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Here's your chance to reach a broad public interested in documentaries. Get the (D-)Word out!

Please include a LOCATION. Spam will be deleted.

As this is a PUBLIC forum, it is also a good idea to write email addresses longhand (person[AT]d-word[dot]com)

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Ivica I. Ramovic
Tue 19 Feb 2008Link

Ok, Sorry ...


Laura Moire Paglin
Tue 19 Feb 2008Link

EXPERIENCED ASSISTANT EDITOR NEEDED TO ORGANIZE LARGE SCALE DOCUMENTARY

I need an Assistant Editor to come to Cleveland for several days, a week, or however much time necessary, to come up with organization system for a long form doc containing 200 – 300 hours of footage and numerous characters. Footage needs to be logged and searchable, interviews need to be transcribed and we need to be able to train interns to do much of the rudimentary work. Editing HDV material in Final Cut.

Fee negotiable plus travel/living expenses and accommodations. Could eventually be an ongoing position depending on funding. Prefer someone within a 1000-mile vicinity of Cleveland (i.e. New York).

Please email resume to:

lpaglin@en.com

You can read about my other work here:

www.noumbrellla.org
www.nightowlsofcoventry.com
www.shadowoftheswan.com

Synopsis of current documentary available upon request.


Boyd McCollum
Tue 19 Feb 2008Link

Hi Laura, do you want the AE to transcribe the interviews? I'm sure that will take much more time...


Laura Moire Paglin
Tue 19 Feb 2008Link

No. The idea would be to come up with the best system so we can train interns to do the actual grunt work. For example, should they be given clones of QT files? How will they log the time code? etc.


Laura Moire Paglin
Thu 21 Feb 2008Link

But if anyone has a better idea on how to start organizing a project for an editor before you can afford to pay one, please let me know!


Robert Goodman
Thu 21 Feb 2008Link

Your best solution is to get all 200 hours onto hard drives. Then make clones of sections of the materials that can be loaded into an edit system so people have control over the material. Let them make subclips with notes about the material. The transcript project should be done by a professional who can insert time code into the documents. That said, I wouldn't bother with transcripts of all the material. Too expensive. Just transcribe the 20% that may make it into the film.


Laura Moire Paglin
Thu 21 Feb 2008Link

Robert – thanks for responding. I'm going to post my question and response to yours in the editing section.


Fredric Lean
Fri 22 Feb 2008Link

Hello,
what would be the best options in terms of camera to shoot a shoestring budget documentary which requires a lot of outdoor shootings following a subject discreetly in different local public places and some indoors for interviews- (pretty much guerilla/ news style)?

here are the options:
-Panasonic DVX 100b
-Panasonic AG-HVX200(P2 cards + camera =outside our budget range-unless somone knows a great place to buy it cheap)
- Sony HDR-FX1 (someone told me good but not so great)
-Sony HVR-A1U
-Sony HVR-Z1U

now i have been told, since the film style will be pretty much hidden camera style (almost) , to use may be a high end HD consumer camera so i can hide it even in pocket.
does anyone know anything about the quality of these cameras below:
-Panasonic HDC-HS9 (HD & 24p)
Canon HV20 HDV (HD & 24p)
Panasonic AG-HSC1
Sony HDR-CX7

any suggestions or help?

thank you


Erica Ginsberg
Fri 22 Feb 2008Link

Just saw this info on the IDFA Summer School. Posting it here, so enthusiasts can see it too:
http://www.idfa.nl/industry/idfacademy/summer-school-2008/how-where-when.aspx


Christopher Wong
Fri 22 Feb 2008Link

it's nice that IDFA wants to do this, but c'mon, that's friggin expensive. first and second time directors who are currently in the midst of producing their films do NOT have the money to jaunt off to amsterdam for a bit of mentorship. to go from the u.s., you'd have to spend about $2500-$3000 for tuition, airfare, and accomodations. no IDFA Summer School for me.


Matt Dubuque
Fri 22 Feb 2008Link

Fredric-

This might well be a question for the mentoring section.

That said, the Canon HV20 is probably the best disposable high definition camcorder you can buy. Because of its plastic parts, it is unlikely to last you much more than one film. But for what it is, a disposable HD camcorder, it can't be beat. It has a very nice lens and superior image stabilization. Ranked as product of the year (2007) by Videomaker magazine.

Edited Fri 22 Feb 2008 by Matt Dubuque

Matt Dubuque
Sat 23 Feb 2008Link

I must add that one nearly fatal flaw in the Canon HV 20 is the sound. In my book, any camcorder that uses mini-jacks for its mike inputs is completely unacceptable for almost all serious work by any documentary professional.

You can, however, bring the sound quality of the HV20 up to a level that will be acceptable to the vast majority of viewers by using good mikes connected to an XLR adapter (such as a Beachtek). That XLR adapter then plugs directly into the HV 20.


Christopher Wong
Sat 23 Feb 2008Link

or use new Sennheiser shotgun

(recently posted by D-worder Rafael La Luz in members-only "Sound and Music" topic)


Nigel Walker
Sat 23 Feb 2008Link

Matt, I was interested to know how you went about getting permission to film in Mecca, Saudi Arabia.


Joe Moulins
Sat 23 Feb 2008Link

An XLR adapter will do nothing to improve sound quality for an HV20, or any camcorder. The adapter plugs into the mini-jack, so you're still dealing with that bottleneck. Plus, you're adding another noisy connection to the path between mic and tape, and the pots in the adapter itself which will get dirty and add their own noise. In fact, even when they're not dirty they're pretty noisy.

There are some decent mics available (Rode, Sennheiser,?) with 1/8 inch plugs. I'd go with one of those, or record audio to a separate recorder altogether.


Matt Dubuque
Sat 23 Feb 2008Link

Thanks for the clear thinking Joe!

Nigel, one of the qualifications for being a Member here is that I need to be of demonstrable use and benefit to the professional documentary community. As things appear to stand now, I need to wait until completion of one of my films before I am granted membership. Unfortunately for me, that will be next year.

I do not object to that requirement. I am willing to play by the rules; that's fine. I am not complaining about the rules and I am not attempting to change them.

If you can assist me in becoming a member sooner, then I am willing to share what I know about this with you and others immediately upon receipt of Group Membership. I am aware this decision is not up to you.

As a member, you have much more power in this group than I do. You have access to all sorts of discussions that I am not privy to, that I would benefit enormously from.

Until that fine day when I become a member, I have to zealously guard certain crown jewels which I do possess. Otherwise I would be at a complete and absolute disadvantage to every member here.

Nothing personal at all. It's just part of paying my dues.

Very best wishes to you.

mdubuque@yahoo.com

Edited Sat 23 Feb 2008 by Matt Dubuque

Fredric Lean
Sun 24 Feb 2008Link

Hi Matt,

Thank you for the info. I am going to post the question on mentoring as per your suggestion. This is one crew person filmmaker who is trying to reach a professional as much as he can. so any help about shooting tips (camera, cinematography, sound) is VERY VERY welcome! :-))
Thanks for your support.


Nigel Walker
Sun 24 Feb 2008Link

No worries Matt. The question comes from just an inherent interest for 'all things production' in the Middle East. I worked there for a few years and wondered if there had been any significant changes in access to Mecca. You stated you are a newcomer and I was impressed that you had this kind of access, the assumption I made was that you weren't affiliated with any large media group. I wasn't looking for any hard earned personal contacts just some basics, in the past we used crews out of Egypt because it was difficult to get any non-muslim producers into Mecca. I should have phrased the question differently, apologies. My days working in the Middle East are, in all likelihood, over.

You are right in assuming that I have no influence here and can do nothing to help you become a member quicker, I'll leave that to Doug and the more senior members here who have invested years of their lives creating this invaluable resource and support network.

I will say this though, it surprises me how little the mentoring section is used by enthusiasts, you mention you are not privy to a wealth of information, I disagree, all you have to do is ask a question, the members are incredibly generous with their time and advice.


Lenville O'Donnell
Mon 25 Feb 2008Link

In reply to Matt Dubuque's post on Sun 24 Feb 2008 :
Matt, I may be speaking out of school here, as I'm a fairly new member and not one of the hosts. This forum is, in my limited experience (though I have read every post since the beginning and found a wealth of useful information) one that is, almost above all, based on a selfless spirit of generosity and community. Established filmmakers help each other, and they also help newcomers to the field in public forums, such as this one. I haven't seen any quid pro quo requests here... if someone requests information or assistance the response is always generous and unqualified. Paying it forward, to use a trite phrase. I should think that your providing a member with requested information would be automatic and not come attached with conditions. You could request the member's e-mail and provide the info in private if you did not want to share your "crown jewels" with the public (members do this all the time). It's only my way of thinking, but if you demonstrated through your posts in the public threads that you could indeed be a productive participant in this little village by EXCHANGING information unconditionally with both members and enthusiasts in an intelligent, thoughtful, and professional manner, it might very well accelerate your admission as a member even though you are an inexperienced filmmaker. Food for thought. And don't get me wrong: it's great to have you here participating.


Boyd McCollum
Tue 26 Feb 2008Link

Lenville, well said.


Felix Endara
Tue 26 Feb 2008Link

DOCUCLUB “IN-THE-WORKS” AT SILVERDOCS – CALL FOR ENTRIES

DocuClub is pleased to announce its participation in the 2008 SILVERDOCS: AFI/Discovery Channel Documentary Festival with an “In-the-Works” program.

The deadline for submissions is APRIL 18, 2008. SILVERDOCS takes place June 16-23, just outside Washington DC. For more information about the Festival, go to:
www.SILVERDOCS.com

DocuClub is currently accepting submissions for an “In-the-Works” program at SILVERDOCS. The “In-the-Works” program offers filmmakers a safe environment to screen a rough-cut of their documentaries before an audience of their peers and lovers of the form. The audience is encouraged to give constructive feedback about the structure, content, characters and clarity of the film in a post-screening discussion facilitated by an experienced filmmaker.

Past films that have screened “In-the-Works” include BORN INTO BROTHELS, METALLICA: SOME KIND OF MONSTER, and THE BOYS OF BARAKA, which won an Audience Award at SILVERDOCS.

Submission requirements for the “In-the-Works” program at SILVERDOCS include the following:

• Films must be in rough cut stage and thus ready to be screened;
• Films must be no longer than 90 minutes and no less than 45 minutes;
• Filmmaker should be able to articulate specific challenges that you wish to workshop.

To apply, please mail a clearly labeled DVD screener to the address below. (Please note that your screener will not be returned unless you provide a SASE.) :

Felix Endara
Filmmaker Services Coordinator
Arts Engine. Inc.
104 W. 14th St. 4th floor
New York, NY 10011

DEADLINE FOR SUBMISSIONS: Friday April 18, 2008

For more information, contact:
Felix Endara
felix@artsengine.net
(646) 230-6368 x 221


Dale Galgozy
Tue 26 Feb 2008Link

In reply to Jamila Gaskins's post on Sat 6 Oct 2007 :

Hi Jamila, Kent is fine. Not much film activity but my teaching is going well. Sorry it took so long to reply, I don't always check this site.

I'm still looking for projects to work on.

Dale


Mercy Murugi
Thu 28 Feb 2008Link

I introduced myself, now let me introduce Ginger Ink Films.

Ginger Ink is a film and television production company based in Nairobi, Kenya and, as you will see from the following, we give creative input and practical support for any production from commercials through to documentaries and feature films filmed all over Africa.

• We have recently filmed documentaries for such clients as Crocs Inc in Malawi, “Soles United in Africa” http://www.solesunited.com/solesunited.mov,
and DHL in South Africa, Nigeria and Ghana;
• Facilitated crew and equipment in Ethiopia on the feature film, “The Athlete”, for the German-based Grand Hotel Pictures/Invicta Entertainment, which will be released in 2008;
• Filmed and produced television shows for National Geographic – “Hunter, Hunted” & “Is it Real?” ; the Travel Channel – “Stranded with Cash Peters”, and Virgin Media TV – “Take Me to the Edge” , the latter of which is to be shown in the UK in July 2008;
• Produced commercials for the African market for blue chip companies as Unilever, Reckitt Benckiser and Diageo and have a team of producers, directors, cameramen, soundmen, art department, location scouts and managers, casting agents, assistant directors, production assistants, grip and lighting crew, etc.

We also have inhouse camera and sound equipment. Grip and lighting equipment can be hired in Kenya.

For your next project in Africa, give us a shout.

mercy@gingerink.tv

Http://www.gingerink.tv

Mercy

Edited Thu 28 Feb 2008 by Mercy Murugi

Robert Richter
Thu 28 Feb 2008Link

Mercy
Kenya has been one of my all time favorite places.
Nowadays it seems to be in a big storm?


Matt Dubuque
Thu 28 Feb 2008Link

Thanks Nigel-

I'm not complaining. But I think it would be incorrect to state that being a Member is identical to not being a member.

I remember as a law student the first time I entered the Stanford Law Library. The wealth of information there is staggering. The general public is not allowed in, for good reason.

But being allowed to study in those stacks of 18th and 19th century books, where the majority of thoughts are in complete paragraphs, was a revelation indeed.

And I have lots of questions about Vertov. For example, what influence did his films have on the very famous German actress Leni Riefenstahl before she started directing many years later? She must have seen his films; they were a smash in Europe. What influence did Vertov have on Bunuel?

And James Longley (member and 3 time Academy award nominee) is the only person I know of who has spent 2 years in Russia absolutely immersed in Soviet montage. I know he's a member here, but I've never seen him post in the Mentoring section. And I'm sure he has the kind of deep, specialized knowledge I seek.

I'm not being ungrateful or complaining. I'm simply able to make distinctions between my specialized inquiries and the general needs of others.

If you are ever at the SF Doc-u-Link I'd love to meet you.

And I'm glad you understand my point about crown jewels, even if others do not. One thing I can say, for me it just seems essential to have an Islamic film crew filming in Saudi Arabia, especially given what I intend to film there. All my analysis starts from there.

Edited Thu 28 Feb 2008 by Matt Dubuque

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