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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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Monica Williams
Sat 17 Nov 2007Link

In reply to Katya Myer's post on Thu 15 Nov 2007 :

Katya and John,

Thanks for the recommendation! I have been reading about Adam Curtis but still haven't seen his films as I didn't know how to get them. I just realized that I can buy Century of Self now and I'm so excited. I really want to see The Power of Nightmares too. Thanks for thinking of me and please send any others I should see. I really appreciate the help.


John Burgan
Sat 17 Nov 2007Link

There are some links at the bottom of the Wikipedia article, you can even watch some of his (otherwise unavailable) work online.


Thomas Beach
Sat 17 Nov 2007Link

Hello Folks,

I am beginning the research phase of my first doc and have a question. As my doc will be driven by period still pictures, I'm wondering what you would recommend for scanners in today's market? I need to buy one soon to begin laying down the 3000+ photos (all B&W) as well as newspaper articles and handwritten correspondences. So reliability, speed, and an easy but broad feature set would be most helpful. From my investigations, prices would seem to be all over the place. I expect a driect-to-video release and hopefully broadcast. Any help would be appreciated.

Thanks

Tom Beach


John Burgan
Sun 18 Nov 2007Link

Actually many mid-range scanners will be more than adequate for what you need. The main thing is to be clear about things like resolution and how these images fit into your workflow, technically speaking. What format are you working with? What is your delivery format?

If you're working on Mac, you should check out Scan Guide Pro (available via the LAFCPUG store)


Thomas Beach
Sun 18 Nov 2007Link

Thanks, John. I look forward to checking the link out.

Not sure I understand the thrust of your "workflow" comment. That said, my intent is to scan images and edit them into my project using FCP Studio 2 including both my sound design and DVD authoring. I expect I will need Photoshop or Aperture to manipulate images? I intend shooting with either the P2 or the XL-H1 for interviews. Specific format TBD although I am leaning toward one of the HD formats. I am also still considering shooting GV's and the like with my NPR (I still prefer film where possible). As this is a one-man production, I expect to perform my own final mix (I'm a production recordist by trade) and simply author to DVD and self-distribute. I hope I have answered your questions? Again, any help you can offer is most appreciated.

Tom Beach


John Burgan
Sun 18 Nov 2007Link

Well you should certainly make the decision about what format you are shooting and delivering on. Not sure how the mix of film and video will work.


Thomas Beach
Sun 18 Nov 2007Link

Agreed. I have some research to do on that yet. I'm beginning project research in December and the aquisition of photos etc. No shooting for some time yet. Film telecined with proper parameters to match project settings should present no issues.


Monica Williams
Tue 20 Nov 2007Link

At what phase of my project will I need to hire an entertainment lawyer? I have an attorney now that has drafted an offering memo for a group of investors interested in my film. They are lawyers and I'm sure they will be asking some legal questions. Will I need an entertainment lawyer throughout the project?


Doug Block
Tue 20 Nov 2007Link

Certainly no harm in finding one you like early on in the process. You only pay them by the hour, as needed, so why not?


Steven Dhoedt
Wed 21 Nov 2007Link

Hi all,

I've got a question concerning a contract between director and production company, more specifically the part which deals with the audiovisual exploitation rights.
What is an acceptable percentage for the director/screenwriter to receive of the gross income for a) cinema release b) dvd release c) tv sceenings, etc... I know this all comes down to what producer and director agree upon, but just wanted to know if there is an average percentage that is usually agreed upon.
As a beginning producer and documentary maker this is all new to me, so just looking for some feedback or online resources that can guide me through the business process of documentary production :)


Doug Block
Wed 21 Nov 2007Link

Stephen, unless you're Spielberg and talking about a big Hollywood movie, directors don't get any percentage of gross income. If they're lucky, they get a percentage of net income. Which, after all the bills are paid off (a BIG if), is known as profit. And how much is pretty much done by negotiation on a case by case basis.


Tony Comstock
Wed 21 Nov 2007Link

Thom,

If you want to shoot film, shoot film. Five years ago we made the move to shooting Super16 for everything except interviews. I think it's helped our projects both commercially and financially.


Steven Dhoedt
Wed 21 Nov 2007Link

Thanks Doug for your answer.
it makes sense that giving a percentage of the gross income is not really done, since the production budgets of most documentaries already include distribution advances, tv presales etc., money that is directly in the actual making of the movie, not raising the director's salary. Correct?
I'd been receiving some standard contracts between director and production company and they all included paragraphs where you should fill in the blank percentages for these exploitation rights.
anyways, thanks a lot for your help


Doug Block
Wed 21 Nov 2007Link

No problemo, Stephen. We live to serve...


Steven Dhoedt
Thu 22 Nov 2007Link

One more question about exploitation rights:
what is the average length in years that the author/director should concede the exploitation rights of the movie to the producer? 5 years? 10 years?
Can this duration affect future distribution deals or do they not affect each other at all?


Jo-Anne Velin
Thu 22 Nov 2007Link

Stephen, I won't answer concretely because I don't have the answeres, but can suggest given your interest, you might want to continue by googling independent producers' "terms of trade" and "video on demand rights" for various countries, and also explore through any independent filmmaker unions, where you are involved (Is there one in Belgium? If not, if you can handle German look at AGDOK's website, and the UK's PACT ). Electronic media rights are a hotly contested issue. "Should" concede is different from "do". Your questions are clear but the answer can be very complex and depend on territory, it seems to me. I have no knowledge about the US, please note.

"Terms of trade" are just the rules of the game, as agreed by participants,where the percentages and timeframes are spelled out across a sector of the industry. In the UK for example, terms of trade were recently agreed between PACT (indy producers/directors) and various public broadcasters. If you are in Belgium and working locally, my guess is you really do need to talk directly with your more experienced colleagues working in the same market.

Maybe see if you can access the European Documentary Network's magazine, DOX from this fall. I wrote a piece about VoD rights for them and you will appreciate the companion pieces in the same issue that were extracted from other sources – especially a compact version of the PACT agreements (really useful if you are new to the topic). Try EDN on-line. Good luck!


Riley Morton
Fri 23 Nov 2007Link

Stephen,
you should get Mark Litwak's book called 'risky business'


Steven Dhoedt
Mon 26 Nov 2007Link

Thanks Jo-Anne and Riley for the info and suggestions!


Thomas Beach
Mon 26 Nov 2007Link

In weighing my options regarding format, I am strongly considering SD and the use of the AG-DVX100B camera. This consideration is clearly money-driven. I would appreciate feedback regarding the current viability of SD, given the present wave of multiple HD formats and the market. Am I severly limiting my market potential by shooting SD? I don't expect theatrical release. Thanks in advance for your input.

Tom Beach


Tony Comstock
Mon 26 Nov 2007Link

I think you've got the cart in front of the horse. Shooting HD (or better yet, film) will expand your market potential, and (perhaps more importantly) your marketing potential.


Doug Block
Tue 27 Nov 2007Link

No need to sign your posts, Tom. It appears LIKE MAGIC automatically above every post.


Brian Boyko
Fri 30 Nov 2007Link

Tom: With the Canon HV20 shooting HD video for $800 or less in some areas, I so no reason to go HD. You can always downrez to SD but you'll want an HD copy of your tapes to "futureproof" the footage.

Me, I'm shooting in HD because I don't know what I'm going to do with the footage yet.


Brian Boyko
Fri 30 Nov 2007Link

Speaking of which – anyone know where I can get a Ph.D. in Documentary Film in an English-speaking country outside the United States?


Malgosia Askanas
Tue 4 Dec 2007Link

Dear All,

On the dust jacket of Vladimir Dedijer's book "The Yugoslav Auschwitz and the Vatican" it says that Gottfried Niemietz, who wrote the Foreword to the book, "has worked on two documentary films about the [then] current civil war in Yugoslavia, which have been broadcast worldwide via satellite." Coud anybody tell me what those two films were, or point me to a possible source of this information? Many thanks for any help you can provide.


Jo-Anne Velin
Wed 5 Dec 2007Link

I did a quick search but came up with two lawyers by the same name. It is possible he is one of them. Just google (german word for lawyer is Rechtsanwahlt).

Fastest way to the right person is to contact the author or publisher of the book.

If GN has 'worked on' a doc, then maybe just as consultant or researcher or similar that might not show up on a google search.

Alternative, look up films on Jasenovac, and related, then scan credits. Tis possible he will show up that way.

http://www.jasenovac.org/videos.php – Jasenovac research centre in NYC
good luck.


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