The insurance is to cover getting sued due to errors and omissions by the filmmaker/producer. E&O. Google E&O documentary film – there's good starting material on that there.
In reply to Jo-Anne Velin's post on Mon 12 Jul 2010 :
ah thanks a bunch! that could prove to be very valuable advice.
nick, welcome to the d-word. sounds like you and your co-director have an interesting piece. it also sounds like you are in a similar position to many first-time filmmakers – lots of good footage, but not much knowledge about what comes next (other than a lot of editing). the d-word is definitely the right place for you to start learning...
i'll tackle a few of your questions, and let some others handle the rest:
1) regarding the shooting format differential, there's a really great (and inexpensive) piece of software called Nattress which does an awesome job of converting 29.97 footage to 23.98, which is what you want to edit in. for only $100, you get really great looking footage.
2) regarding Fair Use, you don't have anything to worry about regarding pop songs playing in the background of a cafe. as long as you don't use the pop songs in any "creative" way to enhance your scene(s), you are absolutely covered here. no need to buy licenses for the use of such music.
3) i think you have a good estimate for what it will take to finish the film, but you should really budget closer to 9 months of editing than just 6. things ALWAYS take longer than you think. normally, i would actually budget for about a year of editing with that much footage, but since your story is pretty chronological, that removes some of the storytelling hurdles.
4) you didn't mention the extra expenses of color correction, audio mix, and music score. i assume you already know about them, but those will all be fairly expensive items at the end of the game. Color correction averages around $10-12k, audio mix about $8-12k, and original music about $10-15k. and those are the low-to-mid-range estimates. it can be much more expensive depending on whom you use.
anyways, good luck, and feel free to post more questions. you'll get more responses if you just post one query at a time...
In reply to Christopher Wong's post on Tue 13 Jul 2010 :
wow, thanks Christopher, that's really helpful.
1)awesome. If it comes recommended for only $100, totally worth it.
2)cool. I remembered hearing a story from On the Media where a doc filmmaker got in trouble for using a scene where a character's cell phone went off and it had a pop-song ringtone on it so he got sued. But maybe it was used in some creative context – I can't find the story anymore.
3) cool. yeah, I guess it's just done when it's done....
4) Most helpful. I am embarrasingly naive about this stuff (though that's probably a good thing, because we might not have started it at all if we'd had a realistic view of how much work it would be). I spent some time last night reading about both color correction and audio mixing. I watched a few tutorials about doing all this on your own using the Color and Soundtrack programs in the Final Cut Suite, so I am thinking of trying to go that direction. I figure if we can use YouTube tutorials to teach ourselves FCP we can probably use them for Color and Soundtrack too? Or are they way more complicated to learn? As far as original music I'm actually pretty stoked about that. We have a few friends who do hip-hop mixing or are in local indie bands, so we were gonna try to get them on board to let us use their stuff for free. We've kind of been taking the approach with people that "this will most likely never make money, but if it somehow does, and you help us out, you'll get a cut of it." I know it probably makes lawyers' stomachs churn, but so far people have seemed to be cool with it. Though I do wonder if that may bite us in the ass some day...
I'm currently outputting video in H.264 format with my Canon 5d Mark II.
I'm informed that if I import the footage into Final Cut Pro it will need to be transcoded. I know there are various transcoders available, including from Canon.
I'm also informed if I import this same footage into Adobe Premiere Pro that zero transcoding will be necessary.
I can use either program. I am comfortable with each.
I just want my end result to be the highest quality image and I don't want to start off on the wrong foot by introducing more distortion and noise into the process than is absolutely necessary.
Isn't it true that every time you introduce transcoding or format conversion into a process that you will harm the image, even if it is in some minor way?
I'm very well aware of the relative merits of FCP and Adobe Premiere. My question is only about this initial transcoding step.
The Apple folks tell me there is zero harm to the image caused by this transcoding.
Must I believe them?
Thanks so much!
I don't know anything about premiere, but I wouldn't worry about transcoding to prores for FCP (except how much *%&! time and disk space it will take). If you have FCP7, use prores lt, if you have FCP6, use prores. Nearly everyone using the 5d is doing it this way.
Hi Andy, thanks for responding!
I understand this is the widespread practice.
But given the very high compression of this H.264 codec and the distortions that inevitably seem to occur in other transcoding processies that I know of, I'm wondering if I might get a 2% (rough guess) better image if I import it natively into Adobe Premiere.
Because I am going to a very large screen, I need every tiny advantage I can possibly get.
That's beyond my pay-grade technically. My guess is that whatever minuscule compression artifacts may arise from converting to prores would be dwarfed by a whole set of technical issues, such as motion judder or the aliasing issues of the 5d sensor. (I probably shouldn't tell you that regardless of the level of technical perfection you achieve, the projector or projectionist will destroy it at 98% of the venues it will ever play.)
That said, if you want to talk tech, you'll get a better response at some other boards than you will at d-word. Try these:
Thanks for the pointers to other forums Andy, I appreciate it.
Given the mulitiplicity of problematic artifacts and the overwhelming majority of 5D users who transcode their files, it seems plausible that some of those artifacts may be attributable to the transcoding process.
A point in support of that is that even though many 5D users were saying that some of the transcoding programs available injected no problems into the workflow, Canon felt compelled to create a transcoding program of their own, on an expedited basis.
If there were no problems, why was Canon compelled to offer a transcoding program of their own and why the hurry?
But I'll bring my thoughts to those other fora.
matt, I use premiere pro with my 7D all the time. I would say not having to transcode is the primary reason why I do this. Also when you go to finish and export the adobe media encoder is a world above compressor. Personally I prefer adobe premiere for many reasons, but know if you want to bring in another editor you may run into problems.
Linda, don't assume your school will support anything. Mine never did even though I was paying 40k per year. I made a film about a video games and used tons of footage of the games without permission. We didn't paint the most positive picture of the games, but they left us alone. Fair use is your best friend. Learn it well, and you should be okay. Also if you do get sued you get tons of press. I would fly under your enemies radar until you are ready to screen. If you buy errors and omissions insurance before you screen, at least you will have an insurance company defending you from any suits.