In reply to Judy Lieff's post on Wed 11 Aug 2010 05:50 UTC :
If you get into an "A" festival you'll be able to find a good publicist – plus the festival itself will probably have a really good person on board, and if the newspapers like you're film they will cover it. It's not surprising that a publicist told you to "buy early while supplies last"! What I would like to find is a publicist who works on a contingency fee; this much if you get a feature in the NYT, that much for a review in Variety, etc.
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In reply to Judy Lieff's post on Wed 11 Aug 2010 05:50 UTC :
That's never going to happen. If you find a publicist who'd agree to that arrangement, I'd run the other way. Variety reviews every film shown in competition at A-list festivals though the reviews may take months to appear. They also review films that appear likely to gain distribution.
In reply to Judy Lieff's post on Wed 11 Aug 2010 :
I may be able to help you with the sound, quickly, if you haven't wrapped post production yet.
I am a new user of the site. Apologies if this question is already discussed somewhere on this site – I couldn't find it easily.
I am working on a feature length documentary related to dance and personal growth, for theatrical or broadcast release. My immediate question and quandary has to do with the degree to which I may undermine the ultimate product if I do incremental releases of related products (using some of the footage, for a different audience) prior to completion. It occurs to me that a lot of the footage that I am gathering will be of interest to the specialized audience of dancers who understand this form, and that this audience is different from the broader audience I hope to reach with the end product. So I am thinking about producing and releasing some products in the interim, either through digital download or DVD sales prior to completing the final film. One thing that will distinguished the final film is that there will be a core story arc completely different from the prior releases; also I envision a much broader audience rather than the specialized audience of the prior releases. This is partly an interim funding strategy, partly about creating buzz, and partly just a way of mitigating the artistic frustration of wanting to share footage with the smaller community that will most easily "get" it.
- Is this a bad idea?
- How much (or in what circumstances) would this undermine entering the final film in film festivals?
- What are the things I need to avoid?
- Though it would complicate things, and not be 100%, would it be advisable to make a general practice of designating specific clips EITHER for the final film or the interim products but not both?
- Is there a discussion of this dilemma/strategy somewhere on the D-Word site already?
I'm writing out some one page treatments this weekend and wanted to know if there's any specific font I should use for them. I know Courier is the traditional font for screenplays but does this also apply to treatments?
Anybody out there recording their own voiceover? Got any microphone recommendations?
I'm a film student and my current set-up (basic though it may be) is a Shure SM57 straight into GarageBand. And I know it isn't ideal, but it's what I've got.
But sometimes a person might be in a position to upgrade. I'm just looking for a good vocal mic. Something in the $200-$400 range.
And if this isn't where a person should post these kinds of questions, I promise to slap my own wrist--just say the word.
In that price range, a Heil PR-40 will give you a nice, fat, clean sound. Much more pleasant than the 57. And, unlike condensors, will be less likely to pick up extraneous sounds, like nearby traffic, since I'm assuming you are recording at your home.
But, if you need a USB microphone, check out the Shure PG42SUB.
In reply to Rick Dillwood's post on Wed 15 Sep 2010 :
That should have been Shure PG42USB.
In reply to Rick Dillwood's post on Thu 16 Sep 2010 :
I know it doesn't cost as much as your target price, but I've had great results with the inexpensive and easy to use Samson CO1U USB mic.
If you want to save some of that $200 – $400.
Quick (not really) question about union dancers in documentaries . . .
I have an extremely small budget to shoot a little documentary about a Canadian ballet company traveling to Israel for the first time since 1975 and Jordan for the first time ever. The logistics of taking an entire ballet company from Winnipeg to the Middle East is quite something . . . as is the financial gamble of such tours for the company.
I have permission from the company to document the tour. The ballet company itself is in no way funding the doc.
Here's where it gets sticky. The dancers at the company are all very eager to participate, but they are all members of The Canadian Actor's Equity Association. Whenever it comes to the dancers being on film the Equity Association's contract defers to ACTRA.
My interest is to document this tour from the point of view of those who are running the show and the dancers who are performing. After a brief conversation with my local ACTRA office this morning I can tell that this isn't going to be easy.
I don't need or intend on having a lot of footage of the dancers actually performing in the ballets they are touring. I am more interested in what goes on behind the scenes . . . For example, while we are there a joint Israeli/Palestinian community centre is being opened and some of the dancers are going to give some free classes to the children there. The dancers would like me to cover this. I would like to cover this. I think ACTRA and Equity is going to want me to pay for this.
I don't have the money to put a company of 28 dancers on ACTRA rates for 3 weeks . . . nor do I feel I would be making a documentary if I did.
Has anyone here ever navigated these sorts of waters before? If so, any advice would be hugely appreciated. Or I might just end up making a documentary about Bob the Production Manager who is in charge of all the lighting and sets and carnets and customs and all of that fun stuff.
This is crazy, James. Firstly it's commonly-held assumption that a "documentary film" is synonymous with Hollywood and that the filmmaker is making a pile of money off the people who appear in it. Reality check: the vast majority of documentaries do not make a profit, barely break even if they are lucky. Secondly, unless someone is being asked to perform specially for the film, or an expert is being asked to do some particular research, it is not normal practice to pay those who appear in documentaries. There may be a very small, nominal fee paid to interviewees, but this is mostly symbolic and connected to a release form.
The way you explain your project makes it clear (a) that the dancers are going on tour at the behest of the company, not at your command (b) they are more than willing for you to document them. This is a good start. It seems that the problem lies with the local union office who are almost certainly in the grip of the Hollywood illusion cited above.
Firstly, with the performers agreement, you probably need to go over the heads of the local office and negotiate directly with ACTRA's head office. A brief google (= documentary!) on their website revealed the following clause (below) of a draft agreement with the NFB which seems the right direction for you to explore, especially as the alternative would seem to be abandoning your film entirely. Explain that you're not making a "for profit" concert film but focusing on the work with the children etc.
A2307 Waiver of Minimum fee for Documentary A Performer may voluntarily consent to waive his minimum fee for the inclusion of a performance, interview, or appearance in a Documentary Program, the subject of which is "the making of" the Production in which the Performer has been engaged.
Finally, I should point out that I am NOT A LAWYER and that you should make sure you have rock solid legal advice before proceeding with your film.
Fingers crossed that it all works out – keep us posted.
Wow John! What a great find!
Thanks for digging into this a bit. I think you've definitely found something here that I can use as a jumping off point for my future negotiations. This was a wonderful post to wake up to!
Well I had a few minutes spare and felt like helping out – The D-Word can't always promise to offer this level of service, though!
For future searches, you could try this ;-)
(PS you don't need to add your name at the end of your post – it's already there at the top)
Oh John . . . That hurts!
Not only have I googled ACTRA documentary, but I've taken the current ACTRA agreement to bed with me three nights running. My hat goes off to you though for finding this gem in minutes where I failed for days.
It's true – finding things can be a real needle in a haystack sometimes.
The main thing is that this temporary setback doesn't present an insurmountable obstacle.
Now am involve in a documentary about labour.
In this documentary I want to follow the life and working state of several workers and try to explore the real condition behind them. I want to look into with camera life of the labors of different sector and level and the reason for their dissatisfaction and possible some remedy on how this could be changed.
This will be a film about their problems and finding the solution from within them.
AS always am very much confusing about its structure.I have very much confusion about editing.So, Seeking help from senior.
How far have you got with the project, Manoj? Have you shot already?
John, I have already shot it.Now am in editing stage.But am facing problem on structure.Seeking brilient idea.
It sounds like you both shot and directed it and are planning to edit it as well, which may well be part of the problem. Is that the case? How much material do you have?
Manoj, here in the U.S. we're all but required to make a fundraising sample before we begin editing our film, usually somewhere between 5 and 15 minutes. We complain like hell, but it actually forces us to think through our story and work out structural issues. And it's a great opportunity to get feedback from others.
Since you're a D-Word member, this discussion actually belongs in the Works in Progress topic (the Mentoring Room is saved for Enthusiasts who have very limited access to the topics). There you'll find many other examples of samples our members are making.
In reply to John Burgan's post on Sun 19 Sep 2010 : John yes! I directed it and plan to edit myself.I have around 150 hour footage.
As Doug suggests, let's take this discussion to the Works in Progress topic
Hello! Maybe it's a bit an offtop, but I wouldn't know where else to ask it, except Mentoring room.
I'm thinking about applying for Documentary Campus Master-school and my question is: what does "self-presentation clip" means? Does it mean a video of myself telling smth about myself, or it should be a video clip of my works, or a trailer of the film with which I'm applying? If smb knows, I would appreciate the suggestions very much. Thanks in advance, Daria Khlestkina
In reply to W. James Meagher's post on Fri 17 Sep 2010 :
James, if you need peer support, Winnipeg should be good. Documentary Organisation of Canada (DOC) is an association of Doc professionals (in the main), that also does a lot of legislation-related lobbying (read: there are lawyers involved). http://docorg.ca/ and here's the link to the Winnipeg chapter http://docorg.ca/en/chapters/winnipeg/about-winnipeg-chapter .... Someone on that list, or known to them, will know to deal with this, what releases you'll need, and similar fiddly things. Nice subject (your film), by the way.
I put together this short doc called "Surgeon of Hope". It's about two children who undergo pediatric heart surgery in Nicaragua.
I would love some feedback and words of wisdom if anyone has a few minutes. I realize that it's already published, out and about, but I'd like to know if something should be done differently for future films? Is there anything I should try to work on?
Hi and help please ...
I come from a still doc photo background so working with others on a film is a new experience – it does help I'm in a film grad program but still...
the film I'm working on now is literally exploding with support from the community it's involving – the formerly incarcerated – and is blowing me away with its potential. of course I'm thrilled but for whatever reason my dp is slacking off, breaking scheduled shoots, and generally mucking things up in a major way. he's also a student and I'm not really sure how to go about handling this. we had a good one-on-one the other nite and he assured me he's on board but then turned around and screwed up again the next nite.
I've just posted an ad for a new dp but am wondering if anyone has any words about this situation? I've tried to include him as much as possible in decisions and progress of what's going on – I don't think I'm being too difficult or anything like that – he seriously seems to be sabotaging himself.
... polite but firm separation as soon as you find a reliable DP. Maybe he just needs a little more maturity, or has too much to do to meet his course obligations (?), but if the shooting involves protagonists and others, his unreliability bruises your reputation with them. We all know in the pro, freelance, competitive world, he wouldn't be given a second chance easily.
Jo-Anne – since you're the first one to reply – ok – I'm going to ask the q I didn't before – is this also happening because I'm female?
I wouldn't want to comment, I don't know the situation first-hand.
Linda, it really doesn't matter what the reason is. If he's not doing the job, find someone who will. There are many good, young, hungry DP's out there. Not to mention, highly professional and experienced ones.
ahh Doug – I understand what you mean but every time I post on craig's the posts are flagged and removed since I can't pay anything but a credit and a dvd.
we had another long talk last nite. he's definitely overwhelmed w/the subject matter. it's very intense for both of us; he's from S. Africa and old enough to remember apartheid. I can't imagine what's going on in his mind right now.
I'm kinda stumped I think at the responses here. Yes, I understand he's not doing his job but at the same time, this is a creative industry and especially in social justice documentary, I would think people would be offering a bit more insight into how to practice what we preach. altho I have to say, I've met some documentary filmmakers who seemed more ready to jump on the social justice bandwagon for the status symbolism than they are ready to put it into actual practice.
Jo-Anne – your 2nd comment is exactly what I'm referring to.
I'm here in this industry because I want to make a difference – if I can't put this into practice myself then what's the point?
and before anyone accuses me of anything, I'm only being honest and trying to open up a frank discussion in the mentoring room because I was hoping others would help me become the kind of director that shows the same compassion to my crew as I do to the participants/subjects in one of my films.
I'm not suggesting you be an asshole about it, Linda. There are ways of letting someone go that are honest and humane, and it doesn't necessarily mean that you drop them from your life.
But what can I say, if mentoring or providing opportunities for your DP is more important to you than making the best film you possibly can than go for it. If making a difference is what you're after, I'd argue you'd be making a bigger difference to society by making a great film. And if your DP is more of a hindrance than a help in accomplishing that, I'd do what needs to be done. Again, it can be done compassionately.
It looks as if my previous comment was removed. Was it? It was in no way meant to be insensitive. As JoAnne says – without knowing the exact situation – it's difficult to provide specific suggestions other than practical advise about what one would do in such a general hypothetical situation. As a female director myself – I've concluded that it's a waste of time to speculate about whether one's gender commands more or less respect among crew members. I do believe however that it is a reasonable question to ask when dealing with documentary subjects.
I think sometimes being a director means behaving in ways that might feel contrary to one's nature. If you're generally a friendly laid back sensitive person who likes to avoid confrontation , it's sometimes a difficult thing to muster up the courage to tell someone firmly that things are not working out. But you have to do for the sake of your film – and that is really the only reason.
Hi Laura – donno about your other post – maybe the server had a burp or something?
Doug – I hear you, just wanted to make it clear I didn't want to be too hardnosed and insensitive to other people's issues.
anyway – everything's moot now – my dp is now my former dp – he totally choked, flaked out, flew the coop, whatever you want to call it.
I think most of all I just wanted reassure myself I did my best. This has definitely been a learning experience. I've supervised people before, heck, I'm a teacher (tho just subbing presently) and just didn't want this to be business as usual.
I know now it wasn't, that it was him, for whatever reason, he couldn't cut it.
The only problem now is that it's the middle of the semester and everyone is working on someone's film or their own so I might be really screwed with this project. I have reached out so hopefully will be able to continue but am making a plan B just in case.
sigh, live and learn, huh?
and laura, your post wasn't removed, at least as far as i know. what was so horrible that you wrote?
Everyone here recalls that this is a publicly-viewable topic, right?
Well Doug – I certainly didn't think so – a little tough perhaps – could have been construed as a bit sarcastic.
Jo Anne – thanks for reminding us! Truth be told, I had completely forgotten. Since Linda is a member, she should probably be posting this sort of thing in the production topic don't you think?
This is mainly for Linda (LW, you may know this): If you are not logged into D-Word when you google your name, you will see what everyone with an internet access will see. (the host(s) can delete anything here that was added inadvertantly).
uh ok ? I guess? am not sure what I'm supposed to acknowledge but yeah, I stay logged in...
and no, I don't think this should have been posted in production because I'm a grad student, this is a student film, and I'm new at a lot of this and was looking for mentor remarks, as opposed to mngmnt advice. as a business person, the answer was all too clear but I wanted to make sure I had everything else in mind to consider.
moving on, please see my next q
this film I'm working on, about the formerly incarcerated, seems it's growing day by day and is becoming very exciting to work on.
in school they stress over and over again to concentrate on making shorts (this one will be maxed out at 20min) and IF there is interest and IF there is more to shoot, etc., etc., then consider using the short as an intro to the longer version.
I'm just wondering if anyone here has gone that route before – from a short to a longer version? and how did it work out? how did you make various decisions, like what to use in the short? how long did it take to make the longer version (and how long was it?), etc.
This is my first post for the D-Word but I wonder if you can help?
Sheffield DocFest have invited me to take part in their Mini-Meet Market at the end of the week. They chose and idea I proposed for a doc and now I have to pitch it to them on Friday. There's a panel of film and documentary professionals and I have just three minutes to pitch my idea.
I've never pitched before. Does anyone have any tips on pitching?
What should I concentrate on in such a short amount of time?
Thanks in advance of any help you can offer.
Congratulations – that's exciting!
First – and most importantly – make sure you really know your idea inside out. What length is it? What's the story? Where does the story begin and how does it get to the end? Over what period are you shooting? Whose point of view are you focusing on? Who are the key characters? How are you telling the story on screen? Using talking head interviews? Ob doc? Rare archive? Animation? And why does this story need to be told now? And indeed, why does this story best told as a documentary rather than a book, magazine feature or photo essay?
Once you've got it straight in your mind you can plan your pitch. Make sure you pitch the story and not the issue or research. The execs will be trying to 'see' your documentary as you pitch it, so make it unfold in their minds with some vivid visual details to bring it to life.
And you only have 3 mins so you don't have to tell the whole story from beginning to end (they'll start glazing over)- summarize it in one sentence e.g. "This is the story of...who...and then discovers that...until... happens". You can then fill in some of the details – how you came to the story, who the characters are and what their challenges are, for example.
The pitch should be a tease that leads to a dialogue. Once they start asking questions – shut up and listen. You can talk yourself out of a pitch by not listening and responding to feedback.
There are a number of articles on pitching here: http://www.tvmole.com/category/tvdevelopmenttips/pitching/page/2/ – scroll down the page and start with the one titled "Six Ways..."
Good luck – and enjoy the experience!
Hi Nicola, what a helpful answer! You've given real detail and that's what I was lacking. Plus 'shut up and listen' – great advice.
Thanks for the link too. I think my time this week will be spent talking to myself with a stopwatch.
Along the lines of "shut up and listen," whatever you do don't be defensive. If one of the commissioning editors says only a martian would be interested in your film, nod as if the person is a certified genius. Good luck, Ian.
Hi, i have a question about how much Natgeo or History pays for a chapter of 50 min for the US market. Can you help me with it?