Thanks for your kind words, Matt. As for the mic, I used a Senheisser ME 63 mounted on the camera. It has the ability to screw on a number of mics with different patterns. I used one with a figure 8 pattern, that captures sound equally in front and behind the camera. So one mic was able to record both of us talking. Came in very handy. Only problem is if I film verite for long stretches without talking myself (and I never know when I might), it picks up a lot of extraneous room noise from behind.
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.
In reply to Chris Hinrichs's post on Mon 28 Jan 2008 4:16 UTC :
Chris, I'd make a couple of quick suggestions. First would be to reframe your proposal in tone and presentation.
By tone, I'd suggest not looking at all the reasons why it shouldn't work. I noticed on your site that you're an architect. Think about the proposal in the same way you propose something to a client. You don't tell them all the things that will go wrong (being overcharged by contractors, termites, fire, water damage, floods, famine, family arguments, etc...).
By presentation, while it's okay to have a paragraph teaser, I want to know what the story is. If it's not part of the story, don't tell me. Currently the way you build it up I'm expecting the greatest idea I've ever heard and no idea can live up to that. Obstacles that need to be surmounted are not part of the story, unless...
...that is the story. Which would probably make a very interesting documentary – "Guy faces insurmountable odds to make incredible idea a reality. Does he or doesn't he?"
I would also recommend trying to hook up with someone in your area, a friend with a camera or an aspiring filmmaker, and work together on moving the project forward. As Doug mentions, it's unlikely that established docmakers would be tempted, or being tempted, it may not be in the way that you're envisioning.
You also may want to start smaller. Instead of an A-list star, why not a local celebrity in your area. They're much more approachable and the idea would be the same. It might make the idea more attractive to more established filmmakers and celebrities.
Doug, Thanks for taking a quick look. If you read the whole thing I specifically address My Date With Drew and how the two are very different films. Perhaps I need to do a better job of articulating just how different it is. Believe me, I know it's an incredibly tough sell. I know the chance of it ever getting made is next to zero. That's what intrigues me the most – the impossibility of it. I hope you find the time at some point to look at more of the material, but I completely understand that it's not for everyone.
By the way, I wanted to compliment you on 51 Birch Street. I saw it a while back and thought it was excellent. I recommend it often.
Boyd- Thanks a lot for your thoughts. It's the kind of feedback I'm looking for. I will consider the things you've said. Your comments about the tone are well-taken.
I suppose the best thing is for people who have thoughts to e-mail me directly so I don't hijack this forum. You can e-mail me @ email@example.com
chris, in an effort to procrastinate from further fundraising activities, i read your entire proposal for your "dream doc".
i can safely say that you're CRAZY! having said that, i think it's a good kind of crazy, and the shared gene that most of us aspiring and established docmakers possess. plenty of people have been told their projects have absolutely no chance – and a fortunate few have actually persevered and finished their projects with great success.
however, i would really challenge you to re-evaluate WHY you are doing this project. at the same time, i would challenge you to think about why you are not doing a DIFFERENT documentary project. To me, this project seems too frivolous and insubstantial for someone like you, who admits to admiring the direct cinema and verite work of masters like Maysles, Kopple, James, etc... i'm no psychoanalyst, but you seem like you might have a more "worthy" doc in you to produce. by "worthy", i don't mean that it has to be intensely depressing or socially conscious – it can have humor and spontaneity and whatever else fits your personality – but it has to have something at its core that inspires you.
The "impossibility" of making something is not reason enough to try. You need to combine "impossible" with "irresistible" to really have a film worth making. if you write a proposal that convinces everyone why you "can't NOT make this film", then you actually might have a chance. right now, i read your proposal, and just see a guy who says "why not make this film"? there's a big difference.
i don't want to discourage you, just refocus you... btw, if i didn't think you had it in you to actually make a doc film, i wouldn't have wasted my time writing this reply. good luck!
In reply to Doug Block's post on Mon 28 Jan 2008 :
I'm intruiged by those Sennheisers. I like the modular concept very much, the interchangeability. It did an excellent job of picking up your voice from behind!
When you didn't speak for long periods and extraneous noise made it on to the sound track, did you squelch it in post?
What do you think of my proposed setup of a Sennheiser shotgun mike (i.e. unidirectional) with a lavalier corded mike on myself, since I will be tethered to the camcorder anyway?
I was thinking this might solve the problem of excess noise coming from the back end.
Your thoughts? Thanks for your help!
Re- looking for an editor,collaborating at a distance, transcription.
Boyd, thanks for your suggestions.
Everybody else- thanks for the tips.
Question: everybody seems to agree that it's a good idea to have interviews transcribed. Have people had luck going on Craigs list? I know there are professional services but they seem to run $150+ per hour of tape, and we have a lot of tape. Since the transcripts are just a searchable tool not a finished product, I am wondering if this is one case where cheap = good??? Thanks!
Matt, your setup sounds fine. Probably better than mine, actually. I just like to put the camera down from time to time.
dean, no reason to have to pay $150/hr for transcription work. i've found quite a few for $115/hr and under. in fact, there are some who charge per hour (only $20-25) and since they usually don't take more than 4 hours to transcribe each tape, it's the most affordable for me to be billed per hour of labor.
it also depends on what kind of footage you have. if it's all interviews, then pretty much anybody who can type fast (and who has the capability to insert TC simultaneously) can do it. if it's verite footage, and you actually want descriptions of how people are moving, what kind of shots are being employed, and every single comment noted, then i do think it matters who your transcriptionist is. but most people either don't have that kind of footage, or don't need it transcribed.
if you need some references to transcriptionists, i'd be happy to email them separately to you. you can then contact them yourself, and have them send you samples that you can review to see if they're a good fit.