it's because different frequencies are used by different countries for different purposes, not that it won't work, but that it's illegal and sometimes just not practical. an example: say you want to use a US wireless in the UK, well, that would be a bad thing because in the UK, they use the same frequencies that we use for wireless microphones for their military and defense communications. you will be found out and they will not like it. i know a big-time pro-field audio guy that's got some of those wacky wirelesses that can get every frequency and he's got a book that lists every country and what frequencies are used for what activity. i'm not on his level. i usually just rent a wireless from a local place. saves me time and headache. also, when it breaks i have someone who can get me a new one.
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.
Happy New Year everyone!
My question is about exclusivity agreements. I've looked around and cannot find a sample contract/agreement- it's important for one of the interviewees in my documentary to sign an exclusivity agreement, specifically that he won't appear in anyone else's documentary until mine is finished. Does anyone have any sample contract along these lines or any suggestions as to how to word such an agreement?
Many thanks in advance :)
re the PAL/NTSC issue, don't worry about it now. You've already committed to your DP's gear, etc.
As I explained in my previous posts, there are many – all of them simple – ways to deal with this issue, LATER. Not least of all, the fact that a converter is extremely cheap nowadays.
That said, making a DVD has nothing to do with whether ot not your video was shot in NTSC or PAL. Just to give you an idea, the DVD player on any computer can play DVDs in PAL and/or NTSC.
What you decide to do will depend on other factors bu there is really no need to worry about it now.
Oh thanks, Darla, that would be awesome.
I'm at ms612ms at hotmail
I tried e-mailing you at the address above, and sending you the form, but I just plain can't get through to hotmail anymore. Every hotmail address bounces back. So, if you have another address, I can e-mail you the release form. Otherwise, there's one here:
I looked at the link you sent and could not find an exclusivity agreement (I've been using release forms but what I'm looking for is something that outlines an interviewee's exclusive involvement and guarantee that s/he won't appear in other docs)- is that what you were sending?
You can try mshaneen at earthlink dot net
Thanks so much, very kind of you!
Hi again Marianne, sorry I misunderstood. I only have release forms.
I was recently asked by a friend for advice regarding film schools for their 16 year old son who wants find a school to study filmmaking.
The friend thought it was best to send their son to a summer program in New York City, either the New York Film Academy, or SOCAPA, as a good intensive introduction to filmmaking to see if this is really what they want to pursue.
I don't have any knowledge of these schools but thought some of those who contribute to this excellent forum may be able to offer advice or info.
Thanks in advance.
Maybe York University in Toronto has ideas? They have a good film program.
Thanks Rhonda – I'm somewhat familiar with the film schools in Canada, including York, Ryerson, Sheridan, Humber and post grad at the CDN Film Centre, as well as Concordia in Montreal, and Simon Fraser in Vancouver. But I'm not aware of any summer programs for high school aged students at these schools.
I'm looking for any first or second hand info/opinions on the NYC schools I mentioned.
I come from fiction film and I have never written or even seen a treatment for a documentary. Now I'm about to embark on my first documentary project and I have no idea what to do when I can't just make up characters and stories!
Can anyone share their treatments with me so that I get an idea what they're supposed to be like? Or any descriptions/links of how a documentary screenplay might look like would be great as well.
Thank you in advance...
We just make it up as we go along, Azad. And I'm (mostly) not kidding.
Most filmmakers approach docs with (usually, but not necessarily) a strong idea of a story or situation or issue that they want to explore, and varying levels of research, which might include hanging out with the subjects for a period of time. But if there's something called a documentary screenplay I've never heard of it.
Which is the whole point. You can't possibly script documentaries, and you wouldn't want to. You put this inquiring energy out there and the universe conspires to give you great footage (or not).
Azad, there are documentary screenplays for the kind of documentaries you might see on Discovery Channel or National Geographic – a science or history program, for example, where they basically know what they want to say and show and create the visuals around the script. But I think what Doug is referring to are more what we would call "creative documentaries." Certainly documentaries which rely heavily on observational or verite footage cannot be scripted in advance. But some filmmakers do find it helpful to put a film in script form once they have the footage as a means of organizing the information as they edit. Others work without a script and use other systems to organize the film.
While there is no rule in documentary of how to create this script that would correspond to Hollywood's rules of how to create a fiction screenplay, there are some rules of thumbs you might want to go by. I find it more helpful to use the 2 column approach with video on the left and audio on the right (possibly with a third column to denote tape info and timecode in/outs if you are actually editing to the script), though I have seen documentary scripts which look like fiction scripts too.
But to answer your original question which I think is really "How can I write down an idea of what my film will be when I don't know who my characters are yet or what will transpire?" that is really more what a treatment will achieve. Again, there is no right way of doing a treatment (though different funders may have specific elements they want in the treatment) and it will definitely change as you discover your characters and story. For now, it may suffice to write down what it is you want to say with your film, set the stage of where it is taking place, the kinds of characters and/or events you will be seeking out, and why you are the one to tell this story.
11th hour here . . . sorry to return to this subject, but I'm getting a bad feeling again about the NTSC/PAL issue. Maybe I should just put the money out now-
up front-to rent an NTSC. We're supposed to shoot on a PD170p. I could get one in NTSC. But I'll have to rent it in Italy, prob. b/c I'll be gone a month (only shooting 2 weeks). I can probably rent one – have my dp rent one – from Milan or Rome even. . . right?
A little bit freaking out about it.
People have been shooting PAL and cutting in NTSCland for the years before 24p became en vogue, largely because of PAL's 25fps which looks far more cinematic. PAL has some other things going for it technically, too. But take a read through this article:
and hopefully it might assuage some fears. Without knowing how you're intending on posting the footage (or viewing it), it's hard to know if this is going to be an enormous hassle for you or not. Also, if you're mixing and matching that could be time consuming (and may not look that great). Probably best that if you start in PAL, that you stay in PAL, that way you're only converting upon your final edit and not for all of the raw footage.
Thanks, Eli. Essentially I want a trailer online and DVD. My DP is in Milan, and I'll be finding an editor here. I don't have software, so I hope it won't be a problem to find someone to edit PAL. Just want to compare the cost overall. i.e. rent a NTSC camera now or just go with what we have and essentially it'll be the same in the end (cost wise).
Thanks for all the resources here -
As I wrote you previously, this is no longer a big deal. If you read my previous post and you will notice that Eli is telling you as much.
If in doubt – especially if all your shooting will be in Italy – shoot in PAL.
Try to find NTSC gear but I doubt that it will be easy for you to find NTSC gear to rent cheaply (especially something like a PD170) for the simple reason that nobody would have any reason to use it; your best chance would be with an ex-network crew in Rome but, more likely than not, they'd only have expensive top-of-the-line Beat equipment.
There is one very simple solution: rent an HD camera. Many models have a PAL/NTSC switch. You could certainly find an appropriate HD videocamera to rent here in Italy. I had already pointed this out to you in my previous post but you'd insisted that you wanted to use your DP's camera.
As regards editing, with Final Cut Pro, for example, all this would entail is clicking a PAL setting vs clicking an NTSC setting. All you'd need to do is convert the final product at the end.
Thank you Doug and Erica,
Sorry for the delay in checking back here. I appreciate your thoughts on this. You're right Erica, that is exactly what I wanted to know. I really don't know what funders expect. I guess this is something that comes with experience dealing with the pre-production aspects of the documentary film process.
Yes, Wolfgang, I got last-minute jitters. But I love my DP. He's perfect for this film, and so I don't want to throw him a new, unfamiliar camera. It's not been an easy decision for someone who doesn't know the tech stuff, but I'm learning with the help of all of you.
I'm anticipating what will happen when I get back. I can try to use a PAL camera as a deck. Clearly editing in FCP isn't an issue. I'm just trying to anticipate what's workable and the cost.
The Edit Center in New York (should I work there with someone or be referred to an editor through them) said I should have my tapes digitized and on a hard drive? I guess that's my understanding, so I'm trying to see, now, what my DP can leave me with that will make it easier for me to come back here and edit with someone in the States . . .
depending on how much footage you shoot in italy, you shouldn't need more than a 1-2 day rental of a deck. a dsr-11 should do the trick for you, and usually only costs around $50-75 a day to rent – if you rent over a weekend, you usually only have to pay for one day's worth. i imagine that renting a PAL camera would be significantly more expensive.
there are good editors everywhere, but probably only a few who are the best fit for your project. so don't just work with whomever the Edit Center has. put ads on craigslist, mandy.com, NYU film school, etc. and look at people's reels and experience to get a better feel for their work. definitely do an interview to judge if your personality will mesh with theirs. you don't want an overbearing personality who doesn't listen to your input...
Allow me to suggest you might want to pass by Barnes & Nobles and buy a text book or two, in order to familiarize yourself with all you'll need to do when you get back.
You should consider one or both of these: Barry Hampe, Making Documentary Films & Videos (my favorite) or Rabiger, Directing the Documentary. I'd also suggest one of these: Rice & McKernaan, Editing Digital Video or Button, Nonlinear Editing.
Second, if you do a quick Google Search you should be able to find a glossary of digital terms. Here I've done it for you.
I'm going to make a note that you should read now or before you start anything when you get back. This regards editing, but I'm writing it here because you have a tendency to do things first and then ask for advice: WRONG WAY!!!!
After shooting, to "capture" your video, i.e. to pass your video from tapes onto a hard disk drive, you can use any PAL miniDV camera or a SONY DSR deck (PAL/NTSC switchable).
Regardless of whether you'll be editing in PAL or NTSC, you'll need to purchase a hard disk drive (this is where you store all your video and it can be attached or removed to any computer laptop or table top, as well as to the computer that you'll be using to edit. This allows your editor to work on other projects and allows you to have "portability." Since external hard drives are so cheap, I'd suggest buying a 250 GB or 500 GB hard disk drive. Lacie is a good brand and these drives have always worked well for me. You could also look for a hard drive that has a ventilator. In any case, a top quality 500GB disk drive will cost you less than US$200,00. This is enough storage to store the edited version and all the media (the video and audio files that you have captured) of at least two documentaries.
One last suggestion: I always capture ALL the media in low resolution at first for the various edits (you will get slightly lower quality video and audio this way, but you'll save a lot of space on the hard disk) and re-capture the media (with Media Manager) at Standard or High Definition (whatever the maximum resolution level or your shooting material is, in your case, SD) only AFTER I've completed the final cut (and adjusted audio and video levels, added subtitles, graphics, etc.). This won't mean anything to you now, but your editor will understand.
Please note that the "logging phase" is associated witht the capture phase, in fact I (and many others) log and capture together, whereas others prefer to capture first and then log. "Logging" is the procedure whereby you list and describe every single shot on a tape. You want to make sure you use stars (for example) to mark your best video and you'll want to take care that you also note your best nat sound.
You will group similar shots in "bins." You can learn the basics of editing – i.e. the part YOU need to know, on a good text book and working with your editor.
Please note that this – LOGGING – is the most important phase – and the one that will determine the edit and the final outcome of your documentary. You must have the patience to log every shot correctly. This procedure allows you to see what (video, shots) you have available and to memorize your video (don't ask me how it happens because I don't know, but the logging process allows me to memorize, effortlessly, every single shot in 60 or more hours of video).
The logging process is something that you and your editor must do TOGETHER, so you both get to know all the video that is available. This allows you to map out your story and write an outline and will also allow you, during the edi,t to build sequences (because you know all the video that you have and where it is located).
It's easier than it sounds – and fun, at least for me – but make sure that you do some studying BEFORE you start any work when you return home otherwise you'll never be in control of what you're doing.
Also, Christopher has made a very good point. An editor is NOT to be considered like another piece of hardware. A good editor makes the difference, aside from the fact that he/she can save you non-withstanding mistakes you may have made. You should try to find someone who has edited one or more stories, similar to yours in a way that you like. Especially in your case where you know zip, a more-experienced editor will save your behind, teach you as you go along and make magic (if the material you've shot allows her/him to do so). I'm certain that you'll be able to get many suggestions regarding experienced editors from the members of D-word and/or asking for help from members of the IDA (International Documentary Association).
If anything, this is where you need to spend some extra money. A good editor is worth every cent and in your case they will also be acting as your producer, teacher, babysitter and fairy godmother. A top notch editor can make a great doc (if your material permits it) or at least save your butt and carve out something passable if you have the minimum required elements. Don't try to save the odd few bucks here because you'd be screwing yourself!
For the log and capture process, Erica Ginsburg has a DSR11 deck; maybe you can rent hers!