The Mentoring Room - Ask the Working Pros

Hello all-
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?
Thanks!!

In reply to Todd Leatherman's post on Fri 18 Nov 2011 :

Hey Todd,

I might be looking for a few interns at Corra Films (www.corrafilms.com for more about us). Can you send me a note at annmarie@corrafilms.com?

Thanks!

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?
help

ben epperson

canon 2Ti with a Atomos Ninja.

Hi, everybody—

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--

Steve Cooper

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--

Steve

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.

Is there anyone in Atlanta/LA – Cartoon Network/ MTV experienced out there I can bounce a few ideas around with?
I have a cartoon series in development and need help!

Thanks

Len 704 491 2821
EnergyNC@hotmail.com or ClaimsNC@Gmail.com

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.

Glad we could help, Stephen.

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.

these days likely less than half that figure.

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.

Welcome to the glamorous world of documentaries, Maureen :-)

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?

thanks

Hi Ajay,

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.

Oggi

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

Hello Mentors,

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.