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 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.