The Mentoring Room - Ask the Working Pros

Sara,

Of the two cameras you mentioned, I'd use the PD100 for this shot.

As I said, relaxation is the key. Breath slowly and hold the camera firmly but loosly. To get the idea, try holding your hands (without the camera) in the position I indicated and move them slowly up and down (as though they were attached to a big spring). You'll notice that you can move them smoothly and without shaking.

Do the same thing when you're holding the camera and you'll be able to absorb most bumps.

To check your shot, open the side viewfinder and tilt it upwards so you can control your shot just by glancing downwards, every now and then.

Once you've found the appropriate height (one that allows you to see the road without framing the dashboard, position your hands close to your chest (you don't want the muscles in your arms to tense up) , hold the camera firmly while keeping your hands loose so they will cushion the eventual bump and off you go!

Remember to stay relaxed because if you tense up you won't be able to cushion the camera and compensate for the bumps!

In reply to "Mark Barroso's post on Mon 7 Jul 2008:

Mark,
Apologies for the misunderstanding... I never mentioned using any gear in auto. Nor did I mean to imply one (editorial vs technical) was more important than the other. My point was, as ADW pointed out, for this first timer to focus his efforts first on honing his story. I did not mean said effort should come at the expense of technical mastery. That's a parallel and ongoing effort.

And as to your notion of "real," as you said so well, 'prior planning..." I always carry a point and shoot (I prefer the term 'Happy Snap') camera in my bag (Canon S50), it lives right next to my Mark IIn. I've used it many times when playing the "tourist" and needed to get the shot. I've yet to have an editor ask, "Did you shoot that with a 'real' camera?"

Lets agree he should 'practice, practice, practice' both!

In reply to Wolfgang Achtner's post on Mon 7 Jul 2008 :

thanks for the detailed description--I was starting to think i would need to resort to that to get what i am looking for. I was hoping to figure out a way to run the camera while i was driving solo, but i think i will have more luck finding a driver than a perfectly smooth road.

In reply to Tony Comstock's post on Mon 7 Jul 2008 16:23 CST :

I am curious about how you rig that--could you describe? Is there a person holding the rig or can it run remotely?

I am also wondering about ways to rig for a car interview (presuming a relatively smooth road), in particular, trying to get a 2 shot, frontal view... or am i just dreaming? Does anyone have personal experience with any of the filmtools rigs mentioned above for this?

Oh. Solo. I didn't get that part.

The key is mass and dampening. The mass is provided by the weight of the camera and whatever weight you add. The dampening is a combo of bungies (like springs in a car) and the operator (sort of taking the shock absorber role.) Sort of a poor-mans fixed steadicam rig. I don't see it working solo

I think your best option is maffer clamps and magic arms, and short focal length. The wider the angle of view, the less noticiable the bouncing and shaking will be. Play around to find a wide to shoot yourself wide angle that doesn't look too distorted.

I don't think two angles is a pipe dream. In fact, it's probably a good idea (The reason I bought my pair of PD100a cameras was so that I could have two angles in a shoulder carryable kit.)

Sara:
Depending on how important the two shot is for you, I would rent a three point suction rig and mount on the hood of the car, which can be seen on the same page Erica sent you to. It's a lot easier to use than it looks.
For inside or outside of the car, you should use a wide angle adapter – even fisheye lenses look good used from the passenger seat.


Tim:
I've seen too many docs where the filmmaker had a great story but killed it with poor technical skills. I don't know Mike, or you, so maybe my advice was unwarranted, but my first reaction to first timers (including myself) is to learn the camera before you start shooting. Point and shoot is an aesthetic that works for some situations, but not all. It would suck to be in one where that look won't work for you.

Hey Mark,
I'm sure there are just as many bad scripts attempted to be shot by really good camera ops (probably both of us have done it many times) who knew their gear and their stuff, and still couldn't save them. I'm sticking with honing both skills.

And I'll let ya know how many times I sneak out my 'happy snap' in lieu of my Mark II in Beijing...

As to knowing me, I'd at least bet we know some peeps in common 'round the NC area.

Again-thanks all! will try out the suggestions...

okay okay, what i more so meant was not to worry about having the newest or best gear. For example, cant afford a shotgun mic? Figure out how to get the best sound with the on camera mic mix with the lav mics. Yes, you gotta know how to use your gear, but some people (and mike this has nothing to do with you) worry wayyyyy to much about having the latest camera and hottest gear. The best camera isnt going to help if a) your story sucks b) you have no idea how to use it.

agreed.

Our latest project is on violence in youth sports. I found a package that aired on Good Morning America last year while surfing Youtube. Does anyone know the best way to approach GMA about the use of their archival footage? My Producer spoke with our film commission and all they said was that we would not be able to afford it. I think she was talking about stock footage in general though. Any ideas?

I think ABC charges $65 a second. GMA's video is with ABC in NY. Call 212-456-4040 and ask for archives. It's pretty straight forward, no inside deals.

Thanks! I give them a call and see what we can work out.

Hi all!

I am so amazed by how helpful everyone is on this forum. I am just finishing up college and about to enter the world of documentaries and this feels like a friendly community to mull about in. Well, I'm posting because I'm working on my first 'real' docs. I have made a 5 minute doc in the past but that was more of an exercise. Now, I'm currently in post-production on a documentary (my final college endeavor) about one of the nation's top college magazines, Flux. I am the director and editor and was one of the camera crew. Anyway, we followed 40+ students, focusing on a handful of people, for apprx 3 months and shot apprx 150 hours of footage. I have only worked on short pieces with around 20 hours of footage. Now I've got 150 hours? Oh geez, this is a whole new ball game. I also have about 30 hours of interviews. I have done my research and read a lot on how people organize footage with scene boards and colored post-its and xml sheets. I even read Walter Murch's book on how he edited Cold Mountain using Final Cut Pro. I decided to log in Avid (which is unfamiliar to me but love how I can organize footage) and export the logs as PDFs for reference as I capture the footage in FCP. I've written a rough outline of all the footage and what I think are the main points so far. But I'm getting a bit overwhelmed with all the footage and the fact that I don't know how to use it to tell a story. I go to a journalism school where I've learned how to report the news. Now, I want to tell a more narrative story through video but don't know even how to begin developing characters and plot. I know story is the key. I know about the basic elements that make a story. But how do I apply those rules I learned in English class to video? Anyone with previous cinema verite documentaries or, well, anyone with any advice as I move into the process of a) logistically organizing the footage and b) using that footage to tell a story would be sooo very much appreciated.

I'm one of the least experienced people here Amira, but one thing that helps me when editing is to first think of what I want to say and then look for the footage I can say it with, instead of going the other way around, which would be something like asking yourself what can I say with all this footage?

Obviously you need to become very familiar with the footage first. Try to be open minded when you're watching it. Then forget about it, just "close your eyes" and "conjure up" your story. Then just try to tell it clearly with the footage you have. This can keep you from being overwhelmed and falling in love with footage you don't need.

As to narrative vs journalistic styles I'd say don't worry about that. Just make sure you know what you're trying to say and that you're saying it. You'll develop your own style over time.

Back in 1984 or so I went to Guatemala with 3 other people and photographed some activities of the Guatemalan army and medical volunteers who traveled from the USA to give aid to the locals there. I stayed with the Guatemalan Army in Nebah, in the mountains, at the Sanidad Militar. At the time I was working for a newspaper but retained the rights to the photos. I still have a quantity of the 35mm Ektachrome slides which I can make available to people who might have an interest.

In reply to Joe Moulins's post on Tue 24 Jun 2008 :

True, I have a MacBook bought 6/2007. Despite what Apple says, I have 3 gigs of ram in it, so you might as well max out the ram as well. The current ones will use 4 gigs. FCP works too, although Motion won't.

In reply to Wolfgang Achtner's post on Fri 23 May 2008 :

I picked up a new Maxtor 300 gigabyte external hard drive with Firewire 400 and USB 2 ports from Office Max back in April for $79.00. It was not advertised but there it was on the shelf. Works fine with my MacBook.

Hi Amira,

After you've logged your footage, come up with a ten best list, or twenty to start and then go down to ten. The ten best list should be comprised of the golden moments of your film – the "I can't believe we got that on film" moments, the moments that you still talk about after hours and months of filming. This is where you should really be disciplined because you can't really have a top fifty list, or forty or thirty, even twenty is pushing it. Then arrange those moments in order (depending on your narrative structure – linear, non linear etc) and the rest is filling the gaps to lead up to those moments in the most effective, dramatic, and magical way. And along the way you'll move things around and loose some moments too.

I know I'm making it sound easier that it seems. It's tough but this is one way to not get overwhelmed by your footage and to somehow get on top of it.

Is anyone working on a project at the Democratic National Convention?

Ramona, that's a brilliantly simple way of explaining how to work backwards. Ten sounds right.

Lora, see the hidden section below for something I recently posted in the Classifieds (though I think I only posted in the Members-Only Classifieds). It's not my project – just passing the world along.

Lora, I'll be shooting at the DNC for the IFC. We are set with crew but if i hear of anything i'll post it here. Denver is going to be a mighty interesting place come aug 25th!

Hello wonderful community.
It is great to connect again especially now since I find myself looking for a magician and am very behind schedule.
Most of all I need a senior EDITRIX OR EDITOR.

Pressing Onward in spite of setbacks "SMOKE SCREEN" the documentary is (like a virtual cigar) quite oceanic. In all of this there is a particular magic to articulate real or imagined separations between people in Cuba and people in the USA while at the same time revealing many similarities and shared interests.

The character of this isolated island of Cuba is seen not so much in the great moments, but in the small ones. Most folks know that in 1962 Kennedy declared a blockade against the island but he died tragically before he could reverse the embargo.

I've got over 70 hours of footage. In places I open aperture allowing for a transporting feeling through the people I meet especially farmers. I feel grateful to experience being under the radar of this 'evil eye' that wants to steal attention from Cuba and latch tight another notch in the harness of the mask that binds and blinds.

My "Papi" suggested to me that there is magic, mirth and mischief in those intricate swirling gossamer vapors appearing form the tip of his beloved cigar. My travels to Cuba go against the tide of many other Cubans. There are people who refuse to help me because this film is about Cuban cigars, community and family oceans apart. (Pedestrian protest rallies against smoke are not about to subside any time soon.)

This doc has the potential to unite the folks who abide in 'el Che' together with the exile embittered embargo backing folks like my sweet aunt!

Please help make this 'socially irreverent' and 'highly relevant' film find its audience now!

I have 2 versions one 42 minutes and another 50 minutes and both lack the "ability" to insist on being noticed by the vast audience that this topic deserves. Also if you know of any slight of hand tricks please don't hold back!

I am open to receiving help.
You are invited to participate at any level.
I thank you for your time.