Steve Holmes
Tue 13 Mar 2007
•
Alisa: Robert is the camera expert. I'd listen seriously to anything
he says.
he says.
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.
Jennifer Ryan
Sun 25 Mar 2007
•
Hi, I'm looking for any and all advice about getting practical advice
& experience making docs. I've got 9 years experience as a journalist
(am in London now) and while I'm a total beginner as far as docs go,
I'd rather just get thrown in at the deep end rather than take a
course (is a course going to tell me that I'd love or hate this kind
of work? I think not.) Any thoughts would be most welcome. Thanks!
& experience making docs. I've got 9 years experience as a journalist
(am in London now) and while I'm a total beginner as far as docs go,
I'd rather just get thrown in at the deep end rather than take a
course (is a course going to tell me that I'd love or hate this kind
of work? I think not.) Any thoughts would be most welcome. Thanks!
Doug Block
Sun 25 Mar 2007
•
J, with your background in journalism, you have a big head start.
Might help to read a good book in the basics of documentary
storytelling, so you begin thinking about telling stories in images
and sounds instead of just words. Directing the Documentary by
Michael Rabinger is considered one of the best:
<http://www.amazon.com/Directing-Documentary-Fourth-Michael-
Rabiger/dp/0240806085>
Would do you some good to read the conferences here, too.
Might help to read a good book in the basics of documentary
storytelling, so you begin thinking about telling stories in images
and sounds instead of just words. Directing the Documentary by
Michael Rabinger is considered one of the best:
<http://www.amazon.com/Directing-Documentary-Fourth-Michael-
Rabiger/dp/0240806085>
Would do you some good to read the conferences here, too.
Michaela Manson
Wed 2 May 2007
•
Hi,
I'm making a documentary film about an accordian festival and i've
contacted the co-ordinator about permission to film....do i need to
get permission from every individual who will be in attendance at
the festival or is there some sort of blanket permission form for
everything that i can get the organizer to sign?
it's basically just entirely DIY/Indie doc so what else should i be
aware of when making it? tips and tricks would help!
Thanks in advance!
I'm making a documentary film about an accordian festival and i've
contacted the co-ordinator about permission to film....do i need to
get permission from every individual who will be in attendance at
the festival or is there some sort of blanket permission form for
everything that i can get the organizer to sign?
it's basically just entirely DIY/Indie doc so what else should i be
aware of when making it? tips and tricks would help!
Thanks in advance!
John Burgan
Thu 3 May 2007
•
Assuming it's in a private location, post large signs at the entrance
(with the organiser's permission) stating that the festival is being
filmed for a documentary, not forgetting your company name & contact
details. Wording should include something like "Entrants consent to
being filmed and recorded by (****company name) for possible inclusion
in the documentary film (**** title)".
If in any doubt, consult a lawyer (especially if you're in the US)
(with the organiser's permission) stating that the festival is being
filmed for a documentary, not forgetting your company name & contact
details. Wording should include something like "Entrants consent to
being filmed and recorded by (****company name) for possible inclusion
in the documentary film (**** title)".
If in any doubt, consult a lawyer (especially if you're in the US)
Ross Williams
Thu 10 May 2007
•
Hi guys, I finished my documentary The
Turning Point early this year and have since been trying get it
into the festival circuit, but have been completely unsuccesful. I
started by trying to get into the bigger festivals; Sundance,
Slamdance, SXSW & Tribeca and wasn't too surprised by getting my
extremely tiny film rejected by these, but now I'm also getting
rejected by all the documentary and smaller festivals I've been
entering as well. I've been rejected by about a dozen festivals now.
The film did play at my local festival, the Ashland Independent Film Festival, and was received very well. The reviewers that have seen the film have given it A to B grades. Other filmmakers that have seen the film all seem to like it. It's not a perfect film by any means, but I know that it is a good film.
I've seen so many terrible films, narrative and documentaries, at the same festivals that I'm entering, that I just can't believe that my film isn't considered at or above the same level. I think we're getting rejected because the film is so personal, while also not having anyone even slightly famous involved. (I feel like if Gus Van Sant stuck name on there, it'd be accepted into any festival in half a second.)
So I guess I'm asking for advice how to get into these festivals? Is there a trick I'm missing? Should I just give up and start trying to distribute it on DVD myself? (The entry fees are quickly adding up.)
Anything will help... I spent three years of my life putting this
film together and the fact that nobody wants to show it is killing
me.
Joe Scherrman
Fri 11 May 2007
•
I just watched part of your trailer. It looks very interesting. I
would like to see more. For some reason my laptop loads the first part
then seems to stop. It’s not just yours it happens all the time.
Pisses me off.
Are you selling the doc?
would like to see more. For some reason my laptop loads the first part
then seems to stop. It’s not just yours it happens all the time.
Pisses me off.
Are you selling the doc?
Erica Ginsberg
Fri 11 May 2007
•
Ross, not every film is a festival film, but that doesn't mean it's
not a worthwhile film. Festivals are not the be all, end all of a
film's life. They have numerous reasons for accepting or not
accepting films -- length issues, other films on similar topics
playing the circuit at the same time as yours, not thinking the topic
is sexy enough, or simply not getting the film. Rather than waste
lots of dollars continuing to apply, target your festival strategy at
festivals that have shown films in the same vein as yours. Heartland
Film Festival comes to mind since their focus is on films about
positive life values.
Whether or not you get into festivals, it appears you have started to
build an audience for your film through your MySpace page and other
outreach. So think about other ways to generate screenings -
microcinemas, academic conferences, public libraries, birthing
classes at hospitals, etc. It's a lot of work to do on your own, so
you may want to re-read the D-Word Conference on Outreach with Robert
West from a few years back, but it seems like there is a definite
audience for your film out there. It just may not be a festival
audience.
not a worthwhile film. Festivals are not the be all, end all of a
film's life. They have numerous reasons for accepting or not
accepting films -- length issues, other films on similar topics
playing the circuit at the same time as yours, not thinking the topic
is sexy enough, or simply not getting the film. Rather than waste
lots of dollars continuing to apply, target your festival strategy at
festivals that have shown films in the same vein as yours. Heartland
Film Festival comes to mind since their focus is on films about
positive life values.
Whether or not you get into festivals, it appears you have started to
build an audience for your film through your MySpace page and other
outreach. So think about other ways to generate screenings -
microcinemas, academic conferences, public libraries, birthing
classes at hospitals, etc. It's a lot of work to do on your own, so
you may want to re-read the D-Word Conference on Outreach with Robert
West from a few years back, but it seems like there is a definite
audience for your film out there. It just may not be a festival
audience.
Ross Williams
Fri 11 May 2007
•
Joe,
I'm not officially selling the film yet. But if you're interested I
could send you a screener copy. If you want to send me $5 for DVD
cover, disc and shipping, I'd love to send you a copy. I'd just ask
for your opinions on the film in return. Email me at:
ross@eraticate.com if you're interested. (That goes for anybody else
as well.)
Erica,
Thanks for the encouraging words. My first short film was accepted
into over 50% of the festivals I entered and won a few awards, so I
guess I was just expecting the same this time around. I'll look
into Heartland Festival and start doing more research on the
festivals I do enter. Being a film about pregnancy and parenthood,
I'm definitely planning on looking further into those avenues. I
actually had a nurse from the pregnancy ward at our local hospital
tell me they'd love to get a copy for their new parents to watch.
So I'm hoping to get it seen that way.
I was just having a bad day yesterday, so I needed to vent a
little. I plan to read more about alternate ways of distribution,
but I'd love to get more advice if anybody has any.
Thanks!
I'm not officially selling the film yet. But if you're interested I
could send you a screener copy. If you want to send me $5 for DVD
cover, disc and shipping, I'd love to send you a copy. I'd just ask
for your opinions on the film in return. Email me at:
ross@eraticate.com if you're interested. (That goes for anybody else
as well.)
Erica,
Thanks for the encouraging words. My first short film was accepted
into over 50% of the festivals I entered and won a few awards, so I
guess I was just expecting the same this time around. I'll look
into Heartland Festival and start doing more research on the
festivals I do enter. Being a film about pregnancy and parenthood,
I'm definitely planning on looking further into those avenues. I
actually had a nurse from the pregnancy ward at our local hospital
tell me they'd love to get a copy for their new parents to watch.
So I'm hoping to get it seen that way.
I was just having a bad day yesterday, so I needed to vent a
little. I plan to read more about alternate ways of distribution,
but I'd love to get more advice if anybody has any.
Thanks!
Doug Block
Tue 22 May 2007
•
Hmm, there's really no standard rate, Jennifer, given that it's
really unusual to have a doc financed beforehand. I'd ask why, if he
has full funding, you're not getting a full salary and he's asking you
to defer part. I'd be curious how much he's asking you to defer (as a
percentage of what he's paying, that is).
really unusual to have a doc financed beforehand. I'd ask why, if he
has full funding, you're not getting a full salary and he's asking you
to defer part. I'd be curious how much he's asking you to defer (as a
percentage of what he's paying, that is).
Dan Woolsey
Thu 7 Jun 2007
•
I'm wrapping up my first feature-length doc and am wondering if there
is any specific protocol about which credits are opening credits and
which are end credits andin what order for a non-union project.
Different films I've referenced seem to do different things.
-D
is any specific protocol about which credits are opening credits and
which are end credits andin what order for a non-union project.
Different films I've referenced seem to do different things.
-D
Doug Block
Fri 8 Jun 2007
•
no protocol, dan. but usually "directed by comes first", copyright
comes last and most important to least important in between.
comes last and most important to least important in between.
Dori Smith
Sun 1 Jul 2007
•
I'm working on learning how to tranfer audio reporting into visual
and to use some of the video I've been taking at events to create
short features for news.
Where does one turn if he/she is an idea person and wants to team up
with film makers to share the idea and develop it?
Doug Block
Sun 1 Jul 2007
•
dori, pretty sure most tv news is produced by staffers. are you
looking to put together a few sample news stories for a reel?
looking to put together a few sample news stories for a reel?
Robert Goodman
Sun 1 Jul 2007
•
except for all the video news releases run as news....smile.
Daniel Burns
Wed 4 Jul 2007
•
Subject: Start a non-profit, but what happens when we're done?
Through research on the internet, it looks like many documentarians
start a non-profit company for their film. Why is that? I assume it is
for getting grants, yes?
And what happens when they are done with the film and want to sell it?
Are they limited in any way under a 501(c)3?
Thanks!
Through research on the internet, it looks like many documentarians
start a non-profit company for their film. Why is that? I assume it is
for getting grants, yes?
And what happens when they are done with the film and want to sell it?
Are they limited in any way under a 501(c)3?
Thanks!
Erica Ginsberg
Thu 5 Jul 2007
•
Daniel, non-profit doesn't mean you are not allowed to make money.
It just means that anything above the cost of expenses has to be put
back into the non-profit. While the non-profit model can work for
some filmmakers, it is not a necessity. You do need non-profit
status for most grants, but you can do this through a fiscal sponsor.
And I am guessing that Mr. Goodman's comment relates to the fact that
very few doc films turn a profit anyway.
It just means that anything above the cost of expenses has to be put
back into the non-profit. While the non-profit model can work for
some filmmakers, it is not a necessity. You do need non-profit
status for most grants, but you can do this through a fiscal sponsor.
And I am guessing that Mr. Goodman's comment relates to the fact that
very few doc films turn a profit anyway.
Robert Goodman
Thu 5 Jul 2007
•
yup. if you have the problem great. The real issue is that the set up
time for a 501c3 and the costs are major.
time for a 501c3 and the costs are major.
Eamon Ronan
Thu 5 Jul 2007
•
Hey all. I'm new to this forum thing so forgive me if my questions
seem a bit juvenille. I am creating a documentary for National
History Day, a nation-wide contests where students in grades 6-12
research a specific topic that relates to the annual theme and present
it. I'm not the best with technology, so here is my question for you:
What editing software should I use? I have both a PC and a mac at my
house, so I can use all different types of software. Do you think that
final cut express will be sufficient for this project? That's what I
was planning on using, since final cut pro is a completely out of my
price range.
Any thoughts?
seem a bit juvenille. I am creating a documentary for National
History Day, a nation-wide contests where students in grades 6-12
research a specific topic that relates to the annual theme and present
it. I'm not the best with technology, so here is my question for you:
What editing software should I use? I have both a PC and a mac at my
house, so I can use all different types of software. Do you think that
final cut express will be sufficient for this project? That's what I
was planning on using, since final cut pro is a completely out of my
price range.
Any thoughts?
Erica Ginsberg
Thu 5 Jul 2007
•
For what you are doing, Eamon, Final Cut Express should be completely
sufficient. In the case of most software, you can also probably get
an educational discount. You may also want to ask some of the
students - I'd be willing to bet some of them have some sort of low-
cost editing software on their home computers and are already pretty
adept at using it. The key thing you want is something that you can
edit nonlinear and can output to whatever media you to have to
present for the contest (I'm guessing a DVD).
sufficient. In the case of most software, you can also probably get
an educational discount. You may also want to ask some of the
students - I'd be willing to bet some of them have some sort of low-
cost editing software on their home computers and are already pretty
adept at using it. The key thing you want is something that you can
edit nonlinear and can output to whatever media you to have to
present for the contest (I'm guessing a DVD).
John Burgan
Mon 16 Jul 2007
•
Agree with all that Erica says. There's a forum at 2-pop you may also
wish to check out: DV for Teachers.
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