H'm. It only took me two days to start complaining.
The reading restriction (i.e., not being able to read certain professional sections unless you're a member) strikes me as the same sort of glass ceiling I ran into when I wanted to start technical writing. That is, I couldn't become a tech writer unless I was already a "tech writer". Even though I had written about technology for periodicals for 20 years. Luckily, the head of the department looked at my resume and allowed me to try out eight years ago, and I've done it since (increasing my annual income by several times).
Now I want to learn how to become a documentarian (documentiste?), but it appears most of the information categories are only available to those who are already professionals. Same sort of glass ceiling.
Isn't it possible to allow enthusiasts to at least read through the posts, just to gain insight? Just don't allow them to make comments until they've won their spurs? Yes, I have been using tags, but those don't appear complete.
Sorry if I'm missing something, and the info is really available to all. I really do like the site, btw.
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.
H'm. It only took me two days to start complaining.
I think Dale makes an interesting point. While I completely understand the rationale behind the professional forum being "by professionals, for professionals", is what's being discussed so esoteric that the rest of us, who are either aspiring or just fascinated by the documentary film process, can't at least eavesdrop? The last thing I want is to seem ungrateful because I think this site is great and the advice I've read to others is thoughtful and constructive. I just think the secrecy of the members forums is unnecessary. Is there a way to do what Dale suggests, where somehow we could read posts, but not comment? I have no sense of the technical side of this, so maybe it's too complicated to institute. Any explanation would be appreciated.
I'm working on clearing all the photos for my first film, most of which are old family snapshots taken in Italy. Apart from getting a materials release from the owners of the photos,I understand that the conservative approach is to clear every individual pictured in those photos – a monumental task given that everyone is abroad and scattered about. But what if you can't locate everyone? From a practical standpoint, I was wondering how others have approached this for their films.
thanks, sheng liu. Ideally I'd like a theatrical run, with a DVD distribution plan. But I am not done shooting yet, I figured I would just go for broke initially with my first cut, and then poke around and see what any advice I can get in terms of what I can and cannot do.
getting the release forms will not be a problem (I have access to, and see the subjects on a semi-regular basis) the clips I use however, will most likely be removed. But it's worth it to try right?
what would be my first step in clearing these third party clips?
I sympathise (never with a Z!) with Dale Archibald and his thoughts about access to the forums for non-professionals. Although i would say that it seems like the pros regularly post advice and responses in the mentoring room and also access at least at some level is free. Somebody put in the hours to spruce up this site and they did a good job and didn't bill me for it so i am grateful for that. I have been a member on other forums that charge annually.
I haven't applied for professional status myself but i might. Can't believe there isn't a box to check for Production Manager or Coordinator when applying for pro status. We do a lot of work
even if it isn't necessarily editorial. Although i guess everyone doesn't have the luxury of larger factual production teams??? Do i have to be an "other"?
Evan, it is a fascinating site, and I do appreciate the work put into it. And, as I said, I suppose I could use the tags to work my way through everything.
I could probably fudge and say I'm a writer (which I have been since 1970), but I have had little documentary or video experience (if you don't count a stint doing puppets for a local cable TV show).
Last night I took the Introductory course to the Minneapolis Telecomm Network, so I'm on the path to enlightenment.
I simply think it would be helpful to look through the seminars in a more organized manner, and you can't do that if you're an enthusiast.
On another note, I noticed the lists on one of the bookseller sites for video and filmmaking. Interesting, what with the books on various aspects of the craft, lighting kits and all.
Evan and Dale, I am just a 5-year member of D-Word, not one of the three hosts/monitors, but recall that one of the concerns when putting the revamped D-Word together this past year was how to offer anyone at all who is interested in documentary some sort of platform so people with some experience in documentary can share their support, solutions, and other help with those who are new to it. Or who want to discuss whatever they like. The public/private division has nothing to do with fees; it's more about protecting privacy and some of the personal information that members exchange. While it might never be perfect, it's a fix.
D-Word doesn't charge fees and nor does it raise money with advertising, but the hosts did initiate a voluntary fundraising exercise a while ago to help pay for the intense programming needed to make all the bits flow together better. This included a much easier to use public zone. Enjoy the freebie!
Dale, I have often consulted titles published by CMP Books. Their publications on digital video sound and lighting were recommended to me – probably all updated since I read them.
Thanks, Jo-Anne. I'll take a look at them.
I do enjoy the site, and appreciate the work and care that goes into it. I shall continue to graze around the edges.
To all who have expressed comments about access to the member-only areas of this forum, the hosts will hopefully chime in soon. But I can say that I don't think those sections are made private simply to keep the discussion only to professionals or to create a clique. They were separated more to provide a safe space for professionals to share their experiences and challenges with few worries of their comments being seen by anyone (ANYONE, not just enthusiasts). The public forums come up in Google searches while the private forums do not.
That said, I think a great solution would be for the hosts to send out a monthly or even quarterly e-mail message to all D-Word members with some highlights of discussions held in the private forums which could be beneficial to all without compromising privacy. For example, right now there is an interesting discussion going on in one of the member-only topics about house parties as a fundraising tool and it would be great for some of the highlighted recommendations to be shared with the enthusiasts who could benefit by this information for their first project.
P.S. Not trying to be too self-promotional here, but can't help myself. I am the co-founder of a doc organization called Docs In Progress. While some people know us for putting on work-in-progress screening programs in the Washington DC area, we also have two initiatives which may benefit doc filmmakers based anywhere and with ANY degree of experience. One is a quarterly e-newsletter we publish. It's free and you can sign up for it on our website at http://www.docsinprogress.org (next issue to come out before the end of January will feature articles on rights and clearance issues and a story about a unique approach to online fundraising). The other is a work in progress screening we are coordinating in collaboration with NomadsLand on February 17 where the filmmaker will participate via Skype. More info on how to submit is here: http://nomadsland.com/content/view/60/158/
Erica – I think that's a great idea, but it also sounds pretty time consuming for whoever has to compile that newsletter. Maybe another, more user based, solution might be to add another button by the tag,edit,help, etc. that basically makes your post available to enthusiasts. There could just be one public thread that is a 'members selects' compilation thread. That way it would be up to the actual author of the comment (or a moderator, I guess) to decide whether the post should be available to the world (of course the default would still be that every post is private). While I realize most members would still hesitate to ever do this, a good way of alleviating that would be to automatically make those posts anonymous in the public forum. Yeah, it's out of context for enthusiasts, but they would just have to take the info or leave it and know it's coming from pros. This may be enough to appease everyone (except the poor web designer who would have to implement these changes). Just a thought. I think it's definitely valuable to take measures to keep the public D-Word vibrant.
Thanks Jo-Anne, Erica, and Ryan for your clarifications and comments. I'm a curious guy in general (probably why I enjoy docs so much), so I'm interested in what you all are discussing. However, if there is sensitive stuff in there, I will be content with the areas of the site that are available to me. I'm sure that a ton of work goes into maintaining this site while at the same time keeping it free, and for that I thank the hosts.
Thanks so much to Riley and Jo-Anne for the wonderful advice! Both of you are always very helpful to me.
hey guys, I have a quick legal question. If I shot a sporting competition (such as an MMA fight) , what type of legal document must I attain from the promoters of the competition to have the right to use it in my film?
I have release forms for individual participants, but is there a separate form for business, locations, ect?
and legally speaking, do I need to worry about locations like suburban streets and intersections, small chain stores like bi-mart (small chain in eastern Washington and parts of Oregon), and things like gas stations?
if there is a separate type of release I need to get, links to the documents I can download would be awesome...
thanks guys, I really appreciate it!
Sorry to act the role of a gadfly, but I guess I just don't see what sort of secret rites and protocols could cause "Let's show this to other adults, but don't let the kids see it." I understand there might be a reluctance to have everything on the site (e-mail addresses, etc.) available to search engines and spammers, but if forums are archived without editing the info is outed anyway.
So, as part of my learning curve, could someone explain to me what shouldn't be shown to enthusiasts? Without a complete description, of course? Or have a set of clear guidelines posted? I'd like a guideline as to whether I can put a website name down as a resource. I avoided doing so in an earlier post because I didn't know the guideline.
This is a marvelous site, one I came across by reading Wikipedia, and I've been looking for info on documentary filmmaking for some time now. I'd like to help it be better.
Dale (and others), as The D-Word's founder, let me jump in here with a brief policy explanation. The D-Word has always been an online discussion forum for documentary professionals worldwide. We make no apologies for the fact that we're somewhat "exclusive" or "clubby". We want a place where we can converse with our professional colleagues rather than be bombarded by basic questions from students and beginners.
In recognition that we all have to start somewhere, we've always had a public area of The D-Word, where Enthusiasts, as we now call them, can read the many guest conferences we've done over the years, and to ask questions in the Mentoring Room topic. We definitely plan to expand the public area of The D-Word in the coming years, particularly as we start to implement video hosting on the site.
As far as determining if someone qualifies as a pro, it's somewhat subjective as one of the co-hosts goes through every registration for membership. If there's any question, he either brings in the other co-hosts for their opinion or asks the registrant for more info. And if we do wind up rejecting an applicant for the professional area, we always allow them to either make a stronger case for themselves or re-apply at a later date when they presumably do have more experience.
As for making Members posts available for non-members to read, it would greatly curtail the freedom we feel to post our opinions. Especially since posts in the public area can be googled by the general public. But we're very open to new ideas of how to make the public area more vibrant, as Ryan puts it. So it's good to get everyone's thoughts and suggestions.
as some encouragement to Dale and other like-minded enthusiasts, you can be a first-time filmmaker and still qualify as a member. i still haven't finished my first film, but when i applied, i had reached a certain level with my doc in terms of funding and some industry recognition (along with my other film/video experience) where the hosts were comfortable that i would add something to the conversation, and not bog down the conversation with questions that were too basic. so when you are at a point that you are ready, apply for the full membership. in the meantime, the members will still be ready and willing to post helpful responses in the Public section.
Doug, thanks for taking the time. I'm really not checking out the incisors of a gift equine, just trying to learn as much, as fast, as possible.
It occurs to me that if the enthusiast/member difference must be kept up, perhaps you could offer a "guest member" or "trial member" listing. Have it for a short period of time, e.g., three or six months, and only allow it to those the Hosts approve.
At the end of that time, the person must show they've advanced toward becoming a professional: perhaps they've finished some paid classes, or have created and submitted==at least worked on==a 3-5 minute doc.
You might even put such trial balloons into a special area for viewers to comment on. Sort of myD-wordspace.
Christopher, thanks for the comment. I've been working on a film concept for some time. Since I'm a writer/editor/webmaster of over 30 years, I've been trying to master the storytelling/screenwriting aspects first. By the end of the month I'll start a class in Field Production, learning to use the cameras and mikes, lights, etc.
Since I'm sort of a "braid your own shoestring to start on" kind of independent cuss, I plan to self-finance my low-budget doc(s), although if I can land some funding I will be happy to accept it.
So...am I a filmmaker? I've certainly got the inclination.
I suppose I should let this lapse for awhile. I, too, don't want to "bog down the conversation with questions that [are] too basic."
dale, don't worry, you aren't bogging anything down. and i admire your perseverance and grit. i spent 7 years just "training" – community college courses, internships, editing awful local car ads – so that i would be confident in my own skill (camera, audio, etc.) when the right documentary idea came along. i'm sure you'll be up to speed MUCH faster than that. until then, keep asking the "basic" questions...
If I can contribute anything, let me introduce my fellow enthusiasts to another site if you haven't already joined it. http://doculink.org/mailing.html features an e-mail group where members have discussions on anything relating to documentary development, production, etc etc etc. It is still meant to be by professionals, for professionals, and they do ask that you don't spam the list. But as a beginner I've found it pretty useful and enlightening and if I've ever posted something too petty or amateur, the worst that has happened is that no one responded. No big deal.
But as part of my efforts to be a member here someday, I am seeking employment and actually wanted to know if anyone can recommend any job sites that specifically feature positions in non-fiction entertainment. This would greatly narrow my search to the kind of work I want to move into. Post any websites you know of here or e-mail me firstname.lastname@example.org
Hey Everyone new to this site.
I am needing to create revenue projections for our
investor and our lawyer for a documentary I am producing. I am
relatively new to this process. Was wondering if anybody had samples
or advice on how to properly create revenue projections for a
Thanks ahead of time,
Does anyone know of online resources (other than Netflix) where I can view older movies and documentaries online for a fee?
I'm particularly looking for access to some of the harder to find, non-mainstream items, older foreign documentaries and films, etc.
No file-sharing recommendations please. These usually don't have the harder to find, less mainstream titles and I also want to respect the rights of the copyright holders.
Thanks so much!
I've been using Final Cut for my post-production and I just don't prefer the Apple layout and user interface. I was raised in a Wintel environment and I'm really learning towards switching to Adobe Premiere Pro for my next project.
Different strokes for different folks, I guess.
Does anyone know any compelling reasons why I would not switch over to Adobe? What are the biggest reasons for NOT doing so? What are the biggest disadvantages of Adobe Premiere Pro vs. FCP?
I will be filming in HD.
A. You can make changes to FCP to better suit your needs.
B. The latest version of Premiere Pro is a very good editing platform though it tends to be like most Adobe products with lots of hierarchical menus. Best to learn the keyboard shortcuts.
The situation: We're starting post-production on our fist feature documentary, which tells the story of what happens when the filmmaker (my partner) puts his same-sex wedding announcement in the local paper of his ultra-conservative small home town. It includes casual interviews with people on both sides of the debate about gay rights, verite footage of the filmmaker engaging with the local "Family" Association and School Board, and several interesting characters.
The need: A creative collaborating editor who can look at our 100+ hours of footage and help shape it into a coherent story with the appropriate tone and voice: think Jesus Camp meet Roger and Me.
The problem: although our hometown of Washington DC has many talented editors and a wonderful documentary community, nobody with the exact right mix of skills, interests, political outlook and time available to work on this project has emerged. We are in discussions with some really terrific, experienced people in New York, Philadelphia and elsewhere – but the question is, how does it work to edit a project when you live in different cities? Should we expect to move there for a few weeks? Or months? Have any of the experts had experience editing long distance? I'd appreciate your thoughts and any advice on how to work together over a distance.
To Matt- Re Adobe versus FCP – From a technical point the two programs are extremely similar, as are the layouts and even many of the keystrokes. In my experience the critical question is: who are you going to be collaborating with? Adobe seems to be used mostly by event and corperate-style videographers whereas FCP is used by almost all academic institutes and many indie filmmakers. If you're going to work completely by yourself it doesn't make much difference, but if you're going to collaborate on graphics, color, music etc., best to find out what your collaborators prefer. As to disadvantages, the big problem with Premier has always been instability; it shuts down a lot – maybe thats changed with the newest version. As to FCP, the biggest disadvantage used to be the price of MACS – but that has already changed with the new Mac Pros.
Thanks Robert. That's a very helpful point. No need to drill down through endless menus. I'll be sure to learn some of those critical keyboard shortcuts!
Dean, I don't want to underestimate the amount of skill required to do the various parts of post-production (as well as filming) or disrespect the great amount of skill required to make a memorable, moving documentary.
But my films are primarily going to be focused on content, not technical wizardry. I'm working with stories which move me very deeply that I believe will resonate with others deeply as well.
I will be doing most of the post work myself, as difficult as I know that will be. I am a quick learner and relish all the various challenges that I surely will face.
Dean, I'm not sure if you've done this or not, but get your interview footage transcribed. It's a lot of work up front, but it pays huge dividends down the road.
It may be best to sit down with a writer instead of an editor. Figure out the story you want to tell and the structure you want to use. You probably already know the story you want to tell, so write it out. Heck, you basically nutshell the story each time you post on the topic. As an editor, I don't need to watch a hundred hours of footage to get to that basic statement.
Starting with your basic statement, make a one or two page synopsis. Then make a treatment/paper edit, including what visuals, narration, music, etc. that you think will go into different places. Then sit down with a documentary writer or editor to look over what you have and get feedback from them. You can post what you come up with here and get excellent feedback.
Don't put it on your editor to reinvent the wheel. Especially if you know exactly what kind of wheel you want. If it's some Goodyear XKG All Season radials with white side walls, 205/85, etc., then say so.
Take a look at your Need and Problem statements again. You're setting your editor up for failure. I even have the 3 reasons why they will fail – not creative, not collaborative, and/or not the right mix. We could rewrite the statement to read – unprepared filmmaker seeks editor to do the hard work and accept the responsibility for things not working out right.
Editors are creative and collaborative and they don't need to be the "right" mix. The more specific you define the mix, the harder it is for anyone to meet the criteria. It's the filmmakers job to be the "right" mix, that's why they are telling a unique story.
It's really the filmmaker, especially the less experience they have, that lacks those qualities. It's not that the filmmaker isn't creative, or collaborative, rather without the experience, it's more difficult for them to clearly see the vision floating in their head, and then to clearly communicate that. The problem arises when the editor is unable to "divine" what the filmmaker is "seeing".
I hope I don't come across as harsh, and it's definitely not my intent, but one of the most common problems I see over and over again is the filmmaker him/herself getting in the way of making their film as good as it can be. And I'm the first to admit that I've been guilty of that on more than one occasion! But no one said the learning curve was easy or pleasant...
Anyways, my $0.02 – which won't even purchase fumes at the gas station :-)
Dean, part 2 of your question – working remotely with an editor. While it's not ideal, I think the technology today makes it much easier. One solution would be to have duplicate drives and file structures. As the editor works on a cut, they can send the project files to you so you can view what's going on. There's also tools such as Skype, etc. that would allow you to videoconference in and also see a virtual desktop.
There are times when an editor just needs to work alone to actually implement changes that have been discussed with the director. This is especially true in the rough cut stage. As you near a fine cut, there is more value in being there day to day. It all varies and depends on lots of factors.
Thanks Boyd – I'm also a first-time filmmaker and am struggling in post. I think a lot of what you've said could apply to me too – v helpful. Cheers!
Has anyone here entered a documentary in the Cannes Film Festival?
What was your experience like? Does entering in Cannes have advantages over entering it in Sundance?
JB, that SyncVUE is amazing. We should post about that in The Future of The D-Word topic and its potential for future collaborative projects.
Matt, Cannes shows very few docs, especially if you're not named Michael Moore. And much more expensive than Sundance, which is mighty expensive itself. Cannes has a market, too, but that's mostly for distributors selling shlocky films.
Hey I have a lot of respect for Cannes EXCEPT for the fact that they practically disregard the entire genre of documentaries. I take it Michael Moore has some direct connections.
Hahahaha yeah, plus it's the French. Oh well c'est la vie!!!
I've really been enjoying digging through this site since I joined a few weeks ago. Thanks to these forums and your profiles, I've gotten to know lots of documentarians and films though your posts and links to your respective websites. I've also been scouring the public areas of the site to gain more insight into the world of documentary filmmaking. Unlike most of you, I am a fan of the genre rather than an aspiring filmmaker. I admire the fact that so many of you are willing to share your experience and knowledge with others in such a supportive, non-condescending way. I'd like to ask a "What would you do if you were me?"-type question that pertains to documentaries. Since it requires some explanation and may be long, I'll leave most of it hidden. Thanks!
Hi Doug, I just saw 51 Birch Street and congratulations!
What a courageous film. For me, courage is such an admirable and rare quality in film nowadays and I'm delighted I saw it.
I had one of those rare life experiences laughing and crying at the exact same time when you clasped hands with your dad at the end.
That's quite a combo, to laugh and cry at the exact same instant; thanks so much for that!!
I have kind of a dumb technical question. When you were behind the camera participating in interviews, did you have a lavalier mike for yourself and a shotgun mike for the talent?
Robert Goodman, I just saw Stone Reader and loved it! I know you didn't direct this (you were the producer) but one of my favorite parts of the movie was the recurrence of various footage of butterflies throughout the film. Was this done to mark out different "chapters" of the movie?
This continual insertion of butterflies into the film reminded me of the recurring scene in Bunuel's Discreet Charm of the Bourgeoisie where the protagonists are repeatedly seen talking and walking in the French countryside....
Again Stone Reader is great film, with lots of unexpected twists and turns. Some great political points too (about ITT and the purchase of the publishing house) very subtly and ably presented.
Thanks so much for helping to bring that to the public. Because I'm a huge fan of Gabriel Garcia Marquez, I think I'm really going to enjoy the book The Stones of Summer, the subject of the movie.
Mossman's quite the scholar.... evidently 1605 was THE year for Shakespeare!!!
I plan to attend a local sports-related consumer show next month, with
an eye toward getting interviews and other shots. I'll use footage shot
in a public-access TV show, and for other things. Any tips or hints?
The eqpt will be loaned to me by the public access station. I will have
interviewees sign releases.
What sort of open-ended questions should I ask? What sort of shots? I'm
brand-new at this, so any help is appreciated.
In order to help you, you need to provide us with more information.
What do you mean by "sports-related" consumer show? Is this a fair, a sort of market with equipment on sale/ What sport(s)? Who do you want to ask questions? People selling equipment, members of the public, buyers?
What is your motivation for filming this event? Why is it important? Is there anything special about the event or the equipment being sold/exhibited here? Is this the first time or is this a yearly event? Is there any special significance for the locals? Will any (sports) celebrity be attending?If so, you need to obatin info about this person(s).
Will someone be demonstrating a sport using some kind of equipment? How big is the arena/sports ground, etc? Why are the organizers putting on this event?
These are things I would try to find out if I had to film this event and in order to figure out what to film and what questions to ask.
The following guidelines are the A, B, Cs of news coverage and they apply to documentary storytelling as well.
Whenever you decide to shoot something, you must ask yourself; "What am I shooting?" and "why am I shooting it?
Then your story must always answer the 5 Ws and 1 H: "Who, what, why, when, where and how."
Everything you need to do (what to shoot, who to ask questions, what to ask) depends on the answers to these questions.
Matt – I will pass along your comments to Mark. There are so many layers in the film it is hard to know where to begin. I can only say that I am very proud to have helped bring Stone Reader to audiences.
First, let me say this won't be a documentary per se, although I hope to earmark some footage for a project I've dreamed of for years.
This is an annual golf show in Minneapolis. It is a fair, where golf courses, club vendors, and a few related others get together on a snowy Feb. day to help people get the snow off their feet and dream of spring.
I'm mainly interested in doing interviews of folks from the golf courses that will appear, doing the 5W and an H in shorter clips. First end product would be a show for local public access TV, with saved footage for the other project I mentioned. After all, they'll be gathered in one location so it'll save time driving all over searching them out.
There will be demos here, and it's in the Metrodome, the huge playing field for the Minnesota Twins and Vikings.
Thanks for the questions. I've written and photographed for magazines for years, but this will be my first foray into the visual documentary-related forum.
regardless of the duration of your story, the mechanics are always the same.
Ideally, each story should have a beginning, middle and an end and answer the 5Ws and 1 H. Given that you intend to do several shorter pieces, you could do one more generic piece and several others, each of which could deal with a particular aspect of the fair that you and/or your audience might be interested in.
It seems like you should be able to put several interesting pieces together.
If you know anything about golf – and I presume that you do – if you answer the questions I outlined (What is this story about and what do I want to show you) it should be rather simple to come up with some interesting questions to ask. You can ask the equipment vendors about gear, the players about form and playing tips, the visitors about ther expectations for the new season, etc., etc.
From what I imagine you'll find there you should be able to put togteher some visually interesting and exciting stories. Try to put some nat sound pieces together.
I can already visualize dozens of stories. Try to imagine YOUR stories visually and that should help you figure out what to shoot.
Chris, quickly read through your proposal. Leaving aside the odds against pulling it off, are you aware of a feature doc that came out a few years ago called My Date With Drew? If not, check into it. It was a small but charming film, came and went and barely made a blip commercially.
In all honesty, hard to imagine any established docmaker being tempted by your proposal. In the end, though, who are any of us to tell someone not to dream?