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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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Gretta Wing Miller
Wed 26 Sep 2007Link

Also, when I was an assistant editor, we all agreed that the best directors had started out as editors. When you are shooting, always keep an edited scene running in your mind; think about what cutaways will be good for what a person is saying; when you are shooting action, figure out how you are going to get CUs of the same action, and move fast. the alternate angles might not happen til another day, so you have to keep them in your mind. It's so mesmerizing to get caught up in the continuity of what is happening, but you have to really think fast about how much of any given activity will end up in the final product.
Almost anything can be 'fixed in post', as long as you have the right cutaways!
(Last year I cut an amateur shooter's film about a relief kitchen in NO, and there were NO (zero) shots of people actually using the facilities…huh? We shot this after lunch, I was told…And you didn't go back the next day??? (Still photos actually saved the day, in this case)


Peter Gerard
Wed 26 Sep 2007Link

I agree that it makes sense that talking to the camera is like consent, but I doubt any lawyers or (more importantly) broadcasters will agree.


Joe Moulins
Wed 26 Sep 2007Link

You may have a difficult time getting E&O insurance with signed consent forms.


Doug Block
Wed 26 Sep 2007Link

I think you mean without signed consent forms, Joe. And it's true, a broadcaster won't show your film unless you have E&O insurance, and the insurance company will want to know you have appropriate releases from everyone. The broadcaster's lawyers will also check sometimes, but usually for the key releases of anyone they see as a red flag or potential lawsuit situation.


Joe Moulins
Wed 26 Sep 2007Link

Yes, without.

As always, I learned this the hard way, when I had to cut a character from a film after she soured on the film and I hadn't had her sign a release.

I now carry releases in my camera bag...and almost always forget to use them.


Mike Luehring
Wed 26 Sep 2007Link

What a great website! It's great to ready through the post and know we're all in the same quicksand so to speak. I am working on a doc now where I need some guidance in setting up contracts to include the main participant of our doc to recieve a portion of any funds that would be paid. Any ideas?


David Maynard
Thu 27 Sep 2007Link

Question about Sundance. If a film is accepted to Sundance do they give the director a certain amount of "passes", etc for those wanting to tag along? For instance, if I get in and want to bring my mom, dad, brother, girlfriend, best friend, etc. etc. how are these sorts of things accommodated? I've never been so I'm not even sure if "passes" are needed. Any feedback on this? Thanks!


Peter Gerard
Thu 27 Sep 2007Link

Mike, sounds a bit complicated to me. Can you not agree on a figure instead?

Edited Thu 27 Sep 2007 by Peter Gerard

Mike Luehring
Thu 27 Sep 2007Link

Until we get the film completed or start shopping what we have, I have no way to know what figure to offer. It would be a agreement with our talent for them to share in the procededs if a sale where to happen. My quesiton is how do I set that up in a contract?


Robert Goodman
Thu 27 Sep 2007Link

Dave-go with your instincts and remember that you will remake every idiotic mistake in the book on your own show and that ultimately it won't matter. Nothing worse than clients and nothing worse than being the client.


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