The Mentoring Room - Ask the Working Pros

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.

Doug and Robert, thank you very much for your input!

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

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.

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

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.

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

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

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.

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!

ditto what robert says. v. good advice (as usual).

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.

thanks! I'm going to get Laura (the director) to get out to that!
She's in Virginia.

Where do i find out about E & O insurance?

I highly recommend Dennis Reiff & Associates. Just give them a call
and ask: http://www.reiffinsurance.com

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

That's always a tricky question, but I figure anywhere between 50 to
75k wouldn't raise any eyebrows. you'll have considerably more
trouble explaining to an investor how he or she will see a profit with
that high a budget on a doc.

Thanks for you quick response! I suspect I will make it through with
much less than that, but it's good to have some general numbers. My
partner, who is in fact used to working on small budget productions,
reminds me that no filmaker she ever met got paid during production;
but frankley, the scope of this film is more expansive and, in
addition, there would be no other source of income during the making
of the doc. Is it completely unreasonable to expect at least
something to live on?

absolutely not. most experienced funders actually worry more about
filmmakers who don't put ENOUGH salary for themselves to live on. it's
a big red flag pointing to their inexperience. still, even the most
experienced often pay themselves last. like, um, me...

Thanks again!! Two more questions--two major producers want to see a
three-minute pitch reel (it might, in addition to everything else,
help us retain creative control over this project--which one producer
has already tried to grab away). Our DP suggests we go with the 24p
package he has, for the pitch and maybe the doc itself. Not knowing
where this will be distributed (cable television has expressed an
interest), should we be thinking higher in the quality universe?

Also, the person who recommended an investor, wants a hefty
commission--have you heard of that before and, if so, how was that
handled?

finder's fee - worth 5-10%.
which 24P package - a DVX100A? a SDX900? a VariCam? a Cinealta? 16mm?
35MM? If the answer is DVX100a, I'd suggest unless you don't get
your 500K, moving up the production scale.

hey, you're talking to a guy who had a film shown on hbo, at sundance
and many other fests, and even limited theatrical that was shot on
good ol' hi-8! so a dvx100a seems perfectly tasty to me.

doug - not what I meant. If the budget is $500K think the
expectation is that you will shoot on something better than Hi8. Now
if you're talking Pixelvision I could understand. And was I talking
to you?

re-read the posts. Doug you didn't ask the question. Richard did. If
I were the investor, I'd opt for better quality for my $500,000.
Just my 2 cents.