
and christmas at my house, our children are friends, etc.

am i looking for trouble, or will some good ground rules keep us all
friends a year from now?

Georg Schmitt
Wed 4 Jan 2006Link
Thanks Doug,

that was a great help!
Since I finally found my password again,
I eventually may give up my longtime lurker existence;-)

Greetings from India
g.

Doug Block
Wed 4 Jan 2006Link
john, there are some good books out there that would deal with
limited partnerships. too complicated to give a quick answer (not
that i fully understand it). just curious why a doc on yoga costs
400K (i imagine investors would be, too). are you shooting on
location all over the world?

marc, my most recent film, 51 birch street, is all about my parents
marriage and our family history. i dealt with your issue basically by
saying trust me, and by honoring their honesty with me by making as
honest and truthful a film as i'm capable of making. i did NOT bring
them into my shooting or editing process, but did allow each family
member a chance to see an early rough cut (my father first) and let me
know if there was anything in there they thought was unfair or untrue.
fortunately, they were all fine with it. and now that it's out doing
festivals (and especially because the response has been so
overwhelmingly positive), they're very proud of the film.

Marc Maurino
Wed 4 Jan 2006Link
doug, i just read through the entire "51 birch street" web site, and
i was moved and touched by your honesty and the depth it appears you
went to in a family way on that project. i can't wait to see it.

i'm intending to have another (and perhaps more after that) in depth
conversations with my subjects to talk about what may happen if and
when we hit some rough patches. what if i capture them fighting?
will they say "camera off, please?" and if so, will i feel that my
efforts to make an honest film are getting so hamstrung that i can't
be honest, and then feel compelled to trash the project and then be
regretful and annoyed with them . . . these are worst case scenarios,
but i feel compelled to visit them now rather than later.

i think your trust and honesty approach is key, and i intend to
practice it myself, to the best of my ability. thanks for weighing
in.

Ben Kempas
Wed 4 Jan 2006Link
Georg, are you the guy from Stuttgart who originally signed up with
the user name "georg"? If yes, you should also use the more specific
topics inside our professional area, {LINK NOT IMPORTED}.

John Philp
Wed 4 Jan 2006Link
Hi Doug, I'll look for some books. Yes, the $400,000 budget
includes i/nat. travel/production and frequent trips in the US, as
well as lots of music and archival pix issues. (The doc also
serves as a social history, in a way.) Most of the investors don't
balk at the figure but other filmmnakers do, including me
sometimes. I've always worked much lower budget, and may end up
doing this film for less as well.

Doug Block
Wed 4 Jan 2006Link
marc, i suggest you tell them if there's a time when they really want
you to stop shooting, then let you know and you'll honor their
request. otherwise, i don't think i'd set up elaborate ground rules.
just be sensitive to any emotional situations as they unfold and use
your common sense.

Georg Schmitt
Mon 9 Jan 2006Link
Yes Ben, it´s me but i have problems to log in there!
Coul´d you help me with that?
And by the way, i always was looking forward to meet you one day,
hopefully some time soon.
g.

Marc Maurino
Thu 12 Jan 2006Link
Hi folks. I'm shooting a documentary as a "one man band"--mostly with
my own 1 chip, but when i can get it from the local cable access
channel, i'll be using their JVC GY DV500 (3 ccd.) in no particular
order, a few questions:

1. has anyone ever used this JVC camera, and if so, any caveats,
complaints, or compliments? (i'm assuming it's better than my 5 year
old Sony DCR-TRV11, though truth be said, i've been blessed with that
camera.) also, since i'll be buying mini DV tapes in bulk, should i
go with JVC, or Sony, or some other brand, and how high quality do i
need to go? in bulk at BH Photo video i'm looking Sony premium DVM
60s running about 3$ a pop, which fits my (non-existent) budget.

2. The cable access channel said i'll need to buy a new battery for
the JVC, they lost theirs or something. i've done some internet
searching and found some online battery places that have compatible
batteries for about $55. am i doing the right thing here or do i need
to find a JVC-manufactured battery?

3. Naturally i want great sound and don't have a boom operator, so
i'm investing in a shotgun mic. in the BH PHoto Video catalog i'm
looking at an Azden SGM-X shotgun mic for about $130, a Sennheiser
MKE300 for $170, and a Sony stereo condenser mic for $80. Any
recommendations about these or any others you swear by? I really
don't want to go over $200, and am only willing to go that far because
I obviously know the importance of really good sound.

4. I have a something which was given to me which I realize now is a
Beach Tek Dual XLR audio adapter DXA 4 for Sony cameras. Is this
going to be compatible and/or necessary for a shotgun mic?

5. My doc is not, thus far, proving to be something where I can set
up lights and all that; I'm documenting a couple who are starting a
small private (Montessori) school and most of what I'm catching is
them having business meetings with the bank, the business plan guy,
interviews with them about their partnership and philosophy, scouting
out the (potential) school space, giving informational meetings for
parents, meeting with realtor, etc. Since I'm shooting on DV, and
mostly 1 chip for that matter, what would you, experienced D-worder,
recommend as the things I absolutely should (or should not, as the
case may be) be doing when I'm shooting? As you can see, good sound
is something I'm paying attention to, but should I absolutely have a
single light i'm setting up behind my camera, or invest in an
expensive tripod (i have a lightweight one that i set up and then
don't touch), etc? Professional experience and words of wisdom are
greatly appreciated by us first timers.

As always, thanks in advance!

Doug Block
Fri 13 Jan 2006Link
no time to answer now, marc, but i highly recommend you not post so
many questions at one time. it's a bit overwhelming for us time-
challenged folks. one quick thought, though: go with sennheiser.

Marc Maurino
Fri 13 Jan 2006Link
thanks for the advice, doug, both on sennheiser and posting
etiquette. i guess i wanted to avoid the "man, that guy is posting
new questions every day" thing, so i post a dozen at once . . . looks
like i backed the wrong horse! i'll give it a few days and then
dribble questions in one at a time from now on. thank you for taking
the time, and have a great weekend!

Ben Kempas
Fri 20 Jan 2006Link
Georg - just email me with your account details and we'll sort out
your access problems. ben@d-word.com

Stephanie Vevers
Fri 20 Jan 2006Link
Marc,

The beachtek adapter is not needed with model MKE300 sennheiser
mic which already has a 1/8" connector.

If the mic you choose has a 3-pronged connector you do need the
beachtek adapter. It is a good device and I have used it a lot
with a Sony TRV900 camcorder. It also allows you to take a line
feed from pa and sound systems.
You would need a cable to go from the mic to the beechtek. A
short cable for ease of use.
A long cable for remote location from camera, if you need to tape
a panel discussion or pass mic around.
You have to be concerned about mic noise of course. Connections
and handling introduce noise. Headphones?

Try to review your footage as you go, learn from your mistakes.
don't zoom with impunity. do change shot setup or angle, rather
than stay in an poor one.
But don't wear out your tapes with viewing. Dump onto hard drives
or make vhs viewing dubs?
Hard drives are going to be an investment.
Start thinking about editing now.

B&H sells generic batteries too.

http://www.beachtek.com/dxa4.html to download info and
instructions if you need them.

THere are some good books out there,
Directing the Documentary, by Michael Rabiger, seems popular.

Marc Maurino
Sat 21 Jan 2006Link
Stephanie,
Thanks for taking the time to provide such a detailed and intelligent
response. The "review . . . learn . . . and dump" as you go advice is
really good. I have a spreadsheet form that I fill out after shooting
and I'm going to start logging as I go, as I anticipate shooting a few
hours a month for nine months, and don't want to wake up in september
with thirty hours staring at me! :)

I just had my first experience with the beachtek the other night,
borrowed a few shotgun mikes from the local cable access station (and
stands) and ran them into my beachtek, monitored it all on headphones.
good experience, and when I have a static environment, i think i'll
go with mikes on stands; but for more mobile shooting (or tighter
quarters) i think i'll go with Sennheiser. I really appreciate the
advice! Thanks for being so generous!

Marc Maurino
Sun 29 Jan 2006Link
quick question on ethics and doc filming--if you've got a good scene
going but your subjects are just a little too far apart (physically)
to both be in your frame, is it ethical/permissible/fair to ask them
to scoot closer to one another to fit into your frame? in this case,
it was a married couple discussing a budget, and i was crammed into
the corner of their dining room, and they were comfortable just
sitting a little closer and pushing their laptop over a little.
anyone have any thoughts on this? thanks in advance.

Doug Block
Sun 29 Jan 2006Link
sure, i've done that. had no great moral scruples, either. but,
shhhhh, don't tell anyone ;-)

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