Thanks so much!
Hi again Doug,
forgot to mention that the cast was French. Should I use a french release form, a translated form or both? Where might I find a french standard form? Also I suppose I should get releases from the narrators? I have one for the English version and one for the French version.
Could anyone recommend a good film lighting workshop in New York? Any suggestions would be really appreciated.
I'm having difficulty scheduling someone I want to interview. They sound enthusiastic about being in the doc. Have said, "provided I have time." Am going to the same conference as them. I've said I'm available "anytime". And they keep saying "if I have time." How do I get them to commit to a time? It's like the person isn't looking at their schedule at all.
Is it better to lead and suggest times than to leave it up to them to tell me what time works?
Reid, I would suggest semi-stalking that person during the conference and getting a commitment for maybe the next morning or later that afternoon. They'll probably be wanting to fully participate in the conference and not sure which talks or whatever they can't miss. During down-time they may need to do socializing which can typically only take place during a conference setting. Maybe the morning after the conference ends would work.
Thanks Jill, good ideas. I'll try suggesting later in the afternoon or evening after the 1st day events. The speaker leaves the morning after, so my opportunities are limited.
In reply to Todd Yi's post on Tue 2 Aug 2011 :
Lighting workshops are hard to find, but DCTV has one every so often, I think. If they don't, I'd call and ask them if they know of any.
In reply to Bonnie Friedman's post on Tue 2 Aug 2011 10:17 EDT :
Bonnie, you can probably just translate a standard release form into French. And, no, you don't need to get a release form from your narrators since they're not appearing on camera.
Perfect – thanks Doug
I'm fairly new on D-word and a first time documentary maker, originally from Amsterdam. I've started research for a documentary in New York, the result is the following work in progress trailer:
Question, now what? I would like to put together a crew (director, dp, researcher) and produce myself. Any tips where to start, the process is a bit overwhelming.
Monika, if you have funding for your project, the next steps should be pretty easy! Watch the films you like or aspire to be like, find out who worked on them, and see if they are available. Welcome to NYC by the way. I was living in Amsterdam for a couple years not so long ago.
In reply to Bonnie Friedman's post on Wed 3 Aug 2011 :
Hey Bonnie, I have a French release form if you need one. You can contact me by email if you want.
Andrea – that would be fantastic! thank you. How would I find your email address?
Just sent you an email with the release attached. Good luck.
Hey everybody I have a question. it's pretty basic. I am trying to make personal business cards, but I can't figure out what a respectable title is. "filmmaker" seems too generic, but "Documentary Filmmaker" seems to be limiting. if someone wants me to just edit they would look at "documentary Filmmaker" and figure I wouldn't be ok with only doing the editing. My ultimate goal is to do all of it, the research, the filming, the editing, etc. but I'm ok with someone hiring me to do just one of those things.
What is a good respectable Title that still represents what I do?
How about just Producer/Director? Or Producer/Director/Cameraman/Editor?
Hi again everybody. I have more questions of course... I am planning a trip to France to screen the finally completed doc for the participants (the few who are left) and another filmmaker has asked if he could schedule other screenings there for me. I have been told that it's not a good idea to have screenings if I am planning to do any festivals. In an ideal world (for me) I could find a sales agent and go straight to a broadcaster, but if I am unable to find an agent I may yet want to try to do a few festivals for exposure.
So my questions are: yes or no on the screenings? And any ideas on how to go about trying to find an agent?
PS thanks again so much Andrea for the release form!
I'm seeking technical assistance surrounding a particular issue. I teach film & video in a high school. In an attempt to move my students into HD, I bought a black magic deck link and installed it into our 4-core mac pro. We edit with Final Cut 6. I'm able to feed an image back from the computer with HDMI onto a HD screen just fine. However, I am having problems with log & capture using firewire from a Sony GV-HD700 mini-DV deck into Final Cut. I found that if I use Apple Intermediate Codec, I'm able to capture on the fly, but in Log & Capture, the deck is not recognized by Final Cut with any Codec. ideally, I'd like my students to use Log & Capture, and I'd also like to be able to feed the timeline in HD back to tape. Any suggestions would be most appreciated. Thanks in advance.
Try this thread: https://discussions.apple.com/thread/1334513?start=0&tstart=0
Read to the bottom, as it seems like there are some more in depth settings nearer to the end of the thread.
Dear Eli: Thank you for trying to help! Where are you in Brooklyn? I teach at Saint Ann's School in the Heights, and live in Carroll Gardens. I've been upstate during the hurricane and just got electric and the internet back and so have just seen your response to my inquiry. – I've seen this thread, but I'm in a stage one step beyond these folks' discussions. With the Sony deck, I've never had an issue capturing HDV. But my desire has been to be able to screen the work in HD on a large monitor, and to be able to print back to tape. As a test of how I understand to accomplish this, I purchased a black magic deck link studio 2 which is supposed to allow the HD image to feed back via HDMI to an HD monitor (which it does) and to allow the HD image from Final Cut to print back to tape. I can't test this second feature because I am totally unable, now that the black magic deck link has been installed, to capture HD footage other than on the fly (i.e. NOT in Log & Capture) and only able to do that while using Apple Intermediate Codec which I don't believe is the correct Codec to be using. So, something I COULD do before installing the black magic deck link, I am now unable to do. And, of course, I have no idea if, once I figure out how to get Log & Capture working again, if I'll be able to print back to tape. Any thoughts, or do you know anyone who has used the black magic deck link successfully? Thanks so much!
I have 2 blackmagic cards, but don't work with HDV decks, so this might not be completely accurate... but, my guess is that you don't use the blackmagic card to print to tape – it's a converter, for lack of a better description; it takes HD sources and allows you to output those via it's HDMI on a monitor or to a device that takes an HDMI signal. However, it doesn't output back to HDV through the card. So, I would ingest the footage via HDV/firewire, then to output to a monitor, use the blackmagic card (they should install with several easy setups; one of which will probably have a name similar to Blackmagic HDV 1080i or something). To output back to HDV Tape, you'll want to use the Final Cut Easy Setup that is for HDV (not via the Blackmagic card). I'm guessing that in the basic HDV easy setup, you should have deck control restored. The Blackmagic card is looking for an RS-422 deck control signal, probably, which is why you aren't able to see it/control it.
The next edition of CINECITY The Brighton Film Festival (UK) is interested in combining a screening of my short film, The Marina Experiment, with a guest lecture, and they wish to know my terms and conditions –
Can anyone recommend what I should ask as a screening fee and lecture fee, in addition to travel and accommodation? I don't want them to think I'm too costly but I need to make it worth my while.
I live in New York.
Deborah try this its for a kona card but i think it would work with the black magic card
In reply to Marina Lutz's post on Mon 5 Sep 2011 :
The Mentoring Room is one of our few public Topics, Marina, meaning that it is fully open to the world and will come up on Google searches. As you're a Pro Member of The D-Word you can ask your question in one of our dedicated, closed Topics such as Documentary Festivals
I am returning to Bali to film my first documentary. Last year I had the idea, but realized there was still too much I needed to learn before shooting. I took the last few months and worked with a local filmmaker who produces commercials and also makes documentaries. I am now feeling confident and ready to make my film. I am looking for another filmmaker who would like work with me. I could shoot it on my own, but would be great to have another camera and set of ears and eyes. Any suggestions for looking for someone who might be interested. The dates are October 26th-Nov. 11th. Any suggestions to finding someone who is in the area would be greatly appreciated!
I apologize for this being so long, but hopefully it's not overly complex a question. In summary, I am trying to decide if for my first documentary I should go big or make it small and then at a later time do my grand vision.
I am faced with a decision that I need some help with from those who are more experienced than I.
I am directing and self-funding my first ever documentary. Itâ€™s a passion project and I am teaching myself the art of documentary filmmaking, along with all the technical equipment and editing skills needed along the way as I develop the film.
I work on the film part time with my other part time paying the bills and film costs. I realized the other day that if I want to accomplish my grand vision for the film, it will likely take me 2 or 3 more years at this current rate of production.
Iâ€™m confident I can do that, but I am worried about the film coming out in 2 or 3 years. My topic is health related, one that I feel can help nearly 60 million in the US alone who suffer from devastating digestive conditions such as IBS, Celiac and Crohnâ€™s disease, the latter I have.
The grand vision of my film is about people with those digestive conditions who use alternative medicine instead of the conventional approaches when they donâ€™t work.
Additionally, it will ask the question, if people like me and the patients I interview can overcome an incurable disease like Crohnâ€™s disease without using conventional medications and surgery, why arenâ€™t more people doing this?
That question will lead to exposing the systemic healthcare and government failings that are prohibiting patient access to healthy food and alternative treatments.
There are also concepts about modern western society being out of alignment with the natural laws of life and so we are seeing more diseases.
Lots of interconnected and heavy topics, and I feel they are important to make the film help as many people as possible. But people need help right now, people are dying frequently from the ravages of Crohnâ€™s disease which eats away at a personâ€™s intestines.
The other option I have is to make a smaller, tighter focused documentary that only discusses the patients and the treatments that have worked for them along with a few key medical experts. I could probably wrap production this year if I haul ass and release it next year.
But Iâ€™m afraid of doing that because I want to make my grand vision and I fear that if I make a smaller version first, something will happen and Iâ€™ll never get to make that original version of the film I really wanted. Are my fears warranted based on your experiences?
What do you think I should do?
-Reid B. Kimball
Reid, is there any way you can go for the more tightly focused documentary now, and then still do the big one later? You say you're worried that if you go the easier route, "something will happen" and you won't get around to making your grand vision; isn't also possible that something will happen anyway if you embark on a much longer path to completion?
As someone who has also learned by doing, I would encourage you to choose the more immediate goal first. Especially if you want this film to be seen and be of immediate benefit to others who suffer similar diseases. And, as a newly minted filmmaker, all the things you learn the hard way on the smaller film can greatly benefit you on your next film, when you get to start with a clean slate! My experience is that docs can take twice as long and cost twice as much as you think they will. Unless you're a real glutton for punishment, I'd start small(er).
In reply to Rob Rooy's post on Fri 9 Sep 2011 :
Rob Rooy, thanks for your advice. I've been thinking about this more and am leaning towards the shorter version.
It's good advice – learn to walk before you run. Good luck Reid and keep us posted.
I have a gear question now. I'm using a Sanken CS-1 shotgun mic that requires 48v phantom power. Can anyone recommend a battery operated 48v phantom power supply? I find it's drawing too battery power from my Zoom H4n.
I'm looking for AA battery powered and ultra portability.
Here's a great example of what I'm looking for, but I think it only works for Sennheiser shotgun mics.
Reid, this one looks good to me. Phantom Power I haven't used it, but it uses a 9 volt battery and seems to be a good design.
Just started out and need to put a production log book together. How is this done. I'm the director and my one and only producer just told me he is going to join the Navy. I'm all alone now and need to continue making my doc. film. We never started one out in the first place..been only working with him for the last 2 months and only two shoots, so not much work to be done..however now I'm wearing all the hats. Help, please.
Karina, as you're a professional member, you should probably ask this question in the Editing topic where you're bound to get more eyeballs. This is more for "enthusiasts" who don't have access to much beyond this topic.
In reply to Bill Jackson's post on Mon 12 Sep 2011 :
Thanks Bill, that's probably the one I'll end up getting.
Hi everyone :)
I am editing a political documentary which is my first full length project, and find myself in need of some good tips. I have a lot of creative control as to the direction of the film as well.
I watched 'The Cutting Edge' and found it very helpful. I would love some suggestions on more educational videos, and free courses to take.
Other than that, if anyone has some time they would like to share to help me along, please message/email me, or let me know if you are available for a phone chat or two.
Thanks :) positivecontact (at) inoutbox.com
In reply to Jennifer Reiman's post on Fri 16 Sep 2011 :
Jennifer, can you tell me more about 'The Cutting Edge'? I doubt you mean the movie about the hockey player who becomes a figure skater, :)
In reply to Reid B. Kimball's post on Fri 16 Sep 2011 :
Btw, I wasn't able to find the whole movie streaming online, but I did find it via bittorrent file on xxxxxxxxxx :)
Jennifer, we don't appreciate links to illegal downloads at The D-Word, which is why your post has been edited.
As it happens, The Cutting Edge, The Magic of Movie Editing is available new and second-hand at Amazon
As you are currently editing your first full-length project, it might be worth thinking about how you plan to survive in a business where the fruits of your labours are made available for free. It's basically the difference between a hobby and being able to pay the rent.
Great point, JB. Ditto.
I was wondering after I posted that if someone would say something.
First, just because a file is available for download through a bittorrent site does not mean it's 'illegal', and also in my case, I will make my documentary available for people to see for free, as well as purchase hard copies, as many in the genre I am working in are doing.
I support people in the industry by buying documentaries from them (usually after I have watched them) and I often give them away to people.
That being said, I appreciate you communicating with me about your edit
The movie in question is not available legally through any bittorrent or download site, Jennifer – if you believe it is, please email the link and we will happily post it. It may be available on Netflix to subscribers in the US for online streaming – but that's not bittorrent.
Actually John it is available. You can watch it on Youtube and it has a standard license. It can be found via a simple search. The first part has over 90,000 views and was posted in 2006 so the assumption would be that it is legally available to watch for free.
Documentary filmakers might want to think about how they plan to survive in the business without considering other ways of distribution. This is the reality, embrace and think outside the box.
Although some sections are there on Youtube, the whole movie is not available to watch, as you acknowledged in your original post.
The bittorrent link that you posted which we removed was certainly not legal – is that what you meant by "thinking outside the box"? :)
As it is, D-Worders are already exploring alternative methods of distribution online, such as our Distrify and The D-Word Topic.
That was my original post? I've not posted a bit torrent link. I wouldn't encourage illegal downloading but I would encourage 'thinking outside of the box' when it comes to distribution and not just assuming that making your film available for free is not part of a viable distribution plan. This is a model that threatens the more established filmmaker and it shouldn't. You get what you pay for.
Sorry Jeremy, the illegal link was posted here by the other poster which we removed – and I think the smiley shows that she knew it was content you didn't have to pay for. I mixed the two posts up – my mistake.
ARCHIVING/LONG TERM STORAGE FOR DIGITAL ORIGINAL MEDIA
For some reason having a really hard time getting folks to talk to me about this issue so wanted to throw it out to the D-word community (doesn't seem to have been really covered in past forum posts.)
I work for a small, non-profit arts organization that produces a pretty high profile nat'l documentary series for PBS. Weâ€™ve got a growing amount of digital original video material (multi-GB, broadcast-intended digital video files; mostly XDcam EX and P2 original) and we need to get serious about more long term/archival preservation â€“ a system where I can reliably expect to access the media 5/10/20 years down the line. Currently all this media lives on multiple, but non-networked, non-RAIDED external drives; given the life expectancy for these kind of drives, I realize theyâ€™re really only a short term solution. Up to the last couple of years, almost all of our original footage was shot to tape; weâ€™ve been creating protection masters, and storing masters and protections in separate climate controlled facilities. Obviously digital material requires a different solution.
One important thing to know about us – we have serious aspirations to preserve all of our originally-produced footage beyond the life of the organization, to eventually make publicly available for researchers, students, etc. So this is not a client-mandated need but instead something generated internally, motivated by our contemporary art and media centered mission. Being smart now about how we ensure the longevity/future usability of this material is crucial for us.
I know the terms "archival" and "long term" probably bring up more questions than answers but I'm wondering how folks in similar positions – smaller production companies producing a consistent (if not broadcaster level volume) of digital original material, who own their media and have a vested interest in preserving it – have dealt with this. Transferring to LTO5 tape? Some kind of cloud/network-based solution? In house? Out-sourced?
Honestly, very surprised there isn't more discussion out there about this. Really hoping I can spark something here.
Hope to see some answers myself, Nick. It's a huge problem.
Thanks Doug. Posted a similar discussion topic on DVXuser, a more gear/tech oriented site. And have gotten some interesting responses.
The guy at that forum wrote:
"That said, I can't afford LTO. I archive my stuff on external hard drives, and copy it over to the next latest and greatest drive every several (~5) years. With hard drive capacity continuing to increase (at virtually no higher price), this is a viable method for the mid-term."
Given that the cost of storage is minimal – a hundred hours of SD or HD footage fit on a 1TB drive that costs around $160, (That's a fast, G-Drive), why would you use magnetic tape? Clone or back-up the drives every 5-10 years, depending on usage. If you are getting to be an old fart, perhaps begin discussions with a film or university archive to handle your footage after you die- with stipulations for tape back-up or whatever.
To me the real problem is how to organize it. I'd like to have a workflow so that, say, 100 hours on a drive would also be mirrored (with BITC) to a private youtube account – each tape divided into 6 10-minute sections – so that other people – researchers, collaborators – anywhere in the world could be roped in to log, translate, and work on editing sequences.
If you have historic and valuable footage, you might be able to have a university buy the collection library.