there are far better programs for logging video footage than excel. Avid has one, Imagine Products makes expensive ones, and there are bunch of others floating around. These days I wouldn't even bother. Just do it in your editing program – if space is an issue – bring everything in low res. That way you can organize bins too.
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.
In reply to Robert Goodman's post on Mon 14 Nov 2011 :
Thanks Robert, I will investigate those other options you mentioned. Love learning about new tools!
I'll experiment with bringing in low res video too.
I'm a documentary film student (about to graduate in December) who is looking for an internship here in NYC. Aside from the standard job posting sites, does anyone know of a good way to find and research available internships in the field?
In search of the "perfect" camera:
I am a photographer in Knoxville and have been roped into this crazy adventure in the spring. It's called The 555.
Basically all of the crazy motor heads here are travelling across the country again. The only catch is that they must use motorcycles under 500 ccs, costing less than $500 to rebuild and orginally built before 1975.
and they want me to sit in a homemade side car and film the trip for two weeks
I am looking for a camera that is in the spirit of the 555
grimy, beat up, sturdy, drunk, a one man show
Can anyone recommend something?
What kind of camera does a crazy person take on a dangerous motorcycle adventure in hopes of capturing the truth about "The 555"?
ps. how the hell am I going to get sound for this if I'm the only one doing this project?
I’m new to the D-Word, new to the world of documentary filmmaking, and I have a ton of questions. I’ll confine this post to question number 1 but first a few words of introduction.
I’m a writer in Los Angeles, working in collaboration with a veteran European filmmaker on the development of a doc film project that’s been accepted into IDA’s Fiscal Sponsorship Program. On page one of the FSP Agreement it says that as Project Manager I’m required “to obtain appropriate liability insurance for all aspects of the project in an amount of not less than $1,000,000, which shall name IDA as an additional insured.”
I’d like to ask folks with experience in this area where I should (and maybe also should not) go to inquire about such insurance, how much I should expect to pay, if there are some plans better than others, etc. Any and all information will be appreciated.
Many thanks, and it's great to be part of this group--
P.S. Thanks to Lisa Hasko of IDA for telling me about the D-Word!
Here's my second question for the Mentoring Room and it's also about insurance. At what point in the long process of development should Errors & Omissions coverage be purchased? Compared to liability insurance, the quotes for E&O are way more expensive. Early on, we're trying to figure out the best way to spend what money we have. Any thoughts or anecdotes will be appreciated--
Stephen, wait until you're finished (or close to finished) and have a sense of what your distribution will be. You'd need it mainly for theatrical and broadcast, so why pay for it when you may not ultimately need it?
Basically, if a broadcaster (like HBO or the BBC or Discovery or whoever, for example) wants to buy your film, they will tell you if they have an E&O requirement and what company they prefer you to get the insurance from – because the insurance is really to protect the broadcaster, not the filmmaker (but you should still make sure that the insurance policy also covers you.)
This is because broadcasters have a lot of money, and filmmakers generally have none. So any potential lawsuit resulting from your film will likely target the broadcaster, not you, the filmmaker.
However, in most cases such lawsuits are few and far between – this E&O business is mostly just a formality required by the legal departments of large media companies.
What you can do to prepare for this process is to get signed waivers from the principal participants in your film, if possible.
Thanks, Doug and James, for your 12/16 and 12/17 responses to my question above about E&O insurance. You're both helpful and encouraging.
In reply to Ray Metoyer's post on Fri 13 May 2011 :
Can anyone tell me what are the typical rates for selling a documentary to a US TV channel or where I might find such information? I have a client here in the UK who has made a documentary which should be of interest to the US audience.
The rates are all over the place, Maureen. Could be as little as next to nothing (small cable channel) or as high as a million or more (HBO, if they really really want it). Would help to know what kind of doc it is and the length.
In reply to Doug Block's post on Wed 4 Jan 2012 :
Thanks, Doug. Pretty much as I suspected. It's an hour-long documentary about Buffalo Bill's visit to Scotland.
Sounds like The History Channel is your likely target. Don't know their license fees (does anyone here have any experience with them?) but my guess is it's not high for an hour-long "one-off" acquisition. 10 to 20K, perhaps? Don't hold me to it, though.
In reply to Doug Block's post on Thu 5 Jan 2012 :
Thanks again. I'' pursue the History Channel lead. Doesn't sound as if the chap is going to make much of a return on this.
In reply to Robert Goodman's post on Thu 5 Jan 2012 :
Good grief. His prospects of success are being radically pruned.
Hi, I'm working on a documentary feature for which I'm finding it really difficult to raise any funding at all.
The documentary is on the Maoist rebel movement in India and looks at the rebels, the conflict and its human cost, and the underlying issues of mining and indigenous tribal rights.
I have filmed one round and will be going back to film more (me being the director, cinematographer, producer, editor and all).
Based in Australia, I have had no luck getting a broadcaster. The commercial ones don't care and the public broadcasters require Australian content / connection so a suggestion was for me to film myself which I think detracts from the story – its not about me but about the people there.
So I was wondering if anyone has any suggestions / ideas on how to go about raising funding for documentaries on issues that aren't exactly mainstream? How do I finance this (so far its been self financed but that won't cover a lot of the post work)? And what are the possibilities for distribution, theatrical release etc?
Your film sounds like a good idea. I have been to India doing a short promo/doc for a charity on Yanadi tribe and luckily they supported financially filming of it all.
Anyway, in regards to your financing, have you tried http://www.indiegogo.com/
Hope it all goes OK for you and if I can do anything to help or advise you please let me know.
In reply to Ajay Brar's post on Tue 10 Jan 2012 :
I am not sure if Kickstarter.com is open to those outside the United States yet, but I raised $11,000+ for my documentary.
SUBJECT: BEST STUDENT FILM, DOC SHORT, and DISABILITY FILM FESTS/COMPETITIONS
I've just completed my first of several short film as part of Stanford University's MFA in Documentary Film program. The film is solid, about 5 min, and focuses on disability but in an unexpected way.
I had a bad (and expensive) experience applying to festivals with a short I directed as an undergrad. Can someone suggest (or direct me to some posts about) some of the better film festivals or competitions for student films and films about disability? I have a fear of blowing a lot of money applying to festivals out of my league or that don't really have much value as a networking event.
In reply to Oggi Tomic's post on Tue 10 Jan 2012 :
Thanks Oggi. I've been trying to avoid crowdfunding but looks like that will be the way to go.
In reply to Reid B. Kimball's post on Thu 12 Jan 2012 :
Kickstarter is only for US residents. There is a crowdfunding thing here in Oz too, I've just been avoiding it and trying for production houses and broadcasters.
Hi all, I'm currently trying to raise funding for a documentary about a network of controversial adolescent drug abuse programs that I was a member of for five years. We just released a pitch trailer and launched an IndieGoGo campaign.
I would love to get some feedback from professionals on what we are doing right and what we could be doing better. This is my first time trying to do something like this and I could use all the help you can offer.
The trailer and IndieGoGo page are here. http://www.indiegogo.com/thegroup
Not asking for donations here, just looking for feedback. Thanks in advance.
This looks like a really interesting story, especially since you have the inside scoop.
I am wondering if you have any other footage besides the talking heads and pictures. Are there scenes you can shoot? Or can you come up with some creative B-Roll that relates to the feelings that everyone is talking about? I know you are just beginning with telling your story, but I think it is always good to think in these terms. Best of luck!
Thanks for checking it out.
Right now, we have about 13 hours worth of video footage that was shot by members of The Group and more coming. We didn't use any in the trailer because we are still working out the legalities of using it, but we intend to use some of it in the film.
As for B-roll, we plan to get footage of our interview subjects in their daily lives, plus just shooting anything interesting that comes up when we are on location.
Subject looks compelling so far. I have heard of extreme drug programs (like the right wing christian ones that periodically get shut down by a state gov and then pop up elsewhere under a different name) but this is the first I heard about one totally run by kids. Lots of parallels though in terms of the brainwashing, peer pressure and torture lite techniques. Was there money involved? Anyone profiting?
In reply to Jill Woodward's post on Fri 20 Jan 2012 :
Hi Jill. There is definitely a profit being made. My family, for example, which is a working-class family, spent around $70,000 in the five years that I was involved. The money is from treatment programs (in-patient and out-patient). They convince parents that without the treatment their child will literally die.
We were very limited in what we could go into with the teaser trailer, but we plan to explore the whole history of the organization in the final film.
The entire operation was founded by one man who is a convicted-felony, former heroin addict and self-professed murderer. There has been a lot written about the organization going back to the 1970s. Here's a link to a little background information, if you're curious.
Thanks for checking it out. If you have any advice, I sure could use it.
sounds very similar to Kids of Bergen County, where my friend was incarcerated, it changed names and moved around a lot to avoid regulation. From your trailer I almost thought it was the kids organizing themselves, but it sounds very much like there is an adult orchestrating and profiting. Good luck!
In reply to Jill Woodward's post on Fri 20 Jan 2012 :
It's very similar to the Kids of Bergen County and the Straight program.
Jacob, nice job on your first film so far, but I do see a couple areas to work on.
Sound quality is inconsistent, some sounded echo-y while others sounded high quality but too soft and quiet, I'm hard of hearing. I like to make sure the sound is loud but not too loud. People can always turn their sound down, but I had maxed the sound on my sys and headphone and still had a hard time hearing a lot of what was said.
Also, be more conscious of where your key lights are falling on the interview subject's face and which direction they are looking in. In one scene, in the bedroom, the key light was behind the person, not in front. So, we see most of their face being dark with the back side of the face lit. Other scenes the subject is to one side of the frame (rule of thirds) but is looking towards the short side, not the long side.
I've made all these mistakes myself. It's a challenge to keep all this conscious when you are trying to setup equipment and think about the interview questions, etc.
In reply to Reid B. Kimball's post on Sat 21 Jan 2012 :
Reid, thanks for the feedback. We had a lot of difficulties with light in one of the interviews. We were using natural light and had issues with the sun moving behind clouds and also getting dark early. We tried out best to fix it with some color correction, but there was only so much we could do.
Hopefully, if we are able to raise the money, we will be able to budget for lights and have much more control over the finished product.
As for the sound, I confess I don't know much about it, but I did notice that it jumps around from interview to interview.
Thanks for all the feedback. I really appreciate it.
I'm purchasing E&O for my first doc deal. I have no idea of what this should cost. I have a quote for a 10K deduct on a 1M/3M policy for 3 years for $5500. Is this in the range of what you guys have paid?
This doc is pretty safe – no digging up dirt, no famous people, not based on other works, etc, – it has a happy and positive message. I know that doesn't really mean much in today's world.
I recently paddled the 740-mile Northern Forest Canoe Trail and took video along the way. I conducted interviews, got action footage, scenic shots, etc. The one thing I didn't do was get location releases. My footage was filmed on public waterways, public streets and a few private campgrounds. Will this be a problem if I try to distribute the film or show it publicly. Which locations would require release? It's my understanding that the footage on public lakes, rivers and streams, I'd be allowed to use. What's the consequence of not having a location release and then showing the film?
Hello, I just joined D-Word. I have a question. Does anyone know of footage of Nice, France in the mid- to late-1920s? Also, footage of the Ottoman Empire in the early 1920s? I am looking for these to incorporate into a planned documentary on the life of the Ottoman Royalty when they went into exile. I can be reached at arvindach[at]gmail[dot]com. Thanks in advance. This looks like a very supportive community, judging from the answers to various questions asked by others.
Hello All: Can anyone recommend a good, inexpensive video stabilizer for my Canon t3i? I've been looking at the Dot Line DL-0370 Hands-free Video Stabilizer but don't know anyone who has one. Thanks!
Lillian, you'll find this and a lot more in this article from Chris Jones, 'The Perfect Guerilla Film Makers Camera Kit For Under £1k':
Hope this helps,
In reply to Arv Acharya's post on Sun 5 Feb 2012 :
i was just watching the bbc doc the first world war. lots of stuff from the ottoman empire – might want to see their sources and see what else you can dig up.
the episode is jihad – its also on youtube
I'm in a very similar situation to Mike above. I recently filmed a short doc about a small-time rock band in the UK, the first half of which was filmed in a rehearsal studio that they frequently use. I phoned the managers of the studio prior to filming and they said that they were happy for me to film there and take shots of their building.
However, during the first day of shooting there, they refused to sign a location release. They said that they were still very happy for me to film there and that I could film what I wanted and do what I liked with the final film. They didn't want to sign anything however, as they felt this would, potentially, leave them exposed to me later using the footage in a way that was damaging to them. I've spoken to them a couple of times since filming, as have the band, but they're sticking to this line. Apparently bands film at their studio quite frequently and this is the stance they take in all cases. I'm a stickler for crossing t's and dotting i's legally, so am not comfortable accepting verbal consent alone.
I'm planning on putting the film up on Youtube and Vimeo. I have no current plans to send it to festivals or secure broadcast distribution. Is this lack of a written location release something I should be worried about? My specific questions are:
Could the studio hypothetically take legal action simply because I have filmed on their premises, or would they need to show that I have damaged their reputation in doing so etc?
Would it be possible for me to put the video online and ask them to sign a release form just for that edit of that film (ie so that I'm covered, but they are also reassured that I can't then go and re-edit the rushes into something damaging to them).
I am in the UK and the doc was filmed here. I have signed releases for the other locations, all identifiable contributors and all the band's music.
Any thoughts would be hugely appreciated – this issue's held the film up for too long! Thanks a lot!
Personally I'd put it on the web and forget about it. Secondly, I think it's only broadcasters that require such extensive paperwork, not even festivals, generally. However, hypothetically any studio or any person could take legal action at any time for any reason whatsoever.
If it were me, I wouldn't worry about it a bit, Damien. But if it's keeping you up at night, you might want to get something informal with them via an email, even if it's just to explain their rationale as to why they don't want to sign a formal release. At least it's something where they state it's ok for you to film. But it's very unlikely they'll now turn around and sue.
Thanks a lot Jill and Doug, I really appreciate your thoughts.
I doubt this makes a difference, but I forgot to mention that I did not include the studio's name anywhere (eg interviews, on-screen text or shots of signage). It would be recognisable only to those who are already familiar with it.
That's very useful info (and good to know) about festivals Jill, thank you.
Thanks a lot for that suggestion Doug. I'm planning to email each contributor/location individually as soon as the film is uploaded with a link and message of thanks for their help. With the studio I thought I'd add a note saying that I appreciate their desire to look after their reputation and invite them to watch the film and let me know immediately if they have any objections. If they do not have any then at least I can move forward with evidence that I've taken reasonable steps to consider and account for their interests even without a signed release.
Thanks again both!
With the studio, I wouldn't rush to send them a link. But if you do, I'd absolutely never invite them to raise any objections.
Damien, you also may want to consider an on camera release where they just tell you on camera that it is cool for you to shoot there. Not sure how that will hold up, but it's something and might make you feel better. Also, if you are worried about legal action, which seems unlikely, you could just take the video down if that happens or put it on a private site with a password. Best of luck!