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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.

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
Mon 26 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
Tue 4 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. – Jasenovac research centre in NYC
good luck.

Monica Williams
Wed 5 Dec 2007Link

Hello everyone,

I could use some advice on organizing my last phase of production. I have already shot an extensive interview with the author of the book I'm adapting. I have a pretty good idea of the structure I will be using for the film, but I'm not locked into it. I now have images to research and gather and some more people to interview. For a historical/essay documentary (Ken Burns and Adam Curtis are my best models) which should come first – the interviews or the gathering of images. I can see the good in doing both first. I have a background in art history and the 20th century, so I have a pretty good idea of what images are out there. Thanks!

Riley Morton
Wed 5 Dec 2007Link

Never having made a film in the Ken Burns style myself, here is how i would approach the next steps on (what i know about) this film:

view post production as the place where the film will likely find its voice. as such, you'll want to assemble the foundation and structure of the film AS you acquire the Broll and illustrating material. Even if you know right where to go for all the images that you hope to use in the film, it will undboubtedly take much longer than you anticipate to get the rights to use all those stills and Broll/archival material. Of course, you may claim fair use on all that material, and decide not to pay for rights – but that is a bigger question for you and an entertainment lawyer to answer together after much research.

do this simultaneously with shooting interviews and other scenes that you want to include. But I'd recomend starting right now. You say that you've got a structure that you want to use in the film – sounds like using this big interview as the skeleton. Open up a new FCP project, and save it as "Evil01" import all the usable clips from your big interview, and start laying it down on the timeline in the structure that you imagine. How does it flow so far? Did you get everything you needed from your subject? what else do you need to add? which concepts need to (or can) be explained by other interviewees/sources? which examples in history have stills/film that you can cull from? are you finding the right balance to make the material engaging for your audience? start work on getting all those assets, and by repeating the questions above over and over for many many months, you can start to see your film take shape in the way that you want to get your message through. a journey of a thousand miles begins with a single step – and making a great documentary is in many ways a longer journey than that. you've already taken a few big steps, which is more than 98% of wannabe doc makers take, but now its time to jump in the difficult questions of how to best tell your story. it seems to me that jumping into post production, along with creating the beginnings of a paper edit and maybe a white board to outline structure – and you are well on your way! its going to be a great learning experience – and hopefully you'll have a great film in the end as well!

Monica Williams
Thu 6 Dec 2007Link

Thanks so much Riley for the thoughtful and valuable advice! It makes perfect sense to go about it this way and I don't know why I was thinking there had to be an order. This is a huge journey, I'd say closer to a million miles. I began two years ago with no idea the work that goes into these films. I Can't believe how much respect I've developed for the people behind this craft. Hope everything is alright in Seattle – stay dry!

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