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Hi everyone. I am just breaking into the world of film making, and I have a great idea on a unique story in Bali and how a couple that moved there is changing the way we eat throughout the world. There is much more here, but that is the gist. They have responded to my interest and want to know my proposed plan. I have never made a film before, and want to find someone to work with me on this project who is a cinematographer. Also I need to get back to them and let them know my ideas this week. Any suggestions how to approach this? Thanks, Kristen
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 Nadia Hennrich's post on Mon 29 Nov 2010 :
Hi, Nadia. Sorry I didn't get right back to you. I have been on a couple of projects that have consumed all of my time, and I haven't been on D-Word for several weeks.
If you still haven't mixed yet, get in touch with me. My schedule opens up after tomorrow.
In reply to Kristen Kellogg's post on Mon 20 Dec 2010 :
Well, I just got back from shooting in Bali 2 weeks ago, and currently live about an hour from you, so perhaps we should talk. dan at gmail dot com
In reply to Daniel McGuire's post on Mon 20 Dec 2010 :
Hi Dan. I am currently in Australia, but do you have skype? Maybe we could have a chat on there? Or shoot me an email kellogg.kristen (at) gmail.com Would love to hear about what you just wrapped up as well.
Can anyone recommend any great websites (other than this one) where I can get help on how to make my first documentary?
Not sure a website or a book can replace the experience you will gain by launching in and actually making a short doc exercise – ideally something in your own back yard – walk before you run. I presume you have access to a basic DV camera and edit software? How about a 2-minute portrait of "someone at work" – that's always a classic subject. Try to interpret it in visual terms, rather than relying on interview/talking heads.
Also search for "documentary filmmaking" on amazon.com – check out Andy Glynne's Documentaries and How to Make Them and Michael Rabiger's much more comprehensive Directing the Documentary
Can anyone talk about educational distribution? Who are the game players? Can it be lucrative? Is it a difficult market to crack?
In reply to Kristen Kellogg's post on Mon 20 Dec 2010 :
Documentors started about a year ago and have a lot of resources on their page. I loved their film, Shakespeare behind bars and they are really nice folks in general. They do charge for most things, but looks like you can do a subscription as well.
In reply to Kristen Kellogg's post on Mon 20 Dec 2010 :
If you need to come up with a proposal quick, watch as many documentaries as you can. Make sure you have a good mix of different genres, old and new. Then, figure out what you want to borrow from each, and start conceiving the proposal from there. A quick list of varied docs might be:
SALESMAN (Maysles Brothers)
GRIZZLY MAN (Werner Herzog)
HARLAN COUNTY USA (Barbara Kopple)
IRAQ IN FRAGMENTS (James Longley)
DARWIN'S NIGHTMARE (Hubert Sauper)
BOWLING FOR COLUMBINE (Michael Moore)
this list could go on forever... but other than making docs, watching docs is the best way to learn.
John-Thanks for the book recommendations. I read Documentaries and How to Make Them by Andy Glynne today. A lot of clarification and great insight.
Christopher-I have been watching a variety of films the last few days and it's been a tremendous help.
Justine-many thanks for the site! So many helpful hints!
Thanks everyone for helping me take the necessary steps to making my vision become a reality.
sorry for the loud introduction.
hope everyone is well.
I am currently in my final year at university, over here in the UK.
I am studying Film production and Technology, and am working on a dissertation, which is based on, the technology used for cinema release documentaries.
I have started the research, and have noticed, i am getting much more information to do with the theory, artistic and issues and debates in documentary, more than the technology side of documentary film making.
I was wondering if anyone could assist me with any articles, books or websites I could look at which focus on the technology side of film making for documentaries in cinema.
Also, I'm amazed at how there are so many different people on this website. wow! this is like a small community within it self.
Also, are there any camera men, sound recorders and editors and cinematographers, which i could maybe interview through email, just so i can get an insight of those who work in the industry, with first hand experience, that would be so great.
if anyone can help, that would be great.
Thank you for your time.
Take care
Hi Jaggy
Perhaps your interest for this topic is only about docs production in the "first world". Anyway, you will find a very broad range of technologies used in docs, from the oldies (but goodies) dvx 100´s to the DSLR´S. So maybe your question should be more in the perspective of "how and why" the diverse options of cameras, sound gear, etc., are being used by documentaries filmakers. Well, is just a suggestion.
In reply to Jaime Cruz's post on Thu 23 Dec 2010 :
Hey Jaime,
Thank you for writing back man, appreciate that! yh I am looking into those camera's at the moment. I am analysing the technologies through time, in reference to films. from the 20's to the 60's and to the 21st century. so I am looking at films such as, man with a movie camera, gimme shelter and touching the void. I want to look at why 35mm were used, why did people stop using them, then 16mm came in to action and now the 35mm is getting back in documentaries. I know the general idea, but i want to get in to more detail. also what the future may look like for documentaries. i wish i could change the title, I really do...but I am stuck with it now, so I just have to get on with it and learn to love it.
cheers Jaime!
Jaggy... because of my age, I might be able to help.
When I started... feature docs were shot on 35mm.
I filmed some pickup shots for 'Janis' and 'The Man Who Skied Down Everest'.
If you wish, you can write me off forum.
In reply to Bill Kerrigan's post on Thu 23 Dec 2010 :
hey Bill, hope your well.
That's great.Seriously, I would love to hear from you, and your work. Thank you for replying back to my post, really do appreciate it Bill.
Is it possible I could maybe get your email add, so we can talk about this?
Thank You
You'll find the email address of any D-Word member if you click on their name or photo.
In reply to Jaggy Singh's post on Thu 23 Dec 2010 :
Jaggy, please email me here:
kerrigan at mac.com
hey, thanks for the help lads.
thats great Bill, ill email you now.
Merry Christmas everyone
Hi there,
I recently completed a 20 minute version of the feature-length film I am directing (www.withwingsandroots.com) which is targeted for educational use. The film comparatively explores the immigration debate in the U.S. and Europe through the stories of children of immigrants in Berlin and New York. The film was shot half in Germany, and a very big German educational distributor is interested. They have given us a generic contract to look over, but I have no idea of the terms are decent or terrible, plus it is in German! Basically, they seem to be offering us no money upfront, but 50% of all profit from sales. They would get exclusive access to all German-speaking countries and Goethe Institutes for three years. I know that I need to find a German entertainment lawyer to speak with before signing anything, but it would be great if anyone could share any of the terms they have gotten in educational distribution contracts, or even send a sample contract.
Thank you so much for your help!!!
Christina, you're a member so you shouldn't post this in The Mentoring Room. Especially since it's a public topic and therefore open to Google searches and the like. This belongs in the Marketing and Distribution topic.
Christina – you could try contacting Christoph Fey – he's a a German entertainment lawyer based in Berlin and has been very helpful in the past.He works for a company Unverzagt Von Have and his contact details are easily Googled.
Advice sought: Least expensive PC for video editing programs
I am seeking help finding the least expensive PC laptop capable of running Pinnacle Studio video editing programs. I'm on the low income side (especially after becoming unemployed) so I am working with modest equipment.
Because I am couch surfing, I need to stick with a laptop, not a PC.
I've tried several other editing programs such as Vegas, Adobe, etc., and I've tried iMovie on the Mac. Pinnacle works best for me. My current laptop, a Dell I bought in 2009, cannot handle my HD video editing. I am using a Kodak Zi8 camera.
The system requirements are at: http://www.pinnaclesys.com/PublicSite/us/Products/Consumer+Products/Home+Video/Studio+Family/
There are three main versions and all 3 appear to have different requirements:
Studio HD
Studio Ultimate
Studio Ultimate Collection
The graphics card requirement is the same for all of three.
I'm a lean quick on my own how to use document, photo, and video editing programs for creative purposes. I am however clueless about the tech stuff.
I am getting unemployment checks and money is tight. However, I believe in myself enough to take a gamble and spend up to $1,000 on a laptop.
I need help though because I'm not good at the tech stuff and don't want to get ripped off at the stores. So far, Best Buy, Fry's and my computer savvy friends have all recommended different machines. I'm hoping that at some point I'll hear the same recommendation a few times.
At least at Best Buy and Wal-Mart there are no re-stocking fees.
Thanks! I appreciate your time and help,
System Requirements for Studio Ultimate Collection
* Windows ® 7, Windows Vista ® (SP2),Windows XP (SP3)
* Intel ® Pentium ® or AMD Athlon ™ 1.8 GHz (2.4 GHz or higher recommended)
– Intel Core ™ 2 Duo 2.4 GHz required for AVCHD*
– Intel Core ™ 2 Quad 2.66 GHz or Intel Core ™ i7 required
for AVCHD* 1920
* 1 GB system memory recommended, 2 GB required for AVCHD*
* DirectX ® 9 or 10 compatible graphics card with 64 MB (128 MB or higher recommended) – 128 MB required for Red Giant Magic Bullet Looks Plug-in: Pixelshader 2 required, Intel GMA integrated graphics not supported. – 256 MB required for HD and AVCHD*
* DirectX 9 or higher compatible sound card
* 3,6 GB of disk space
* DVD-ROM drive to install software
* Accessory:
o CD burner for creating Video CDs or Super Video CDs (S-VCDs)
o DVD burner for creating DVD and AVCHD* discs
o Blu-ray burner for creating Blu-ray discs*
o Sound card with surround sound output required for preview of surround sound mixes*
Input Options
* Capture from DV, HDV and Digital8 camcorders or VCRs (requires a FireWire ® ; port)Capture from analog camcorders, 8 mm, HI 8, VHS, SVHS, VHS-C, SVHS-C, or VCRs (NTSC/PAL/SECAM). (requires Pinnacle or Dazzle video hardware)
* Import from AVCHD* and other file based Camcorders, Digital Still Cameras, Mobile Devices and Webcams via USB
Output Options
* Output to DV, HDV or Digital8 tape (requires camcorder with FireWire Input port and a PC with a DV/FireWire port)
* Output to analog videotape (requires DirectShow compatible device with video output)
Import Formats
* Video: AVCHD*, BD Blu-ray*, DV, HDV, AVI, MPEG-1, MPEG-2, DivX ® , MPEG-4, 3GP(MPEG-4), WMV, Non-encrypted DVD titles (incl. DVD-VR/+VR), QuickTime ® ; (DV, MPEG-4, H.264*)
* Audio: MP3, MPA, WAV, AC3*, WMA
* Graphic: BMP, GIF, JPG, PCX, PSD, TGA, TIF, WMF, PNG, J2K
Export Formats
* AVCHD*, BD Blu-ray*, HD-DVD, DVD (DVD-R, DVD-RW, DVD+R or DVD+RW, dual layer), S-VCD, Video CD (VCD)
* Apple ® iPod ® , Sony ® ; PSP/PS3, Nintendo ® Wii, Microsoft ® Xbox compatible formats*
* DV, HDV, AVI, DivX*, RealVideo ® 8, WMV, MPEG-1, MPEG-2, MPEG-4*, Flash, 3GP*, WAV, MP3*, QuickTime ® (SD format) files
* Dolby ® Digital 2 channel and 5.1 channel audio*
Advice sought: Microphones for Kodak Zi8 camera & the iTouch.
Also, any recommendations for clip on mics, attached mics, or wireless mics to enable the recording of at least 3 people for the Kodak Zi8 camera & the iTouch?
In reply to Jeff Girard's post on Sat 15 Jan 2011 :
the oldest and still the best place on the web for all things computer-related is www.pricewatch.com
originally in DOS, pricewatch used to list real-time prices with discounts as they appeared online. nowdays it provides links to both retail and online computer supply stores.
ok, that's one option. #2 is my own personal suggestion: you want a laptop and new ones are like new cars: the moment you bring it home the price decreases about 50% – because they are all overpriced. what to do? a couple of options – you can build your own – since you aren't working and have some time, this is a real option and w/price watch and Fry's nearby...
another option: go for the refurbished model. there are SO many out there – I bought a Samsung notebook in 2003 that was about 2 years old; new it was priced around $5000 because that's what they cost back then. I paid about $250 for it and it was loaded with goodies. I was happy if it would last 6 months – guess what – I still have it and it still boots up just fine. Over time tho, memory allocations increased and I can't upgrade for a reasonable price so it's not really practical to use anymore; I just don't want it to wind up in a landfill somewhere or I'd chunk it.
which is another good reason to buy refurbished – there's simply nothing wrong with recycling a computer – many are still worth keeping around. Just check and double-check your hardware requirements, ask about warranties and you're good to go. the cheapest models come with no operating system which if you already have one, you can just use that.
if you can register for a class somewhere, you can qualify for academic pricing on software which will also save you $$
good luck and hang in there.
I'm looking for a Line Producer for a feature doc. Where do I go? The film is on Women and Men and their relationships and will be structured around interviews shot overseas and in the states in several locations. Is there an appropriate forum here to put it out there?
Members Classifieds is a good place to start. You could also put it on the public classifieds – and there are a lot of media-centric job sites (mandy.com, mediabistro.com, craigslist, even) if you're just doing a random sort of cattle-call for resumés...
Just remember, Jack, that the public classifieds is open to Google searches. So be careful about what information you're giving out.
This is my first posting so I hope I do this correctly :)
Advice sought: Recommendation of films to watch for reference
I'm hoping someone might be able to recommend a documentary that successfully tells a character driven story while also exploring this individual's culture and highlights other characters from his/her world. I'm not looking for a traditional biographical piece (I understand my description might come across sounding that way). This is a silly example, but it might help in understanding the type of film I'm looking for... (I just made this up so it might be totally ridiculous, but hopefully it will serve as a helpful illustration.)
A once celebrated under water basket weaver is looking to make a comeback. She decides to build a store in which she will sell her baskets and through the process of building the shop, she will face some of the demons from her past.
In order for the film to be accessible to the everyday viewer, the film must put the story in context – tell a bit about the history of under water basket weaving and why it is significant to some. We should also learn about others in the field so that we are able to see what makes this particular weaver different (or maybe the same) as others out there.
Does this make sense? Can anyone point me in the direction of a film that follows a similar path?
Thank you so much for your help!
Ashley, first of all, welcome to The D-Word. And bravo for leaping right in with a post. You did it fine, except that the Mentoring Room is mainly for those we call Enthusiasts and the professional members rarely hang out here.
We don't encourage double-posting but in this case we'll make an exception. You should post this again in the Documentary Film topic and you'll probably get a good deal more feedback.
Also want to encourage you to tell us a bit more about yourself in the Introduce Yourself topic.
Hi Doug,
Thank you so much for responding. I will make my way over to the Documentary Film area and see about posting there.
Thank you for your help.
We're about to go into the editing phase for our indie documentary. For the post-workflow process (using a Mac Book Pro 2.4GHz 4GB), we're about to transcode the (Canon t2i) H264 files into APR422 files using MPEG Streamclip. This seemed to be the best practice at the beginning of year 2010.
2 questions:
- is it still the best practice today?
- while editing in FCP, is it realistic to source the video files from an external FireWire800 HD? I was hosting my video files on an external USB 2.0 HD on a previous project, and it's just too slow. So I'm wondering if FireWire800 would do it or if I need to have the video files on my local MBP drive.
Thanks in advance,
Martin – I'm not the tech geek that some of the filmmakers are (so perhaps other will have something to add)- but there are some other options besides MPEG stream clip. EOS Plugin allows you to use FCP 'log and capture settings' to transcode files.This is supposed to be faster and also allows you to imbed timecode onto your footage. Some have had problems with it however. Magic Bullet Grinder allows you to simultaneously create both ProRes Proxy files and higher ProrRes files simultaneously and creates timecode. Oh but I just noticed that you're transcoding to something called APR422. I've never heard of that. Just about everyone I've talked to uses Prores. Yes FireWire800 should be fine. FYI – you need FCP 7 to convert to Prores Proxy (which takes up a lot less space). I think the timecode option offered by EOS plugin and Grinder is a huge advantage over MPEG streamclip.
Oh! Well that's good – I'm glad to know it's not some new codec.
I think the MPEG streamclip option works fine, especially if you then copy your THM files into the folder that the new files are in and use the free version of QTChange (search for QTChange 0.7) to add timecode and reel numbers. The EOS plugin has me plenty of issues, and I'm not the only one who has run into them – I've spent plenty of time with other filmmakers in the Madison area trying to solve their issues with it.
You're definitely better off keeping your footage on an external FW800 drive (make sure the drive is 7200rpm not 5400) than on the internal. Also, backup, backup, backup. When that drive fails, what do you do?
first q – you should always be editing off a firewire drive for many reasons, much of what has to do w/how FCP operates. also it doesn't have to be a 5400; I have 2 of those and 1 7200 drive; they all work pretty much the same. However, if you are editing HD, then you will probably see a difference w/the 7200 but your processing speed will likely be the limit rather than the external.
you can actually run into some problems with a USB drive so please do stay away from those when running FCP.
your backup files should be on your hard drive; it's called the Autosave vault and you should find it in your documents dir which is the default when you loaded FCP unless you changed it. you can set it in your system preferences in FCP.
next q about transcoding files – didn't really understand what you were referring to until someone mentioned App Prores 422; I export all my files in this codec even if I've imported into FC as another such as H.264. just import the files and change it in your settings; you can also click on the timeline, then go to your settings for your sequence (go to Sequence, settings, you have to be in the timeline or it will be grayed out) and set your codec there for prores or whatever.
fyi, if you join D-word as a member you can post over in the FCP section as well as editing.
In reply to Randy Lee's post on Mon 31 Jan 2011 :
your backup is in Autosave vault which is on your hard drive; you set it in your FCP preferences so yes, you do have a b/u on a different drive.
Your opinion guys. I know some production people in the film industry may not take well to unsolicited contact about video work, but if you were to stumble upon a production company of which you like their work and would like to shoot for them on their upcoming projects, what is a good way (notice I said "good" way, because there's probably no "best" way) to approach them so they aren't initially turned off by your unsolicited contact? A phone call first? An email first? Both consecutively? A phone call to set up a meeting (if they are in the same city/state?) I have an approach I've used for years, which works out fine most times, but I want to know your opinions.
Ever since I started doing video in '03, I've worked mainly from referrals, so my former clients usually do the trumpet-blowing for me when it came to future projects with other directors/producers. But every once in a while I will find a project that I'm interested in and would like to work on, and I sometimes scratch my head, thinking of how to approach this particular person/production company.
What are your thoughts? If you ran a decent-sized production company that's been around for years or was a producer of a newly conceived film, how would YOU prefer potential shooters contacting you? Would you even mind them contacting you? And if you WOULD mind, what was the turn-off?
Do you know of anywhere that someone involved hangs out? Or a group that they're a member of? I'm a member of MCA-I here in Madison, WI, and have been able to get a foot in the door on several great projects by keeping in contact with people that I've met through the meetings.
Otherwise I can't see an email with a phone call follow-up hurting – have a reel or website ready, of course, but it can't hurt. Some places don't want outside involvement, or don't keep track of good people until it's time to hire, but some do, and are happy to keep your card in the rolodex – I'd say at least try contacting someone there. Research the place a little first, see if there's a particular person who you should ask for, and take it from there. I know that at the company that I work for, if someone calls when we don't have a call out for resumes, they'll be sent to some middle-management guy who's goal is to send you on your way as quickly as possible. If you know the name of our DP, though, or an editor, and ask for one of them, you're in in no time.
Thank you, Randy. Some good information, especially that note at the end about how big production companies think.
Errol, it's hard to imagine someone being turned off by an email genuinely expressing appreciation for my company and wanting to become a part of it. They may not respond enthusiastically (and that's their loss), but why would they be upset?
Can anyone advise me on the simplest way to light interview subjects, as a one man band? Next week I'm doing a shoot in a house with lots of windows and pretty good light. Whenever possible, I hope to take advantage of natural light. But I just want to be prepared should I need to throw some light on a subject. In the past I've used kinoflos and lit people with the people of a PA, but this time I need to keep it to just me. And I don't want to be messing with c-stands, sandbags and the like. Any advice would be hugely appreciated.
Neil – try to use the natural light as your main source and add a reflector to the opposite side. Or use a soft box, umbrella or diffused light as your key and the window as your fill. Don't forget to use CTB to match to daylight. Of course figuring out how to add a back light is important.
I am making a short (10 minute) historical documentary. I have all of the important information, but so far the documentary is a little boring. Any advice on how to make it a little more interesting while still professional?
I'd have to know a little more about what it's about. But the key with any documentary is to remember that you are still telling a story. The story is more important than imparting facts and information.Think about Ken Burn's documentaries. Also figure out why you're using a visual medium to tell the story. What can you communicate in a visual way? Watch lots of historical documentaries. Try to figure out what makes you like them and figure out how you can apply that to your project.
Thank you very much for your help. I will try to keep that in mind and will follow your advice before I start filming and putting together information. Also, the documentary is on Susan B. Anthony and her work as a suffragist for Women's Rights if that helps.
Hey, can anyone provide some general advice on which of the following cameras would be better to use:
Canon XH A1
Canon EOS 7D
Someone is letting me borrow the XH A1 for a couple of months to shoot a documentary I'm working on, but I can also get access to a Canon 7D through school. I also have access to professional lighting and audio equipment through school, compatible with both cameras, so I don't see that as much of a factor (although I am new to filmmaker, so maybe it is).
The lens that I have for the 7D are the following:
Nikon DX Af-S Nikkor 35mm 1:1.89
Canon EF-S 18-135mm lens
In terms of image quality, which do you all think is best? Also, do you think that I could use both, or would there be a noticeable difference between the two?
I am really new to film-making, so any advice here would help!
If you are really new to filmmaking I would strongly recommend the XH A1. The DSLR's have a variety of issues that have been well documented and although there are work arounds for many of them I would focus all your energy into making a film not dealing with the equipment.
Great point Nigel, indeed I think I will go with the XH A1. Thanks for the advice :)
Dean, I would get neither. The XH A1 only shoots HDV, which is QUICKLY becoming less favorable. I would recommend getting a Sony EX1R if you're a beginning filmmaker. It shoots XDCAM which isn't disappearing for a while, shoots at a significantly higher bit rate and gets a truer white balance in MY opinion.
Video shot on a Canon XH A1 Video Camera tends to have this greenish brown tinge to it even when you supposedly have correct white balance. There is a technical reason for this, but I won't go into that detail. Also, with the Sony EX3, you have more handling options thanks to its ergonomic hand-grip.
But yeah, if the ONLY options were XH A1 or 7D, I'd choose the XH A1 for the same reason Nigel said.
I would definitely make use of the 7D while you've got it available though, too. It's a great tool when used properly, and there are enough people using it that avoiding using it is a bad idea, because you never know when it'll pop up as what you need to use. But as far as focusing on telling a story and learning video gear go, definitely the XH A1.
I've been approached by a distribution company in Europe regarding my first documentary film.
I've never gotten to this stage before and am looking for advice on international distribution. I would really appreciate any and all information, from basic to specific.
My main specific questions are
-Is it normal / OK to give exclusive distro rights for all of Europe or internationally to one company? Do you often pick distributors based on countries and break it up that way?
-What are some questions that I can ask them to discover what level of a distributor they are? WHAT SHOULD I KNOW? How can I make sure they have the contacts / experience / can get my film out there...
-What % is normal for a distributor to take as a commission of sales and pre-sales?
Angela, first of all, congrats for getting your first film made, and for doing it well enough for there to be interest from a distributor.
For U.S. filmmakers, it's pretty typical to have a distributor (and sometimes even a sales agent, if there's theatrical potential) for domestic distribution and another company handling sales for international distribution (especially, broadcast). Since most of your international sales will be to broadcasters, you don't need a distributor in each country. You just need one sales agent who can approach all the broadcasters at markets like the EFM in Berlin and MIP in Cannes.
The best ways to tell if this company is legit are to check out the films they have in their catalogue, check out their website to see how well they promote the films online and contact the producers of some of their films and see what their experience has been like. Did the company work hard for them and make sales? Have they been reliable in their reports and payments? Were they easy to communicate and collaborate with? Stuff like that.
I've found it pretty typical for an international sales agent (or distributor acting as one) to charge a 30 to 35% fee for their sales. I think it's generally less for pre-sales (25%?), but I'm not sure how common it is anymore for them to actively look for pre-sales.
Thanks so much, that's the best feedback I've gotten thus far in my quest. So, it is normal to contact past producers that worked with them? I've gotten this advice before. Most are European films that I'm having trouble hunting down contact details for, would I / could I ask the company for referrals?
This company is pretty small, so trying to determine if that can be a good / ok thing.
Angela – It's absolutely acceptable and normal. And if the company is reluctant – that ought to be a red flag.
I agree with Laura, and they'll steer you to the producers who they know are happiest. You might want to use your internet detective skills to track down other producers they don't list.
In the meantime, you should register for professional membership here, which will give you access to all 50 of our discussion topics.
And don't forget the overhead clause...<http://vimeo.com/14071168>
In reply to Angela Snow's post on Mon 14 Feb 2011 :
... where you can list a couple of titles, and we in Europe may know the people who made the films.
In reply to Daniel McGuire's post on Tue 15 Feb 2011 :
HAHA. Amazing. Could always be worse.
Thanks all.
Dear Doug
How are you? I am a first time film maker and live in Bali.
Tracks Magazine in Australia are interested in providing the finishing funds for my documentary about an Indonesian surfer. However, they want to produce a DVD for the front of their magazine but I want to broadcast the project and I would like to find a broadcaster with your help at the D-Word.
This way I will reach beyond the surfing audience which has always been my vision. Please post advice soon.
Best wishes
Welcome to The D-Word, Karen. It's quite a challenge to find a broadcaster, particularly as a beginner and another thing again to produce a piece for a specialist magazine. Have you already shot some material and do you have a trailer online?
Hi, yes they have seen the 12 minute trailer and then offered finishing funds. They are media partners with the sponsor.
We already have 1/3 footage. The rest to be shot in Oz and maybe a return to Sumbawa. There's vintage stock footage to add that requires conversion from 16mm
I'll chime in – I've seen some of Karen's piece.
It's a portrait of an Indonesian surfer from a tiny, remote village who has made it to the big time of the surf world.
There are so many unknowns here – The key one as far as I can see is exclusivity – does the magazine want some ownership of your film in exchange for the finishing funds? If all they want is to put your film on a DVD with your magazine, but you have all broadcast sales rights, that might be a good deal for you. But you might not be able to get your film in certain festivals if it has already been distributed on DVD. I am not certain that magazine/dvd distribution will hurt broadcast sales, which would be aimed at a general audience. Perhaps you could negotiate with the magazine that you are given a window (before dvd distribution) where you could enter the film in festivals.
You should also research your market and find other films in the genre and talk to their producers – how many surf films get TV sales? How much do they sell for? Are your hopes and expectations realistic, and based on an understanding of the market for this genre of film?
Karen, seems like you're getting good advice from others. So I'll mostly just welcome you to The D-Word and let you know we've upgraded you to Professional status, as befitting how far along you've taken your film.
This is an interesting discussion and now belongs in the Funding (Europe, Elsewhere) topic, where more people will see it and weigh in. We don't encourage double posting, but in this case feel free to post again there.
Hey, I had three quick questions related to a short doc I just did, related to sound editing, classical music licensing and posting this on the Web. Any advice on any of these would be greatly appreciated!
-Sound editing: I have a short problematic portion with a low electromagnetic hum related to, I think, someone's cell phone being turned on. It's not loud but it's noticeable, and occurs for maybe 5-7 seconds of a 30 second interview portion I'd really like to use. Is there any way to remove/minimize something like that in either Pro Tools or preferably Final Cut, because I'd prefer to handle this myself and I don't have Pro Tools?
-Classical music licensing: I want to use a 30 second portion of Vivaldi's 4 Seasons, and this piece is for someone to post on their Web site to promote their business. Is it necessary to pay to license the music for something like this, which won't be widely seen, and if so any recommendations on good Web sites or sources?
-Web streaming: I want to deliver this in a version that's going to be a good-looking Web viewing experience. In the past, when I've posted something on Vimeo for example, I've just exported a Quicktime using the Broadband choice. Is that the best way?
Much appreciated,
Neil, the Mentoring Room is for Enthusiasts who don't have access to the many discussion topics open for Professional members. Since you have Professional status, in the future please ask these questions in the appropriate topics.
In reply to Neil Orman's post on Wed 16 Feb 2011 :
If it is just that one clip, you can send it to me and I'll send it back. I probably can completely get rid of it in Pro Tools, depending on what it is.
If you have Final Cut Studio, Soundtrack Pro Audio Restoration can lessen or remove it.
Music – You would need permission to use the recording, unless you record/perform the music yourself. Someone on here knows more than I do about the legalities.
Can't answer the Vimeo part...
Got it, sorry about that Doug. Bill, I really appreciate that and will get in touch via email. Thank you!
In reply to Neil Orman's post on Wed 16 Feb 2011 :
Neil – cell phones generally don't make humming sounds on recordings. They make twittery, high-pitched interference noises. To minimize a hum sound in Final Cut, try using the multi-band equalizer tool and find the frequency with the hum. Then turn down that frequency for the duration of the problem. Any tool that allows you to selectively adjust volume across a small band of frequency will work for this. You might not be able to completely eliminate the offending noise, but you can make it less horrifying.
About Vimeo, try making your video 720p H264 format, assuming you are starting out with HD material. Without knowing your original format it's a little tricky to advise you on this.
But Doug is right (always) – you should be asking these questions in the pro topics.
In reply to Avery Morgan's post on Fri 4 Feb 2011 :
What is your topic? I'm a novice doc maker, but a seasoned public historian.
I just received word about my acceptance into Stanford's MFA program as well as the MFA in Film & Electronic Media at American University. I've done a fair amount of research about both programs online so I have a good idea of certain information, but I've found it hard (particularly with American University) to answer a number of questions not covered on website FAQs.
Is anyone familiar with the differences in structure and curriculum from the two programs? Perhaps any American University grads out there? I've already spoken to a number of Stanford grads, who were very helpful.
I am an AU alum. I graduated a while back just when they were starting the MFA program (I opted to stick with the MA). Can't compare it to Stanford b/c I don't know Stanford's program. AU is a great program if you plan to make social issue documentaries, environmental documentaries, or want to be close to the research facilities of Washington DC. It is very much a practical-focused program (since it is situated in the School of Communications).
For perspectives from more recent AU alums (including ones who have been through the MFA program), you might want to repost(sorry hosts) your specific questions in the Teaching Docs topics since not all the professionals who could answer your question check the public topics.
Congratulations on the acceptances to both institutions.
I'm an established doc editor venturing out for the first time as a producer of his own doc. I got a couple small grants which got me started, and now have a bunch of footage shot, a trailer, treatment, and prospectus materials. I have non-profit status with IDA and intend to raise some funds that way, but want to solicit larger chunks of change from investors. I'm looking for resources (example documents, books, advice) about how to set up a situation where I can engage investors in my film (total budget = approx. $160K.) Must I set up an LLC? Is there a quick-and-easy way of doing this? What do the contracts look like when people invest? Any pointers or advice is much appreciated.
Jacob, now that we just gave you Professional status due to your impressive experience in documentary editing, let me suggest that you just start searching and reading our whole category of Business Topics. I'm sure you'll find many answers and ideas there.
While you're at it, you should really Introduce Yourself and tell this community a bit more about your background. Thanks!
I've been searching as you suggest and have found lots of useful tidbits. Will do an introduction, too. Thanks, Ben!
I'm starting a documentary project that will be shot in HD, and someone at the Apple Store recommended that I talk to Maxx Digital (http://www.maxxdigital.com/) about getting consultation for a RAID setup for a MacPro that I'm thinking of getting. Has anyone dealt with Maxx Digital before? How's their consultation and, more importantly, their products?
hey everybody,
I don't know if this is the section to be doing this in, but here it goes.
I have some experience, but not much, so I was wondering if any filmmaker would like some free help on a project this summer? I am a fast learner, but I want to be a documentary filmmaker and the cinema department at my school isn't giving me very much practical experience.
Please respond if you're interested. I have a passport and am willing to travel. I'm friendly and easy to work with, I promise.
In reply to Erica Ginsberg's post on Sun 13 Mar 2011 :
Thanks so much for your input. I apologize for my slow acknowledgement of the reply. I was away for a few days. I've decided to put my lot in with Stanford because of its more intimate atmosphere as well as the long-standing reputation and pedigree. The decision wasn't made lightly though. Stanford, AU, and NYU (which I just received acceptance to) all have really amazing aspects that I wish I could benefit from. If only I could afford to go to all three... :)
Well it says something about you that you were accepted into all three. I know a lot of really amazing documentarians have come through the Stanford program so certainly a good choice.
Independent Film Week
Seeking Scripts and Documentary works-in-progress – Emerging Narrative and No Borders now open for submissions! Spotlight on Docs opens April 15!
My husband is a DP/Director and was contacted about 2 years ago by a client wanting him to shoot an interview and broll for one woman's story of abuse, survival and healing through an alternative method called Transformational Bodywork. There was an urgency to do the shooting asap as she was also diagnosed with 4th stage Ovarian Cancer and her prognosis was not good. The purpose was to have her story documented so that sometime in the future it might be used for a documentary about the kind of work this therapist is doing.
Some time later, my husband was contacted again by same client to come out and film some more footage with the same subject as she had now finished with chemo and was in remission. She had made great strides in her work with our client/her therapist and was celebrating her life. This time, I went with him and shot several days with her. During the shoot, it became clear that my husband and I had gained a remarkable perspective on how best to pursue this documentary. Since the client hadn't even yet lined up a director, we pitched to him that we could helm the project, and he wholly agreed. We then did one more round of shooting this past March.
Through each stage, the client had paid my husband his standard dayrate, so everything was essentially a work-for-hire gig. But as some other parties have now come forward with additional financing and the documentary as a whole is picking up steam, we're now floundering with the business end of all of this, playing catch-up to this bass-ackwards way of producing a documentary.
Which brings me to this... We need help! We have a producer we'd like to bring on board to handle all the administrative details moving forward, but we're so ignorant about what all those details are exactly. In doing research, I've read things about fiscal sponsorship, advisory boards, non-profit, etc. As of right now, we are slated to do our final round of principal photography this May in NY and CA and still have no protection in case things go horribly awry. Husband is currently talking with a lawyer about forming an LLC and drafting an operating agreement for the three parties involved: my husband and I, and the client-turned-partner. But we're unclear how to handle things such as:
- Who should own the Copyright?
- What is an appropriate split for profit/loss between us and client-turned-partner?
- How to accept outside monies which are still unclear yet as to whether or not they'll be Donations vs. Investments?
- If the incoming monies are Investments, what's an appropriate way to handle profit splits between we the filmmakers, and them?
- Do we need an advisory board? Does it help? Offer more credibility?
I apologize for the novella, if you've made it this far... any insight into these questions would be immensely appreciated, or if there's something else I might be altogether overlooking. Thanks so much for any and all help!
Kristen, smart questions. I just emailed you to suggest a consultant (and it's not me, even though I consult quite often). It seems like you need a good one badly and I recommended a great one.
Thanks very much Doug.. Much appreciated! I realize it's a lot to ask. :)
Hi, my name is David. I'm new to this group and to making videos' I've mostly been doing photography and printmaking up to this point.
A starting question: I want to make a short video about my art and artmaking. I'd be in it--in my studio--talking about, making and showing my artwork, hoping to make it informative and interesting. My question: is this considered to be a documentary video/film, or is there some more appropriate name for this kind of video?
Thanks, David
hello, i'm an editor who wants to edit more documentary projects. i have an extensive background editing tv commercials and music videos. i have also cut two features and have edited a number of short (30 minute) docs for warner bros and dc comics. i would really like to work on a feature length doc with more substance. does anyone have any suggestions on how to go about finding projects which need editors. thanks!! bipasha
Yes, Bipasha. Join The D-Word as a professional member and put up a post in the Professional Classifieds topic. You can already put one up in the public Classifieds topic.
We have a lot of LA area members, so once you're a professional member you can check the F2F topic to see when there will be gatherings. Also, are you a member of Doculink? If not, would be helpful for you to join.
In reply to Kristen Turick's post on Thu 7 Apr 2011 :
Good luck karen,It was interesting to read your post,isn't it funny how complicated the business world is,by the time most finally get there they barely could breath,not having a one clear direction/one stop to help people forward with business is frustrating.
It's a very interesting documentary and I can understand why it's picking up.I have been bitching tv shows to producers,I would think the patient/partner is the owner of the copy right cause he called you to do the documentary for him.This can turn around on you 200 degrees,look at these points...He has paid you to do the documentary and the idea is his,so where do you think you fit in now??
I refuse to have anyone get in partnership with me on any of my ideas,and was determine to take the government funding and make a loan to top it up.I was told anyone who take part financially will not want to get nothing out of it,but a sponsor might pay something to contribute but have the priority on advertisement which means their logo will appear some where on the film and at every ad,but their appearance will based on how much they contribute.
Film industry is a bit difficult to get into and certainly not hassle free.
Good luck anyway,sorry can't help.But I like what you are working on.
In reply to Jacob Bricca's post on Tue 15 Mar 2011 :
Great to see you here, Jacob B. – I hope you find the site useful.
(Jacob and I were film students together at Wesleyan U. – I will vouch for this man.)
Hello. I am a new documentary filmmaker. I am currently working on a documentary about 30 something people in Greece. We are interviewing people of different backgrounds and different situations. I expected that it would be hard to work with people who are new to facing a camera, but it turned out that it is even more difficult than I expected. Are there any tips of more experienced filmmakers on how to make the person in front of the camera more at ease and less self conscious?
Thank you very much.
I'm now on d-word trying to find my way around. Seems like a great place for doc newbies like me. I was wondering how I could ask filmmakers on here for advice on a sales agent. we are just about to finish our doc GLOBAL WARNING (45minutes) and we will premiere it at a festival in my hometown with following screening tour, DVD release and Online Release but we'd like to hand the rest of the world over to a sales agent. How should I ask them for their recommendations? Which forums are best? Thx, Ernst.
In reply to Christina Katsiadakis's post on Sun 17 Apr 2011 :
Crack some jokes, Christina. I'm not kidding. It's all about having them be relaxed, and it's your job to relax them.
Ernst, assume you mean an international sales agent. But not sure what you're asking. Can you clarify?
Whoopee cushions work well, particularly when preparing to interview autocratic heads of state.
I've just completed my film "Finding Seoul"- a documentary I made about trying to find my birth parents in Korea. I've started applying to film festivals (TIFF and HIFF) and was wondering if anyone had other suggestions on where to apply, or what festivals to maybe avoid?
You can check out the film trailer here: http://vimeo.com/22299145
Maybe that will help get information on what festivals to try and submit to.
Thank you (I hope this is in the right section)
John Sanvidge
In reply to Christina Katsiadakis's post on Sun 17 Apr 2011 :
Try not to formally cue your subject to start the interview. I usually one-man crew my shoots. I like to set up my shot, then ask the subject what they had for breakfast to set my audio levels. I hit record and then segue into my interview questions without alerting my subject. I feel like subjects flip an internal switch that makes them very stiff if you cue them to the fact that recording has started. People are much more natural/conversational if they think they are having a conversation with you, and not the camera.
Join this discussion now. You need to log in or register if you want to post.


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Leaflet - 'Upper Yarra Valley & Marysville', Tourism Victoria, circa 2008 Reg. No: HT 26277
- Summary:
- Map and tourist route guide for the Upper Yarra Valley & Marysville, published by The Shire of Yarra Ranges and Tourism Victoria, circa 2008. It has an extensive map of the Yarra Ranges National Park and surrounding areas. Detailed smaller location-specific maps contain information and include touring routes. The pamphlet includes advertising for local businesses such as accommodation, attractions and activities. Duplicate of HT 26271.
- Description:
- Large format double-sided pamphlet folded to DL size, full colour throughout. Pamphlet opens up to reveal large map on one side and list of advertisements on the reverse. When folded the front cover has a picture of rainforest and a creek.
- Statement Of Significance:
- This pamphlet presents a poignant snapshot of the tourist services and infrastructure which was present before the Black Saturday bushfires. Many of the landscapes and establishments listed in the pamphlet no longer exist or have been greatly impacted by the bushfires, and this demonstrates the strain the bushfires have had, and continue to have on the environment, economy and community of the Upper Yarra Valley and Marysville.
- Acquisition Information:
- Donation from Ms Margaret Baker - Yarra Valley Regional Tourism Association, 2010
Discipline: | History |
Dimensions: | 420 mm (Height), 498 mm (Width) |
More information
Tagged with: | tourism, maps, tourist resorts |
Themes this item is part of: | Sustainable Futures Collection, Victorian Bushfires Collection |
Primary Classification: | SUSTAINABILITY |
Secondary Classification: | Natural Disasters |
Tertiary Classification: | bushfires |
Inscriptions: | Upper Yarra Valley/and/Marysville/Map & Tourist Route Guide |
Sponsor: | Tourism Victoria, Australia, 2008 |
Sponsor: | Mystic Mountains Tourism Marysville, Victoria, Australia, 2008 |
This item is part of the following themes:

subset: commoncrawl


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spring 2010. russia
This photo was shot on film. Taken by itisanormalname with a Kiev 6C loaded with Kodak Portra 160 NC film in Krasnodar, Russian Federation. These tags describe this photo: krasnodar, winter, spring, snow, coldness, kiev, kodak, and portra. This photo can also be found in the album spring.Please login to get more out of this site
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Good morning.
Here are several links from the past week that will make your Monday a bit more bearable:
Essentially, Jackie Bradley Jr.'s spring is a case study for aspiring statistical analysts. It's just possible, is it, that a player could collect 28 hits in 62 at-bats . . . and then 3 hits in 31 at-bats? Well, yes, it is possible. Obviously. It's not at all likely. Those 28 hits in 62 at-bats did suggest that Jackie Bradley Jr. is a capable major-league hitter. Of course, his .271 batting average in 229 Double-A at-bats last season suggested something else. And suggested it more strongly.
Bradley actually turns 23 today, and is still a fine prospect. But he will, I suspect, live for some years as an object lesson for Red Sox fans (and yes, writers too). Spring-training statistics are a lot of fun, but they're merely a snapshot in time, and they describe the random nature of raw performance statistics as much as they describe fundamental abilities.
He hit seven home runs in his first 40 at-bats left-handed this season, leaving him among the league leaders. For his career, the switch hitter has never hit more than 10 home runs left-handed in a season. . . .
When the 6-foot-4 Fowler arrived with the Rockies in 2008, straight from the Beijing Olympics, he weighed roughly 145 pounds. He could have been faxed to Denver. Looking at that player, it's easy to see how opinions formed about his future. He could run, and without much muscle, he profiled as a slash-and-dash leadoff hitter.Problem is, that's not Fowler.
"I can see why, but a lot of people wanted him to be a different player than he wants to be. Right now, he wants to be a guy who can mash. That's who he is," said Bichette of Fowler, who's now a much stronger 195 pounds. "Look in his eyes. That's who he wants to be."
Cano and Sandoval really do separate from the pack. Their SLG [slugging], ISO [isolated power] and wOBA [weighted on-base average] marks stand out as the best among the group. You could squint and put Crawford in the same group, but then Crawford has struck out far more frequently across this span than have Cano and Sandoval. …
Cano and Sandoval, on the other hand, are still swinging with the best of them this season. Cano's swing rates are down from his 2011 peak, but he is his O-Swing% [the percentage of pitches a batter swings at outside the strike zone] and Swing% are still five percent above league average as of today. And Sandoval trumps just about everyone. Sandoval's swing rates are 15-20% above league average. Only two players are swinging at more pitches this year than Sandoval — Josh Hamilton and Jeff Francoeur — and neither of them have contact rates even resembling league average.
That's it. Have a walk-off week!


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This is our first trip to Europe, and the Hip Hotel in Heidelberg was our first stop of a 2 week adventure. We love this boutique hotel. It is located in the center of the Altstadt (old city) with it's front entrance on the Hauptstrasse (Main Street). It's close to everything. The rooms are all decorated after a city from... More
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- Also Known As:
- Hip Hotel Heidelberg


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The auction action gets tense in Arlington, Texas. Jenny must once again face down her nemeses Ricky and Bubba to acquire her dream locker. Moe and Mary discover rhythm and melody. Victor "the Outsider" goes undercover and unearths a relic from the 1970s that could be a thing of beauty. While one buyer discovers their dark side on the way to a victory, the losers are reminded that there are no friends at a storage auction.
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S 3 : Ep 18
Aired 11/19/13 (21:05)
S 3 : Ep 17
Aired 11/19/13 (21:10)
S 3 : Ep 14
Aired 11/5/13 (22:00)
S 3 : Ep 12
Aired 10/29/13 (21:11)
User Score: 474
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User Score: 2


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Roma Grooming Tote Bag
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Roma Grooming Tote Bag - Here's a convenient bag to hold your grooming essentials. It's great for bringing up to the in-gate or for kids in the barn. Made from durable nylon, it has 3 large and 5 small outside pockets. This Hunter and Navy bag is 9" high not counting the handle. |
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The training featured presentations by the Sharjah Petroleum Council, Petrofac and Dana Gas offering tourist guides an essential and broader understanding and knowledge of this important part of Sharjah's economy. Following the presentations, the tourist guides were taken to the Sajaa Gas Field and Al Hamriyah LPG facility to witness and experience first-hand the practical side of their theoretical class and orientation.
Commenting on the initiative, HH Mohamad A. Al Noman, Director General of the SCTDA, said Sharjah has been making constant efforts to enhance quality standards of the tourism industry in the emirate according to international norms. "Tourist guides play a crucial role in presenting and interpreting any tourist destination and in enriching a visitor's experience," he pointed out.
This is the first time that Sajaa Gas Field has been opened to tourist guides and is part of the constant efforts and initiatives to educate and train tourist guides boosting the overall experience of all visitors to the Cultural Capital of the Arab and Islamic world.
The master class for the tourist guides had been organised by the SCTDA in collaboration with the Sharjah Petroleum Council, Petrofac and Dana Gas. Participants represented the best of the best of travel and tourism industry in the country such as Arabian Adventures and Alpha Tours among many others or work as freelance tourist guides.
Coordinated and initiated by the World Federation of Tourist Guides Associations (WFTGA), the International Tourist Guide Day was first held on February 21 1990, when tourist guides from 15 WFTGA member countries participated. This year, however, tourist guides in more than 60 countries celebrated this day.
Appreciating the UAE's busy tourism season in the past few months, the SCTDA decided to conduct this master class towards the end of the busy winter season, enabling more tourist guides to participate and benefit from it.
WFTGA, an NGO in operational relations to UNESCO, is the global body for tourist guides with more than 120,000 members in 65 countries. Members of the WFTGA are all professional and qualified tourist guides who adhere to a Code of Practice and Quality Charter.
Given the constant increase in international tourist arrivals to Sharjah in recent months and years and the growing need for trained and qualified tourist guides, the development of this professional industry remains high on the agenda of the Authority. The SCTDA has lined up more educational and training initiatives for the tourist guides, in addition to its standard tourist guide license course.
Tuesday, April 12- 2011 @ 13:40 UAE local time (GMT+4) Replication or redistribution in whole or in part is expressly prohibited without the prior written consent of Mediaquest FZ LLC.


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Greek Prime Minister Antonis Samaras said the formation of his coalition government today represents a new start for Greece and that its goal is to get the country out of its economic crisis.
"Today is a new day for the land," Samaras said at the start of his government's first cabinet meeting, in comments carried live on state-run NET TV. The New Democracy, Pasok and Democratic Left political parties, which comprise his coalition "showed their responsibility towards the people" by forming the government, he said.
Members of his government will have their salaries reduced by 30 percent and have their use of ministerial cars reduced to a minimum, Samaras said. "The best way for someone to govern is to set an example," he said.
To contact the reporter on this story: Marcus Bensasson in Athens at email@example.com
To contact the editor responsible for this story: Maria Petrakis at email@example.com


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Jan 30, 2008, 09:32 PM | |
Framed, with CF
Framed, with carbon fiber.
As it sits, I'm at 48g. This is my lightest build yet! I plan on running: Park 250 3-Dymond D4.7 Castle Creations-phoenix 10 Spektrum AR 6100 receiver Maybe I will have it ready for a test flight this weekend, and will take it to an indoor fly-in next week in Plainview Texas. I hope to evaluate for a club build, to try and get some members interested in indoor flight. Mini Ifo |
Feb 03, 2008, 04:47 PM | |
Nice pics of Mini-ifo's Cirrus. Not wanting to be left out at the upcoming SPEF event, and with an opportunity to compare notes I figured I'd whip up a couple to try out too. Nice looking plane and an easy build. I also went with a single 3mm x .5mm carbon flat in the wing to give it a bit more structure.
I have not yet weighed the airframes yet, but they're both entirely glued/pained with a few carbon flats in the nose. Possibly tonight I'll get gear in 'em. I'll get some weights posted too. These are nice low effort builds. I only wish I'd weighed before I sprayed so I'd know how much some paint adds. I think some colors (darks) can show better while adding less. Lance |


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We have Pubs (8), Restaurants (22), Banks (0), Hotels (9), Shops (1), Supermarkets (10), Takeaways (8) and Cinemas (1)
For each listing we have opening times, address, phone number, reviews and photos
The nearest train stations to Moelfre are
Llanfairpwll (9.15 miles)
Bangor (Gwynedd) (9.91 miles)
Pubs in Moelfre
Holyhead Rd, Penmynydd, Llanfair Pwllgwyngyll, LL61 5
Red Wharf Bay, Pentraeth, LL75 8RJ
Twrcuhelyn St, Llanerchymedd, LL71 8DB
Efail Bach, Dulas, LL70 9EX
33 High St, Llanerchymedd, LL71 8EA
Beach Rd, Benllech, Tyn Y Gongl, LL74 8SW
Bryn Hyfryd, Benllech, Tyn Y Gongl, LL74 8TD
Marianglas, Marianglas, LL73 8PH
22 Restaurants in Moelfre in 11 categories
4 english restaurants listed
3 chinese restaurants listed
2 greek restaurants listed
1 indian restaurant listed
1 fish and seafood restaurant listed
1 fine dining restaurant listed
1 thai restaurant listed
1 french restaurant listed
1 japanese restaurant listed
1 italian restaurant listed
6 other restaurants listed
Banks in Moelfre
No banks listed yet!
Hotels in Moelfre
19 Castle Street, Beaumaris, LL58 8AW
Castle Street, Beaumaris, LL58 8AP
54 Castle Street, Beaumaris, LL58 8BB
Craig Y Don Road, Bangor, LL57 2BG
2 Upper Garth Road, Bangor, LL57 2SR
Bulkley Square, Llangefni, LL77
Llangefni, LL77 7UR
Moelfre, LL72 8HB
Ffordd Cocsyn Richard Evans, Moelfre, LL72 8
Supermarkets in Moelfre
Unit 3, Bangor, Deiniol Centre, LL57 1NW
352-354 High Street, Bangor, LL57 1YE
Caernarfon Road, Bangor, LL57 4SU
29-31 Y Maes, Caernarfon, LL55 1SE
Bont Bridd, Caernarfon, LL55 1AB
Holyhead Road, Bangor, Town Centre, LL57 2HZ
Garth Road, Bangor, Town Centre, LL57 2SF
Lon Goch, Amlwch, LL68 9EN
Arosfa, Llaneilian, Penysarn, LL69 9YD
North Road, Caernarfon, LL55 1
8 Takeaways in Moelfre in 4 categories
4 fish and chips takeaways listed
2 chinese takeaways listed
1 sandwich shop and takeaway listed
1 indian takeaway listed
Top pubs in Moelfre
Efail Bach, Dulas, LL70 9EX
Warm friendly,excellent food,good portions,excellent staff,a place not to be missed.
Marianglas, Marianglas, LL73 8PH
Pluses: Nice friendly pub, serves v.good beers and v.good (reasonably priced) meals. Cons: ...
Bryn Hyfryd, Benllech, Tyn Y Gongl, LL74 8TD
I love going to Treetops to watch the football on the 9 tv's.
Red Wharf Bay, Pentraeth, LL75 8RJ
awful for food - used to be one of the best places to eat on ...
Top restaurants in Moelfre
Restaurants yet to be reviewed
Top banks in Moelfre
Banks yet to be reviewed
Top hotels in Moelfre
Brynteg, LL78 8JQ
38 sequence dancers sat down to a two course evening meal on Saturday, the food ...
Top shops in Moelfre
Shops yet to be reviewed
Top supermarkets in Moelfre
Supermarkets yet to be reviewed
Top takeaways in Moelfre
Takeaways yet to be reviewed
Top cinemas in Moelfre
Cinemas yet to be reviewed


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When the FOB term is Buyers Dock or similar words, the title to the goods remains with the shipper until the carrier delivers it to the buyers hands. The shipper bears all expenses, and the risk of loss or damage, until the goods are tendered for delivery at the buyers hands. The issue is between Auber and Fedex. Auber in my opinion should have just bit the bullet and do what good businesses do and replace the parts and require a signature on the next shipment. I have had things stolen several times through the years and good businesses never question it and deal with the fright company them selves. I think if Auber did the right thing this post would have never happened and the money the saved on that one transactions cost them a lot of sales from the HBT community (me for sure). Bobby said what I like to hear from a vendor earlier in this post and that is why I will always buy from him. Unfortunately newtstampede suffers the loss here and I hope he buys elsewhere.
Just a couple of comments: The last time I had something shipped by FedEx, there was a link on the "tracking" page to request in-store pickup. If I was having a high-dollar item shipped to me, I would use this option. I don;t have thieving neighbors though. I know most of them by face if not by name (I'm horrible with names). One (minor) complaint I have with FedEx is that they always leave packages in front of my garage. I wish they would take them to my door, which is a little more "private". My company deals with shipments using all 4 of the "consumer" carriers (UPS, FedEx, DHL, and USPS) as well as larger freight companies. There isn't a single one that I couldn't come up with something bad in regards to past experiences. I've received packages halfway around the world in under a week from one of them one week, and a package from the same place takes 6 weeks when shipped the next week.
I'm not insane, my mother had me tested.
A little off topic but I'm so tired of package delivery services. As a small business owner I've had a ton of problems and as a personal consumer I've had a ton of problems with them. I don't understand how a company can operate on the basis that: Give us your property and your money but if we mess up you're SOL.
Yes, it was delivered. Someone out of the loop stole it.
Drinking: Russian Imperial Stout Drinking: Pre-prohibition Lager In-process: Another batch of Pre-prohibition Lager Next up: Scottish Wee Heavy
Whoops, double post.
I'd just drop the point about Fedex paying the shipper. The red tape involved in filing the claim and following up will literally take 1-2 hours and there is a good chance they will reject the claim on this one anyway. Unless your business is ultra slow, no one has time for it so no matter how you look at it, Auber needs to take the loss. As I said before, they are looking at the loss as out of their control. Well, sort of, unless they put signature confirmation on it. They are partially at fault but mostly they are just being terrible business people. Here's the real rub though... there's no proof that the customer didn't really find it in front of their door and still claim it was stolen. I'm not saying this is the case with the OP, but it could be a shady tactic nonetheless. If you look at Paypal's policy, which is very much in favor of buyers, they consider USPS's delivery confirmation as proof of delivery for transactions under $250 and signature confirmation for values above. If Auber used paypal, by Paypal's standards the OP is out of luck. This STILL doesn't account for customer perception effects as this is a BUSINESS decision. If you just take a look at the comments throughout this thread, a very small minority of posters think Auber is right. Frankly, it's not even based on the merit of the argument. If people think a business is shady then they are.
Frankly, I'm pretty astonished that Auber hasn't stepped up and dealt with this, as the reputation damage appears to far exceed the value of the loss. It is also inconsistent with their prior reputation of providing very good service. Perhaps there is more to the story, but even so this appears to be a poor business decision.


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Snacks That Will Help You Shed the Baby Weight
10 Grab and Go Snacks For New Moms
10 Grab and Go Snacks For New Moms
Once baby arrives, new moms tend to trade in the bowls of ice cream for healthy snacks that will nourish them while helping them shed the baby weight. While healthy eating can be tasty, it isn't always quick and with a lil one demanding constant attention, eating with one hand and on-the-run is essential. We've rounded up 10 quick and easy one-handed snacks that should give a new mom the energy she needs to make it through the day.
Kid-Friendly Recipes
Healthy Snacks
Link Love
- Shakira welcomes a second son — People Moms & Babies
- Can you love your child too much? — BabyCenter Blog
- The skills your mom never taught you — Real Simple
- The 9 mom "friends" you don't need — HuffPost Parents
Latest Moms


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Dodge Dakota Transmission Problems
smitty06 Posts: 1Have been experiencing a slippage of the first to second gear shift on my auto transmission. Under very slow accelleration and letting off of the gas at the time of shift into 2nd it seems to shift ok, however, using just moderate or normal accelleration causes the first to "clunk" into 2nd and the other gears appear OK.
Have just changed the tranny fluid, had the pan cleaned right out and fresh fluid put in. Seems just slightly better but it still clunks under moderate accelleration. Any suggestions from anyone?
Thanks in advance! -
georgeh71 Posts: 1I have a 2001 dakota 4.7 doing the same thing, feels like a studder, but it only happens cruising in overdrive. i have changed all the plugs, coil packs, tps and the air idle sensor. i had the trans rebuilt not to long ago and had this problem before and still have it after. does anybody have an answer?
willieboy62 Posts: 7first of all stop throwing parts, would be cheaper to take it to a repair shop!
next does your truck have tilt steering or airbag very possible you have a broken wire or bad clockspring in steering column. you need to find what wires come from the switch and check to see if there is an open, broken wire or bad clockspring -
sherry35 Posts: 1Ok, so I know absolutly nothing about vehicles. I have a 1999 Dodge Dakota R/T. Today I noticed that when i put the truck into park the little orange gear indicator was not where it should be. The truck went into park fine and when i started it back up it started fine. Driving along when i went from 60 kms to 80kms...the gear did not shift (automatic transmission) I pulled over, put the truck into park, waited a few minutes and drove off. This time with no issues during my 30 minute drive. However, tonight it did the exact same thing and would not shift until i pulled over put it back into park and then tried again. Any ideas? I just want to know what i'm looking at. The truck is at a garage now but of course i am freaking out not knowing what it is. Any suggestions at the issue would be greatly appreciated!
dragavona Posts: 1I have a 2001 4.7 v8 auto with 97k mi that has a "clunk" during the up and down shift between 2nd at third. I can let off the gas during that period which helps to mitigate the harshness of the shift. It's been doing this for the last year or so. I've had the truck into a local shop twice and into the local dodge dealership twice as well since it started. The dealership reprogrammed the software that manages the shifting two times. Each time the shifting problem went away for 1-2 weeks before coming back. Now they want $2500 to open and close the tranny, but they are not even sure that's the etiology of the problem. The local auto shop could not identify the problem either. I'm wondering if it would be worth it to just buy a new transmission and see if that takes care of the problem. One thing that is weird is that the check engine light has not gone off this entire time.
Don't know what to do. -
dakquad Posts: 3Had exact same thing happening on 2002 quad cab 4.7L 45re trans. Found that with lite throttle it would clunk into 2nd gear. If I was hard on the throttle out of the hole it would shift better with out a clunk.
Had my friend at dodge drop pan and he found a broken spring actuator for 1st gear. It was very hard to see spring broken but it was. those springs . Replaced and all was fine.
Bad TPS sensor happened right after that. Noticed no clunking on shifting but noticed tach racing up and down with a steady pressure on throttle at about 40mph. Replaced that and all is fine. -
jeremy69 Posts: 1i have a 99 dakota with the 5.2 and the 46re trans my truck did the same the under lit acceleration it seemed fine but when i got on to it it clunked and shook the truck pretty bad it turned out to be the drive shell had beat it self up badly and caused the trans to slip in first im not sure if that would be your problem and it suck to try to fix this problem you would have to tare apart the whole trans to fix it
circuitryder Posts: 30
mark280 Posts: 1Just bought my truck a month ago and feel a slight miss in the tranny when i take off, feels like a little slip, more when it warms up, also seems to pulsate a little when you stop and take your foot off the brake. Feels like its not running on all cylinders, but it runs fine and the rpm is between 6-700, any suggestions. The truck has 63,500 miles on it.
dakquad Posts: 3
carverman Posts: 101I have the same problem with my 1998 Dakota 5.2L (318 V8 (105,000 km)
and with the overdrive transmission. It seems to get worse if the transmission is heated up after a 30-40 minute highway drive. The shifting is delayed and the tach goes up to 3000 rpm and the shift is hard to second and also to 3rd.
Overdrive (once in) seems to be fine.
According to my Haynes manual, there is something called a throttle valve cable that may need some adjustment and it is a critical adjustment because it will
govern the shifts. If the cable is too loose, it will upshift to early and may be
accompanied by slippage. If too tight the upshifts will be late and
downshifts during part throttle operation will occur too soon.
It would seem to me that this could be the culprit. -
carverman Posts: 101My tranny problems appear to be occuring when the engine/tranny is heated up after a highway
drive. Upshifting is delayed. Tach goes up to 3000 or 3500 rpm before a hard shift which BTW
I discovered is helped out if I EASE OFF on the gas pedal a bit.
My Haynes manual mentions a throttle shift cable..but someone on this forum is saying that
the 98 Dakotas don't have this throttle valve shift cable and the shifts are electronically
controlled by the PCM and the Throttle position sensor (TPS) is somewhat responsible for that
and should be replaced on speculation of the shifting problem.
The Haynes manual says the the the throttle body shift cable can cause erratic shift symptoms on
cold engine/trannys.. or when they are heated up ...as in my case.
I'm going to get an aftermarket TPS and install it as that is an easy and inexpensive fix,
but does anyone on this forum have any ideas?
From what I have read so far..changing out the TPS in some cases did fix the delayed shifting
problem. As mentioned, mine seems to occur more so when the engine is heated up.
Being a temperature related symptom, it would make more sense to me that the TPS
may be temp sensitive at this point? -
carverman Posts: 101Consulted my Haynes Durango/Dakota 1998/99 Repair manual. This book has saved me tons of
cash, both in "Check engine" diagnosis and troubleshooting electrical and electrical sensor problems.
I highly recommend this manual..it is a worthwhile investment if you are capable of doing some basic repairs yourself.
The manual mentioned that there is a shift cable that connects the throttle at the air horn (located on the other side of the TPS sensor) for the auto tranny used on the 5.2L V8 years (98/99).
(Don't know about other years and engine displacements though.)
It mentioned that on this cable LENGTH adjustment is CRITICAL to proper up/down shifting of the tranny.
Some people (here) mentioned that the shifting is done electronically by the PCM sensing the position of the TPS sensor, but there is a cable that is directly related to the shift control Throttle valve in these transmissions too. If it is too long (stretched) or too tight, it will affect the downshifts/upshifts when the transmission is either cold or hot.
My symptom was when it got hot..and this was because the Throttle valve cable was stretched somehow with 13 years of use. It was about 1/4 inch of too much slack at the air horn, where the cable attaches to the throttle valve shaft (the air horn).. on the same shaft that the TPS senses.
Rather than crawl under the truck and do the complicated procedure to adjust the cable, I decided in trying a quickie fix by inserting a spacer between the cable "ball end" and the bracket which attaches the cable it to the throttle shaft. I decided to use a plastic spacer (end of a tooth brush handle..which is about a 1/4 inch thick) to take up the extra slack in the cable and I could work from the top of the engine, rather than have to jack up the truck, stands,
and then have to try to adjust it lying on my back.
I was curious to see if it would solve the delayed shifting and not be misled by
the transmission shops or the dealers into selling me a complicate repair if
it turned out not to be the TPS sensor that I can replace myself.
I fashioned a roundish spacer by drilling out a hole and cutting a slot in it so that it would fit onto the cable end and not pop off.
Took it out for a trial run, engine heated up and the tranny shifted just like new. Ok, this is a Rube Goldberg solution..but it works and cost nothing to implement.
I'll order a spare TPS sensor, but so far, my fix seems to be working quite well. -
carverman Posts: 101Interesting question. I have the 2001DodgeRam manual and it describes operation and service of the 42re. Which solenoid did you change or by
"shift solenoid pack" did you change all of them?
Did you replace the (electronic governor) pressure solenoid..the one that is controlled by the PCM for upshifts/downshifts?
If so that is a linear actuator attached to a valve in the valve body, which has several internal valves (depending on what operation it is doing), and controls the front clutch, rear band and direct clutch for reverse operation.
It also has a governor pressor sensor which feeds back governor pressure to the PCM to control the governor. Operation is complicated and it would depend on the parts you replaced.
My Haynes manual also mentions a "Variable force solenoid" which is , 3->4 shift solenoid, TCC (Torque convertor clutch) solenoid (4th gear), pressure sensor and temperature sensor. (Not sure how many apply to the 42re).
There is a manual valve inside the valve body that is operated by the manual gear selector and a parking sprag that locks the parking gear on the transmission output shaft to the transmission case,
so possibly the sprag may not be completely disengaging when going from Park to Reverse making that clicking sound.
I presume when you go back to D, the noise goes away and the transmission
shifts normally?
Was this symptom there before you changed out the solenoid(s)?
What was the reason the solenoid were changed(s)? -
walt37 Posts: 1I also have the same truck as you and I am having the same trouble,when cold even in the summer put it into gear and the truck will sit and not move for 10sec then it seems like the trans builds up some pressure and starts to move with no problems the rest of the day unless it sits all day.
Did not know if you found a cure for the trans trouble? -
carverman Posts: 101That is not entirely true. The transmission has to warm up to a temperature
that the temp sensor inside the transmission sends back a signal to the PCM
that the temp is within acceptable range for the overdrive to kick in.
I live in -20C temps (which is well below -4f) and my 46re tranny will kick
into overdrive once the engine has sufficiently warmed up. -
carverman Posts: 101I also have delayed shift from 2-3rd. I put a spacer in the throttle valve cable
going down to the transmission at the throttle body. It help somewhat but
it's still abit slow from 2-3 (around 3,000 rpm). I checked my TPS sensor
output and the Haynes manual mentioned that the reading on
(closed throttle)should be somewheres from 0.5 volts,
to 4.5 volts at full open throttle.
My original tps sensor read 0.66 to 3.77 volts.
I ordered an aftermarker TPS sensor and it was worse..the PCM flashed a
check engine code (P-123) which indicated the voltage was out of range.
Rpms shot way up and the tranny shifted crazy. Engine would not idle
once I put it in gear and moved..rpm would drop off right down to 0
and engine would die on me.
Check the aftermarket sensor and it read 2.5 volts to 4.75 volts, so it was
defective! Glad I the old sensor was still working, so I put it back on and sent
the defective TPS back for exchange. Probably should have paid more and
got it from the dealer. Sometimes it is better to check them out before
attempting to drive off. -
fedup25 Posts: 1I have a 2001 dodge dakota sport, 4x4, automatic tran, 3.9L. If i drive more than 20 minutes the overdrive off light will come on and the tran will shift down to 3rd. five minutes after that the red TRAN TEMP light comes on. The wierd thing is, when i start the truck (wheter the engine is cold or not) and put it in drive right away it will start in first gear but wont shift until i get up to 4 or 5 thousand RPMS. If i wait at least 7 or 8 seconds to put it in drive after starting then then trans will start me in 3rd gear making for a very slow acceleration. There is enough Transmission fluid btw. All 4 gears work but its just not shifting right and it seems to be overheating(i know it is becuase i can smell it burning when i stop. there are no unusual noises coming from the trani. Please help !!
circuitryder Posts: 30Could be a blocked anti- drainback valve in the cooling line, which will destroy a trans if it is blocked. If you have a 46re, the torque converter could be going out, and sending debris through the trans. The shift solenoid may be clogged with the debris, causing the shift problems. The solenoid can be cleaned with brake cleaner spray. I removed my anti drainback valve when I replaced my converter.
lil_tiger77 Posts: 1I really do not know a lot about cars and fixing them. So that said, engine light came on this afternoon, got the codes read. They were P0700 and P0876. Which could be a number of different things going haywire in my truck. It says, "the TCM has detected that the UD pressure switch is in the wrong state for the current gear," and "received signal that the transaxle control module has a fault." Now the thing that I noticed: that the temperature thingy rose super slow; it kinda wants to stall, like its running cold or something; and sometimes when i put it in drive or reverse it doesn't go . . . like its in neutral. I'd like some help maybe narrowing it down a little so I don't get ripped off at the repair shop and if I should just stop driving it and tow it to the shop. (My husband is a great mechanic but he's 2000 miles away and I'd also like to impress him with a little knowledge about whats wrong with the truck!)
Thank y'all in advance . . . -
kimberlyjacker Posts: 3grumpymike1,
I have a 2006 Dodge Dakota that I have only owned for a month. I took it back to the dealership three times for exactly the problem you're describing. I was sure it was having serious transmission problems. In the end they told me that's just the way the Dakota's act in the morning when you first shift into gear it hesitates.
How long have you owned your truck? -
carverman Posts: 101Need more specific info. Is this a V6 or a V8?
You didn't mention if this was a 4x4 or a 2wd, but the codes the way I'm
interpret them is p0700 (TCM transmission Control Module) is a transmission
control system malfunction. Couldn't find the p0876 code ..are you sure you
read the code right? The dakota doesn't have a transaxle, if it's a 4x4 it
will have a transfer case to allow power to be transfered to the front wheels
for 4 wheel drive situations. The "U/D" could mean upshift/downshift. On the
46re there is a shift solenoid and pressure switch that detects fluid pressure
and returns the information to the PCM (Power Control Module) or computer.
You also mentioned that putting the transmission in gear (Drive or Reverse)
from neutral."it doesn't want to go"..that could be a sign that the neutral
safet switch is faulty.
How is the transmission shifting when you do get it to go into gear. Do the
RPMs go up high and you get a hardshift or does the transmission appear
to shift normally at some predetermine rpm based on your driving habits.
In some dakotas (at least mine 1998) the transmission shifting is controlled
by a pressure solenoid which is then controlled by the PCM. The shifting point
is determined by the TSS (transmission speed sensor) located on the transmission. -
carverman Posts: 101I had the same problem with my 1998 V8 5.2L recently. Hard shifts and
no check engine code initially. Drove me nuts for a while as the rpm would
go way up to 3500rpm before it hard shifted. It was like that for a while and
acted up when the truck and tranny got hot. Tried changing out the TPS,
but that was not the problem. Finally the check engine code came on after several weeks P0720 (VSS sensor output low) VSS (Vehicle speed sensor
is actually a transmission speed sensor and provides input to the PCM to
calculate optimum shift points from 1-2 and 2-3.
After that stroke of luck, the VSS/TSS was changed out ($50 item) and
the transmission is shifting normally and smoothly.
I don't know what I would have had to do had I not got that code. It could
have been a costly repair at a transmission shop. -
kimberlyjacker Posts: 3Oh, I forgot those details. Sorry. I have a 4x4 quad cab automatic V8.
Yes, the RPM's do go up to 2 1/2 when I first start it and it usually idles down about one minute down the road. This happens either in drive or reverse, they both hesitate and get the higher RPM's when first started in the morning and again when I get out of work.
The dealership cleaned the throttle cable and replaced the celenoid. They also replaced the transmission filters.


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This definitive resource on using Adobe Photoshop blend modes, features dozens of hands-on examples to give you an edge in technical, personal, and commercial projects
Blend modes are an essential, if somewhat mysterious, tool for photographers and digital artists. They can be used to for a wide range of imaging effects and challenges, such as noise reduction, working with high dynamic range (HDR) images, compositing, graphic design, and digital painting. Although blend modes can be easy to use, they aren�t always easy to understand. Scott Valentine translates the technical elements into every day language and demonstrates techniques using real-world examples.
Whether you�re a professional or hobbyist, there�s something here for you. Beginning and intermediate users of Photoshop will learn how blend modes work and get up to speed on the most common techniques. The book will also feature power tips and blend mode techniques from industry experts, including Katrin Eismann, Matt Kloskowski, and RC Concepcion. Advanced and technical users will find indispensable references along with powerful enhancements and corrections. More than just a collection of effects and recipes,The Hidden Power of Blend Modes explains why the techniques work and how to tune them for your own specific needs.
Scott Valentine started with Photoshop working on optical and electron microscopy images, becoming a Subject Matter Expert at a national laboratory. With a degree in Physics and dual minors in Music and Theater, he has a unique perspective on balancing the technical with the artistic. This is reflected in Scott�s teaching and presentation style, along with an understanding of how users approach the creative process and the tools they use.
Scott has been a featured presenter for RetouchPRO and several Adobe user groups. He�s also a User Group Manager and Adobe Community Professional helping users get the most out of Photoshop for nearly ten years. When not at a keyboard, he enjoys backpacking, playing hockey, and playing guitar.
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Harry How/Getty ImagesMany NFL mock drafts have changed dramatically in the last 48 hours.
Instead of making one mock list, we combined the predictions of all the biggest experts in the NFL world into a Consensus Mock Draft.
Here's where we stand just hours before the draft.
The 13 experts are: Mike Mayock (NFL.com), Mel Kiper Jr (ESPN), Todd McShay (ESPN), Josh Norris (NFL.com), Charley Casserly (NFL.com), Greg Cosell (Yahoo!), Dan Kadar (SB Nation), Don Banks (SI), Rob Rang (CBS), Dane Bruglar (CBS), the Associated Press, Russ Lande (NFP), and Paul Schrager (Fox Sports)
Where we stand with a few hours to go.
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