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The Mentoring Room - Ask the Working Pros

This is a Public Topic geared towards first-time filmmakers. Professional members of The D-Word will come by and answer your questions about documentary filmmaking.

Rob Appleby
Wed 7 May 2008Link

Darla – you're the director, so you need to get the footage translated/transcribed. Otherwise it'll end up with the editor or whoever does understand the footage directing it – which isn't what you want. Get it transcribed with time code and then go to the edit. I can't see any other way to do it.


Darla Bruno
Wed 7 May 2008Link

Okay, Rob. So then I need a tranlsator who can also transcribe.

Know anyone? :)


Wolfgang Achtner
Wed 7 May 2008Link

Darla,

If you look back I'd already answered this and many other questions before – or just after – Christmas, if I remember correctly. The answers remain valid.

As I wrote you then, you would have been much better off having someone transcribe the tapes in Italy. Anyone could have done that for you over there. Then you could have chosen to have the transcripts translated in Italy or over here.

Check the old posts.


Darla Bruno
Wed 7 May 2008Link

Thanks, Wolfgang – some things have changed, though. One being that I'm not in Italy any longer, so I can't really look at "should haves" at this point.


Rob Appleby
Wed 7 May 2008Link

Well, another option would be to go over all the footage with the editor, which I'm sure you're going to do anyway, and log it with notes on what is valuable in terms of dialogue. Make quick notes while you're in capture, for instance. Lots of your material will probably get thrown out because of image problems anyway, most likely. So then you can get the pick of the material transcribed/translated. But you'll probably regret not having it all when you come to think about voiceover possibilities – when the track from substandard or problematic picture might still be very valuable. The best route is just to bite the bullet and get it all done.

Do I know anyone – well, contact me offline if you want to discuss it.


Tony Comstock
Wed 7 May 2008Link

"The best route is just to bite the bullet and get it all done."

While all the while telling your self that money has nothing to do with filmmaking.


Darla Bruno
Wed 7 May 2008Link

Rob, What would be "biting the bullet" in this case? I wasn't clear (sorry, newbie). Also, I did try e-mailing you at the address on your site, but the e-mail bounced. I'm at editor@darlabruno.com if you'd like to contact me.


Tony Comstock
Wed 7 May 2008Link

"biting the bullet" = paying money to have your tapes transcribes/translated.

BTW, I'll be very interested to see how this turns out for you.

For a variety of reasons, I'd like to do one of my "hardcore love stories" with a spanish-speaking couple. But while I speak spanish well enough to travel in Mexico, I can't image editing in Spanish, at least not the way I edit my english films.


Darla Bruno
Wed 7 May 2008Link

Well, Tony, if I jump off a bridge in the midst of this . . .

My gut is telling me to have it all transcribed in English with time codes – that I spend my money there rather than with an editor.

I trust my editing (although I'm a book editor) to at least get my first 16 hours into a trailer (with some help) and get a better grasp of my story.

Ideally, I could sit with someone . . . but I just don't have a bazillion dollars right now. I have like twenty bucks :)

Really, I'd put out a couple thousand, but not like five.

So I don't know if this plan/gut is reasonable. I think so.


Rob Appleby
Wed 7 May 2008Link

Tony, that's an interesting remark. BTW – I'd love to get ahold of your films, they really look fascinating.

Having just completed 18 months work in Hindi, Gujarati and Tamil (none of which I speak, except Hindi I understand maybe 30%) I'd be interested to know why you wouldn't be able to edit in a language you understand like you do in English. Once you have transcriptions and so on, what other problems would you be facing?


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