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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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Marc Maurino
Tue 21 Dec 2004Link
Thanks for your great advice Erica. This is just the answer I needed
and provides me a great tool for being frank and direct with the
group. I haven't been asked to make a promotional film; I want to
document my friend's journey, and he's part of the group, so while it
will reflect well on them, on not looking to make an informational or
advocacy piece; more of an exploratory film. I will def. contact
Seeds of Peace filmmakers as well, if only b/c our projects share
some of the same impulses.

On the subject of editors, I knew the $ amounts were a pittance, I
also agree, I need to sell someone who both sees it as a labor of
love and wants to be part of the creative team, and also someone
maybe looking to step their own game up a notch. I hope my doc
subject is compelling enough to find someone who will say, yeah,
that's worth my time. Thanks again for all the generous advice!

Doug Block
Tue 21 Dec 2004Link
marc, figure any editor with real professional experience and talent
comes at a minimum of $1500/wk. you can get someone less experienced,
of course (at your peril), but it'll be hard to keep them on for any
length of time just because it's your labor of love.

Marc Maurino
Tue 21 Dec 2004Link
Thanks Doug, for us newbies having an idea of what professionals
should reasonably expect is a great post-production planning tool.
Happy holidays to all!

Jim Wharton
Tue 28 Dec 2004Link
Okay, I am new to the site and have introduced myself on the other
thread so here goes the question.
I am prepping a doc about 2 unsolved murders and the effects of non-
closure on the family members. Much of the content will be their
ongoing search for answers and frustrations with the investigating
agencies. In shooting the interviews, I want to give a face to the
victims and show my audience who they were. I know that "talking
heads" can be VERY boring. Any tips on composing these interviews to
make them really interesting?

Doug Block
Tue 28 Dec 2004Link
it's not the composition that makes an interview compelling, jim. it
helps, of course, as does lighting, as does focus, as does good sound.
but worry about the interview itself and trust that the subject matter
is inherently interesting. there are lots of terrific docs out there
that rely on talking head interviews. this fella named errol morris
has made few.

Robert Goodman
Wed 29 Dec 2004Link
Jon Else's films are also another resource.

Maureen Futtner
Thu 30 Dec 2004Link
HI, again, oh Brain Trust.

Looks like I'll be posting to this site often in the next few
months, as I'm embarking on a new project.

OK - making a road trip from San Francisco (my home) to Santa
Barbara in mid-Jan to interview a man I hope to be a supporting
character for my documentary. In this initial visit I probably only
have 1 "session" of 4-5 hours with him, and have never been to Santa
Barbara. We are a 2-person crew, relying on natural light - hoping
to shoot outside. My subject lives in an apartment building, but I
was hoping to shoot him in a park or outside a cafe and walking,
maybe to the beach - out and about. My problem is I don't know
Santa Barbara at all. Is it ok to rely on your subject to "scout"
for you? I have already asked him if he wouldn't mind thinking of
such places where we might go. We'll probably shoot a little in his
house, but ideally I want the atmosphere of his city.
So, how does one "research" such a thing? Maybe we should show up a
couple hours early and scout on our own? Should we just rely on our
subject's recommendations? Visit websites? Any ideas?

Thanks, in advance. And happy & safe new year to all!

Doug Block
Thu 30 Dec 2004Link
maureen, i'd simply ask him to take me to some of his favorite local
spots. done all the time - by me, at least. while you're out and
about you can keep your eyes open but i'd go where the subject is most
comfortable.

Erica Ginsberg
Thu 30 Dec 2004Link
I'd recommend you ask him for ideas in advance and, if you can, get
to SB a day or two before your shoot to check out the locations to
plan how you want to set up the shot. A subject may have a favorite
park or cafe but may not be thinking about such things as noise or
available light. For instance, he may like to go to a certain park,
but always sits in a part of it that is very crowded and noisy.
Might be better to find a quieter spot for the interview or perhaps
consider one section for the interview and another for him
interacting with other people (if you want anything more verite).
Also not sure whether the city plays a sub-character to this
character; if so, the extra time will give you the opportunity to get
some beauty locale shots.

Jim Wharton
Sat 1 Jan 2005Link
Doug and Robert, thank you very much for your input!

X Ali
Sun 2 Jan 2005Link
Hello All & a happy 2005
Read a few of the very useful and practical guidelines offered here
and am very excited. Am based in Nairobi Kenya and am in pre-prod.
for a docu. on the youth and issues that affect them especially in
high school and college.

Has anyone done a similar project or any thoughts?

Xali

Doug Block
Sun 2 Jan 2005Link
hi xali,

if you've had any professional experience as a documentarian please
feel welcomed to join the d-word community, which requires another
regisration step (you've already done part one):
www.d-word.com/community/join

that's where you'll meet your docu colleagues.

Maureen Futtner
Thu 6 Jan 2005Link
Yet another question about releases, however this one is about web
pages. My project is begging for some footage of internet sites.

At our facility, I have access to a scan-converter so that means I
can get fairly decent images off of computer and onto tape. But my
question, of course, is ... are the "release rules" regarding web
sites the same as they would be for using still photos, archival
footage, etc. Do I have to email the web master of each site and
get their permission?

Any info/experience regarding this stuff would be very helpful.
Thanks so much. - Maureen

Doug Block
Fri 7 Jan 2005Link
When I made Home Page I made sure to write each web site I filmed and
get the owner's permission. They were personal web sites, though. It
was pretty simple. I would try in your case, too.

Maureen Futtner
Fri 7 Jan 2005Link
Thanks so much for your wisdom, Doug. I appreciate this forum so
much. You're going to see me posting more and more in the coming
weeks.

All the best, Maureen

Michelle Plett
Wed 12 Jan 2005Link
Hi, i'm new here. I recently introduced myself on another posting.
I'm working for my cousin and she'd like some questions answered if
possible. We're working on a documentary called Childless by Choice.
We're interviewing couples who have made the choice not to have
children. As neither of us have much practical experience, we need
some help. Thanks in advance.

1. Are d-makers copyrighting their treatments or proposals before
sending them out to funders and prospective partners?

2. Do we need Errors and Omissions insurance for a TV Doc that will
be marketed toward both US and Canadian broadcasters?

3. What percentage of a doc budget is typically allotted for post-
prod and marketing? If a dco budget is $100,000, what percentage is
likely to go towards post production, how much to market it?

4. Should an indy filmmaker put in a lump sum payment for her
services (into the budget), even though typically the filmmaker
doesn't get paid until there is money left over?

5. Do you need a location release in addition to a talent release
when you interview in peoples homes? what about in a hotel?

6.Is there a ay to convert film from PC Adobe Premier to Mac Final
cut pro without losing?

Thanks so much
michelle

Robert Goodman
Wed 12 Jan 2005Link
My answers to your questions.

1. No.
2. Yes.
3. Post - depends on how much material you shoot and how quickly you
can edit. Marketing - depends on profile - high profile project -
typical marketing expenses can run from $30,000 to 100,000 after
completion of the project and before a distributor starts spending
money. Also include money for outreach activities - reaching the
affected communities.

4. Better to create line items knowing full well you'll never see a
dime.

5. No location release needed for people's homes. Insurance is
needed in case you break or damage something. Hotels - as long as
the hotel isn't recognizable I wouldn't bother. Get you into more
difficulty asking than just doing it.

6. Not sure what you are asking. Adobe Premiere doesn't use film. It
edits digital media files that must be captured if analog or
transferred if using firewire into the program. The media files are
not compatible with Final Cut Pro. The timeline may work. So you
might be able to edit and create an edl that can be transferred to
FCP. The media will need to be re-transferred into the mac.

Michelle Plett
Wed 12 Jan 2005Link
Thanks for the info..

as far as #6, that's what I meant...sorry, should have been more
clear or read my post over again!

Doug Block
Wed 12 Jan 2005Link
ditto what robert says. v. good advice (as usual).

Erica Ginsberg
Wed 12 Jan 2005Link
ditto ditto. I'd just add on question 1 that, while you can't
copyright an idea or a proposal, you can protect yourself a little by
keeping good documentation of the different stages of production and
perhaps finding a way to make sure that the story will be unique to
you (i.e., you have special access to the subject, etc.)

Outreach can be a major part of the budget depending on what you are
planning to do. You should consider it separately from post-
production. Not sure where you are based, but you might want to
check out an upcoming workshop on outreach strategies that is being
sponsored by the Center for Social Media in Washington DC on February
7. More info at
<http://www.centerforsocialmedia.org/outreachworkshop.htm > Also
there was an online forum on outreach here in D-Word a few years back
with Robert West from Working Films. The thread should still be
there.

Doug Block
Wed 12 Jan 2005Link
Yup. LINK NOT IMPORTED...


Michelle Plett
Thu 13 Jan 2005Link
thanks! I'm going to get Laura (the director) to get out to that!
She's in Virginia.

Michelle Plett
Thu 13 Jan 2005Link
Where do i find out about E & O insurance?

Doug Block
Fri 14 Jan 2005Link
I highly recommend Dennis Reiff & Associates. Just give them a call
and ask: http://www.reiffinsurance.com

Richard Levitt
Wed 26 Jan 2005Link
Hey there!
I'm in the prep stage for a doc on a former CIA station chief who
helped turn central Africa into the wonderful and happy place it is
today. Brushing aside his usual disdain for agents who have gone
public, he's talking--and it's only to us! We're getting some quick
interest, and we are in the process of putting together a preliminary
budget--around $500k--for a potential investor. A basic question
please: What would be a sensible amount to enter for a
producer/director in terms of salary--given the overall budget? I
know there are no rules, but let's have a figure for the budget and
if the universe allows, I may actually see some of it!
Thanks

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