This should do it, Leon.
The Mentoring Room - Ask the Working Pros
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Thank you both very much. I downloaded the form Joe suggested and will do a google seacrh. This is sort of a daunting process. Once I get the girls, coaches and parents, I still have to figure out how to handle it when I shoot a game where that relates to releases from members of the other teams. Any insight or suggestions? From what I have read, if I film a sporting event and don't highlight the opponents, I may not be required to obtain their releases. Your thoughts are welcome.
There is a segment in my film where I will need to use many paintings from the 18th and 19th century. I plan to travel to Europe seeking images to use in museums etc. I have a DP that I will be working with soon, so he'll probably have some ideas – but I would appreciate all the advice I could get before speaking with him. How does this process work – obtaining images that are past their copyright from museums. Can I take the photographs myself, and rely on my DP to make them look interesting in post, or will I need a professional photographer with me at all times? If I can acquire the images myself, what camera is best? Do the museums have a special way of making these images available? Will I need to speak with someone at each museum in advance and have special forms? Any other advice I'm not asking for will be much appreciated as well.
Thanks so much!
Hi...Can anyone recommend any good Film Workshops for Directing, Writing, etc. in London England?
So, thinking ahead . . . now that I have my PAL and sound stuff straightened out . . . I finish shooting in mid-February, and I'm entering a contest with a deadline of mid-April. My DP can edit with PAL (he's in Milan). So, I have the choice of coming back to the States with PAL footage and finding an editor and cutting a trailer (my DP and I may log , but not sure yet). And then trying to get it in in time for this contest. Or, I can try to stay in Italy longer, and work with my DP to edit our footage/cut a trailer. I'd have to pay him something like 375 a day, but it may only take 2 days. . . he'll know the footage. He'll have the software and what we need to edit. (I won't need to rent a PAL deck here or whatever).
Does this sound wise? Moreso then coming back to the US with the footage?
Just running this by you guys.
unless you absolutely have the EXACT vision for what your trailer is going to be – and you are 100% confident you can get the interview subjects to say what you've envisioned – i have to tell you that it's going to take a lot longer than 2 days to cut a trailer. (i once thought the same thing, but 2 days goes so fast...)
theoretically, it really doesn't seem like it should take that long, but it always does. sure, you could cut a quick 2-minute trailer in two days but i guarantee you won't be happy with it. 5 days sounds like a much better estimation. if you are entering this contest because you actually want to win it, it's probably better to bring all the footage home and find an editor in NY or NJ.
Start looking now for the editor so that you can begin editing as soon as you return from Italy. Honestly, you probably aren't going to attract a top-flight experienced editor with your budget and project. but you can actually attract a decent (though inexperienced) editor for $200/day. 4-5 days editing with him/her will be roughly equivalent to what you would have spend with your Italian DP. If your editor is technically proficient, and you are very clear about what you want, you'll have a good chance at success.
I attended the Panico Film Course a few years back. It depends what you are looking for. The Panico Course is introductory and it ran on Sundays for 6 weeks. It cost me 800 quid back then. Like i said it's more introductory in nature and each week you do a litle bit of this and that. Super 8, script writing, visualising shots etc...and it culminated in shooting a little short in groups of 2-3 on 16mm. It was set-up in the 1980s i believe by a British group who have worked with Terry Gilliam. We had a talk one week from a guy who worked on "Brazil" and another week from Toni Grisoni who wrote Fear & Loathing in Las Vegas.
I don't live in London but for those that do once you have completed the course you can join the "club" for about 40 pounds a year and they meet once a week socially and you get access to a jobs list.
They offer weekend courses too that are more specialised.
David – check out the training programme of the Documentary Filmmakers Group
Thanks, Christopher –
So any ideas what I should look for in an editor. Someone who has the software, can edit in PAL, has experience with cinema verite, and whose work I like, obviously . . . but should I look on Craigslist? Obviously, too, it's better to find someone local, right? So I can sit with them...
What you need from an editor is experience and aesthetic judgment. A track record of excellence in cutting docs. Whether or not they have the software program or not. Editing in PAL is no different than editing in NTSC. The best place to find doc editors is to talk to doc filmmakers and get recommendations.