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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.

Jeremy Ansell
Mon 19 Sep 2011Link

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.


John Burgan
Mon 19 Sep 2011Link

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.

Edited Mon 19 Sep 2011 by John Burgan

Nick Ravich
Wed 21 Sep 2011Link

ARCHIVING/LONG TERM STORAGE FOR DIGITAL ORIGINAL MEDIA

Hello all-

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. We’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 – 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 they’re really only a short term solution. Up to the last couple of years, almost all of our original footage was shot to tape; we’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.

Sincerely, Nick


Doug Block
Thu 22 Sep 2011Link

Hope to see some answers myself, Nick. It's a huge problem.



Daniel McGuire
Thu 22 Sep 2011Link

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.


Scheffee Wilson
Thu 29 Sep 2011Link

I'm producing a documentary about the lifestyles of the women in Brazil. I working with a small budget and looking for some advice. I may need a super affordable documentary producer. Someone who has experience with small budgets and a foreign women subject. Please contact me.
TheGolfTrip@Live.com
I really need some advice.


Chan Park
Mon 10 Oct 2011Link

Hello,

I have been making a documentary, titled “Tango Your Life,” whose trailer can be seen at http://www.youtube.com/watch?v=0atvWyQ4rrs, if you care to watch it.

Basically I filmed and used in my documentary film many dance scenes, which come with copyrighted music, being played during the filming sessions. As these were dancing scenes, it’s not possible to avoid the music.

When I approached a law firm here in Buenos Aires, their interpretation is that I sync the copyrighted music to the film. That means, I have to pay the copyright loyalty to two groups: one representing composers/authors and the other for record companies. The loyalty is extremely high enough to put me out of the game.

When I asked the firm about “fair use,” their response was:
1) Fair use is provided by our law only for the limited use of a work for educational o scientific purposes. Other uses are not comprised within this exception. If you proceed to sync fractions of music themes with your documentary without having prior authorization from their authors, you could be subject to a lawsuit.

Then I discovered “Documentary Filmmakers’ Statement of Best Practices in Fair Use,” under which I believe the music recorded and used in my documentary falls under the protection of “fair use.”

I admit there are some incidents in the film, where the music was used beyond “fair use.” For example, some scenes start with a dance scene, which later is overlaid with an interview while the music continues to play to the end of the interview. This kind of scenes will be fixed to comply with “fair use.”

So my question is, “If the documentary shows dance scenes that come with copyrighted music, does it fall under “fair use?”

Please provide your advice here or to tangozen@hotmail.com. Thank you and I look forward to hearing from you.


Marj Safinia
Tue 11 Oct 2011Link

Hey Chan, since you're a professional member, I suggest you copy and paste your whole question in the Legal Corner , where you're more likely to get the kind of reply you're looking for.

Edited Tue 11 Oct 2011 by Marj Safinia

Chan Park
Tue 11 Oct 2011Link

Thank you, Marj. I am new to the forum. I'll do...


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