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James Dipple, CEO of MEPC wanted his new oppointment portrait outside their new building, 10 Wellington Place in Leeds. He was impressed by the sharp triangular corner of the architectural design which inspired me for his portrait. The sun was nearly behind him but with creative use of reflectors we got a powerful portrait. He loved it! Harry.
Posts Categorized: Raves
Triumph in the cold!!!
The recent 2013 model shoot for Triumph was in a very cold Norfolk.
The team was Gareth from Triumph who oversaw the production of the shoot, Mark Hynds on art direction duty, modelling were Zoe and Mark, the lovely assistant Steve on lighting/equipment plus me behind camera.
The sun was added by assistant Steve using a double warm gelled Quadra head directed at the lens just off frame. This obviously didn't warm the models, so we had a plentiful supply of good humour from everyone (and the car heating on full blast).
We produced some great shots and Gareth emailed some positive feedback which is always great to hear.
"Mate, love them, they are even better than I remember! Thank-you for a great two day photo-shoot it was a pleasure working with you, I'm so pleased with the clothing brochure and I believe it to be better than any previous version" – Gareth Bright.
Here are some snaps from Steve and some pages from the finished brochure. H
Attention Grabbing – Shot Up North Awards
Good News Folks – I have been awarded successful entry to this years exhibition, website and book.
The Shot Up North's 24th SUN AWARDS were announced at Matt & Phred's in Manchester's Northern Quarter on Thursday 13th September. SUN's remit is to celebrate and reward the best professional photography in the northern regions of the uk.
This image was shot in Mayfair, London, commissioned by Sutton Young Consultants and aptly entitled "Attention Grabbing".
4 x 4 x 3 !!! – "three out of four ain't bad"
Three out of four of these stunningly printed photo panels are from my recent shoots for Caldene, Harry Hall and Tottie. Mounted in my clients lobby, they look stunning – if I say so myself. Had to get a quick iPhone shot of them as a record! H.
Private Viewing of my Art In Landscape Exhibition
The opening evening of my landscape photography show, entitled "Art In Landscape" was a great success on 7th april 2011.
It's was nice to see faces familiar and new, many thanks to all that came. Steve Evans from the Bradford Chamber snapped a few shots of the evening, plus I set up a quick studio in one of the meeting rooms where guests took portraits of each other on my camera – the results are below in a slideshow of the evening. Thanks also to everyone involved in the evening, your help was much appreciated.
Enjoy the slideshow. Cheers, H.
Art In Landscape – Exhibition
It's really quite unbelievable but "Art In Landscape" is my first personal exhibition since college, many moons ago!
It's on at the Bradford Chamber Business Park and has been a great journey for me. It's liberating to free your images from the confides of the computer and release them as quality framed large art prints.
My landscape art photography is very clean and graphic in style. I use scale, depth, abstraction and surprise, to grab the attention of the viewer and bring them into the photograph – often having to walk up close to get the full understanding of the detail to be absorbed.
The show is on for six weeks, starting with the private viewing on the 7th April 2011.
I'll post up the images after the show opening, along with some snaps from the private viewing.
Cheers, H
Documentary Slideshow of Workwear Shoot
Rizues Workwear recently approached me to initially shoot a 16 page brochure with a bigger catalogue to follow – if we do a good job that is!
The client had had a bad experience with her last photographer, so was a bit apprehensive about how this shoot would go. Anyway, she sent us a very complimentary email the very next day – it pretty much say's it all. Thanks Lorna!
Morning Harry !
Just a quick message to say a very big thanks to all involved with the photoshoot, including, Ben, Pete, Kate, and the models.
Everyone worked very hard even with the few extra challenges thrown at us, and I hope the final results are a testimony to this – I am looking forward to seeing the very final finished articles !
An especial thanks to both you and art director Ben, for your tireless effort, attention to detail, professionalism, and care throughout the two days – and of course the many laughs ! If you were a bit younger you could be the next Ant & Dec ( Ben & Harry or was it Ben & Gerry !! ).
Hope you have a relaxing Bank holiday and look forward to catching up next week.
Thanks again.
Kind regards,


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VideoSmash.com is a brand new and yet very powerful resource providing premium quality video effects and motion graphics for maximum striking impression.
VideoSmash.com is providing Video Effects within the featured packs only. Each Featured pack covers one of 4 topic categories listed. Each pack includes about 10 Video Effects, please refer to the description of the pack to learn more about it and the exact number of the video effect in it.
Video Effects that we offer are available in 3 color schemes each; they are produced with Adobe AfterEffects. Each item is provided in real HD quality (HD 720p), 29.97 fps framerate, QuickTime Codec H.264.

subset: commoncrawl


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- DaphneBachmann
- Deutschland, Weiblich, 18-24
- Anfänger/in
- 1 bewertung
It's located really great, but the matresses were way too hard and i just fit into the bed (i'm 1,7m).
- jannikbischoff
- Deutschland, Männlich, 18-24
- Leidenschaftlicher Reisender
- 11 Bewertungen
This was the worst hostel on my trip so far! The mattresses were so hard and small (horror for tall persons), the bed had no railing at the head-end so the pillow fell down often, the light was on all the night, you could not lock the door and enter the building all night with no key, the showers were dirty and the staff was not that friendly... I was glad I had only one night in this place.
- Anonym
- Deutschland, Männlich, 18-24
- Weltenbummler
- 25 Bewertungen
Nice place for a couple of nights, close to the Wall, the castle and the old calgary. Pretty easy to get around with your shoes. Defenitly a place to see. Breakfast is a good average with cereals and bread. Staff could be more friendly sometimes. Maybe they're if you're fluent in french.
- Anonym
- Deutschland, Weiblich, 31-40
- Anfänger/in
- 4 Bewertungen
+ Sehr gute Lage! + Türen werden nicht abgeschlossen, + 24h besetzte Rezeption - hellhörig, - Betten/Matratzen sehr hart, schmal, unbequem - keine Möglichkeit Wäsche zu waschen
- Anonym
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Super Lage!
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On Sunday, April 24th at The Armenian Centre a campaign worker for the Liberal Party was assaulted by several men while distributing campaign literature. His phone was damaged, but he managed to retrieve the video with pictures of the men. If you have any information on thier identity please call Const. Robert Watson at 519-400-8450 case # 11092051 with any leads.
httpv://www.youtube.com/watch?v=bw1sXCL-N60Tags: Liberal Party


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free giveaway you should know about.
so...here is another one of my favorite blogs, and she is having a fabulous give-away you should know about. if i added "her button" to my blog, i got another entry...so check it out. hope one of us wins. ;) total cuteness.
on another note. i am doing laundry, cleaning and mulching today. i didn't go yard saling on purpose. it was kinda hard. i was in the mood. and had my first braxton hicks today. yay me. i was wondering what was taking so long. now, i am back on track. keep it comin' baby five. ;)


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About · Hilltop Family YMCA
The Hilltop Family YMCA is a branch of the West Contra Costa Region of the YMCA of the East Bay. The West Contra Costa YMCA has been serving the greater Richmond community since 1918. We started out as the Richmond YMCA and were part of the Berkeley YMCA. We gained our independence in 1931 and took the name West Contra Costa YMCA. In 1990, we merged with the YMCA of Alameda County to form the YMCA of the East Bay in order to complete the Hilltop Family YMCA.
In 1984, Chevron Land and Development gave a gift of land to the West Contra Costa YMCA to be used to build a community health and wellness facility. In order to complete the project, the West Contra Costa YMCA merged with the YMCA of Alameda County. In 1993, Hilltop Family YMCA opened it doors to the community which includes the cities of Richmond, San Pablo, Pinole, El Cerrito and Hercules.
The Hilltop Family YMCA also operates the Pinole Swim Center and the MonTaraBay Recreation Center.
Our Leadership
Gina Fromer, M.S.
Vice President and Regional Executive Director, West Contra Costa Region
"Our mission to affect positive change in the community is as important today as it was when we opened our doors in West County nearly a century ago." -Gina Fromer, Vice President and Regional Executive Director
Ms. Fromer has been deeply committed to the West Contra Costa community for many years and has been involved with park design and development work across Richmond, work on the Point Molate Master Plan with the City of Richmond, work on the Richmond Greenway, and service on the board for Richmond Main Street. She formerly worked as the California State Director for The Trust for Public Land, a non-profit organization that protects land and creates parks for people. Prior to that position, she was District Vice President for the YMCA of San Francisco. A native Californian, Gina has been honored with numerous regional awards including the prestigious Jefferson Award for Community Service in 2012 and the KQED Local Heroes Award in 2013. She holds a M.S. degree in Psychology from the University of Phoenix and a B.A. degree in Psychology from Dominican University in San Rafael.
Senior Staff
Anthony Attride, Associate Executive Director
Johann Dubouzet, Youth & Family Director
Rionne Huntley, Administrative Director
Luisana Nunez, Health & Fitness Director
Mihiro Yanai, Membership Director
Our Board of Managers
Aaron Winer, Chair
Donald Honigman, Chair-Elect
John Wind, Immediate Past-Chair
Carol Frank, Secretary
Darrel J Tucker, Treasurer
John Tysell, Board Development Chair
Donald Honigman, Health & Wellness Chair
Board Members
Syamala Aiyar
Steve Barlow
Vickie Blomquist
Cherilyn Brunetti
Charlotte Dickert
Nikki Ferguson
Sylvia Greenwood
Everett Jenkins, Jr.
Pamela Jones
Karin Knowles
Annell Kocher
Glen Moniz
Katrinka Ruk
Roberta Quan
Alex Sample
Thomas Schubert
Chris Shuttlesworth
Cyndie Sprinkel
Daniel Tanita
John Tysell
Kay Yamagata
Gail Yando


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(All Vietnam) – If you plan to visit Ha Long Bay, it is a good idea to kick off the trip by travelling around Cat Ba Island.
Cat Ba is the largest island in the Bay with 366 islands spanning 260 km2. Having been a well-known destination for both Vietnamese and foreigners all over the world for a long time, because of its isolation, Cat Ba still preserves an incredibly wide beauty with Lan Hanh bay and many other attractions.
Most of Cat Ba Island is protected and declared as Cat Ba National Park as a way to maintain the island's diverse ecosystems. Many types of natural habitats are found on Cat Ba Archipelago, creating a masterpiece of the nature. Some of them are limestone karsts, tropical limestone forests, coral reefs, mangrove and sea grass beds, lagoons, beaches, caves, and willow swamp forests. It is also famous as the home of golden-headed langur, one of the rarest primates in the world, and possibly the rarest primate in Asia. In 2004, Cat Ba Archipelago was declared a UNESCO Man and Biosphere Reserve Area and is divided into three different areas with distinct function and regulation to develop the biodiversity and conserve marine and terrestrial ecosystem.
Tourists coming here can enjoy the local delicious dishes, swimming on sandy beaches Cat Co 1, 2, 3; kayaking and taking boat through Ha Long Bay and the Cat Ba Archipelago. If you want to add more enthusiasm into your adventure, you can hike through the national park, rock climb on the limestone karsts, explore various caves or mountain bike around the Island. For visitors seeking the resting time, relaxing on Monkey Island Resort and walking around to discover the beautiful countryside should be on the list. There are many walking routes here, it is of your options to choose your favorite routes from several km to 18 km.
With its amazing scenery, gorgeous beaches and pristine forests, this island has become an irresistible place for both vacationers and adventurers from all around the world.


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Jamie Now Melbourne, Australia
Jamie has branched out from ambient electronica to the a futuristic world of beats, bass and emotive driven melodies. He has gone on to release three more EPs each to exceptional acclaim Jamie has also remixed artists ƱZ, Golden Features, Alison Wonderland, HWLS, Feed Me, Kill The Noise and TOKiMONSTA which has gained him international recognition and respect from peers in the music industry. ... more
Streaming and Download help


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LITTLE ROCK, Ark. (KTHV) -- Arkansas is expecting severe weather tonight, so here is a straightforward forecast from our Chief Meteorologist Ed Buckner.
Remember to stay safe and informed as the weather continues to change.
Waves of heavy rain and thunderstorms will be likely.
Some storms will be severe with 60 mile per hour winds and one inch hail possible.
Tornado threat is very limited, but can't be ruled out entirely anytime with severe thunderstorms.
Heaviest rain/storms will come in two different waves across CENTRAL ARKANSAS, between 5 p.m. to 7 p.m. and again from 10 p.m. to 2 a.m.
Flash Flooding across the northern part of state is concern there. Wind damage/power intensifies my concern west and central and east into early Saturday morning.
Severe threat looks to be over by midnight with all threats gone by around 4 a.m.
Showers might continue into the early morning hours, but only a 30% chance.
Most rain should be gone by noon, but clouds and cool temperatures will last all day.
Cloudy with a high of only 66.
Sunday starts very cool with lows in the mid 40s with some clearing expected.
Afternoon should be sunny with a high near 70. Beautiful day!
Remember to have your weather radio set.


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Posted on Feb 03, 2017
Interested in X-ray Computed Tomography but always thought it was too time consuming for the production environment? NSI has recently developed a number of Computed Tomography (CT) production solutions to aid CT users.
One of these helps improve the speed of CT scanning to make it a technique suitable for high volume inspection. This solution includes a clever fixture design as well as motion programs that allows your Computed Tomography system to scan a large number of samples with minimum operator input!
Using NSI's efx-CT software, you will also be able to carry out automatic reconstruction. This can save many operator hours as the unit can be left to run overnight or even a weekend without an operator being present.
Visit booth 3306 at IPC APEX to learn more about CT high volume scanning and much more OR set an appointment with David Nokk, email@example.com, Kevin Bresnahan, firstname.lastname@example.com or Ross Johnson, firstname.lastname@example.com at IPC APEX.


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Music technology has revolutionized contemporary classical music. What was once only a remote musical dream has now become a reality through computers, robotics, interactive interfaces, and the internet. Classical composers have developed new and exciting ways to embrace new music technology without abandoning traditional classical musical form. Astounding new compositions have developed over the past few decades since the digital revolution began.
Internet Performance
Classical music has seen a rise in internet "performances". These performances do not take place in traditional locations like a concert hall. Instead these classical compositions take place in virtual spaces. For example, the innovative composer Alex Shapiro premiered her work in the online virtual reality world Second Life. Other musicians use live streaming through UStream to simulcast live performances. Some musicians never have "live" performances, leaving their fans to experience their music through uploaded videos through YouTube.
Video Performances
Composers like Pauline Oliveros use interactivity and video conferencing to explore new sonic possibilities with performers around the world by actively engaging in live concerts over the net. As performers interact with each other musically through Apple's iChat, a live audience experiences a surreal work taking place in multiple real spaces within the context of a virtual space (the computer). A larger scale version of this would be the YouTube Orchestra, which auditioned hundreds of musicians online, with a premier performance at Carnegie Hall. The Internet Symphony by the YouTube Orchestra involves snippets and cuts of multiple home performances of a classical composition. Eric Whitacre also experimented with the idea of a virtual choir using uploaded musical performances.
Laptop Orchestras
Many universities are experimenting with laptop orchestras, such as Hsiao-Lan Wang's Electric Monster laptop ensemble in Montana. This ensemble has traveled extensively, with several talented students musicians performing works written specifically for the laptop. Works sometimes use programs like MaxMSP, Supercollider (a computer language that creates interactive sound synthesis), or even Powerpoint.
Interactive Dance Concerts
Contemporary dancers have embraced new composition. Live performances involving interactivity between dancers and electronic music have flourished over the past decade. Some composers use sensors to detect a dancer's movements. These signals then help process electronic sound and live music, sometimes even affecting visual elements projected on large screens.
Contemporary composers continue to innovate with new technologies. Digital interactivity and online performances are only a small part of the vast world of music technology. Innovation and invention continue to challenge the very definition of music. Where are we headed next?


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Operating Systems Programmer IV Salaries
View Operating Systems Programmer IV Hourly Wages
Alternate Job Titles: Operating Systems Programmer IV
How much does a Operating Systems Programmer IV make? The median annual Operating Systems Programmer IV salary is $107,480, as of August 03, 2017, with a range usually between $96,569-$120,295, however this can vary widely depending on a variety of factors. Our team of Certified Compensation Professionals has analyzed survey data collected from thousands of HR departments at companies of all sizes and industries to present this range of annual salaries for people with the job title Operating Systems Programmer IV in the United States.
This chart describes the expected percentage of people who perform the job of Operating Systems Programmer IV in the United States that make less than that annual salary. For example the median expected annual pay for a typical Operating Systems Programmer IV in the United States is $107,480, so 50% of the people who perform the job of Operating Systems Programmer IV in the United States are expected to make less than $107,480.
Source: HR Reported data as of August 03, 2017
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This chart describes the expected percentage of people who perform the job of Operating Systems Programmer IV that make less than that salary. For example 50% of the people who perform the job of Operating Systems Programmer IV are expected to make less than the median.
Source: HR Reported data as of August 2017
Reviews, analyzes, develops, installs, and modifies computer operating systems. Analyzes and resolves problems associated with operating systems. Detects, diagnoses, and reports related problems. Requires a bachelor's degree in area of specialty. Typically reports to a manager or head of a unit/department. Typically requires 7+ years of related experience. A specialist on complex technical and business matters. Work is highly independent. May assume a team lead role for the work group. View full job description
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Wed 1 Aug 2007
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Mon 10 Sep 2007
Hey guys, kinda new here. Lol I'll just post the email question to save the flavor of the question:
Hi there,
I'm a high school student in the Philippines making a documentary on
the value of teenage love and the value of chastity. I would like to
ask for some basic advice on making a documentary. I'd be glad to
credit you for the advice in the end. =)
There's five people to interview, and I have couple of 1 CCD cameras.
The documentary can't exceed 12 minutes. Do you think it's a good idea
to make the documentary an entire interview? What about reenactments?
Do you have other ideas on how to make the documentary more
Thanks for your time reading this,
P.S. Sorry for the informality of the letter, I happen to be very candid!
Mon 10 Sep 2007
The answer to your question is, as always, "it depends". If you have five people who give wonderfully poignant interviews with strong sound bites, they yes, you can probably go ahead and make the entire project nothing more than talking heads (e.g. Errol Morris' FOG OF WAR). However, if you have a character actually going through the struggle of remaining chaste, it might be more compelling to film him/her in the moment. I generally frown upon reenactments b/c they are so rarely done well (especially by first-time filmmakers) and they usually look terribly fake. Animation is something that's becoming a lot more prevalent and an interesting way of presenting an event that's already happened. Try looking at a bunch of different documentaries -- then pick and choose from certain styles you like that would best fit your film. Ultimately, the film has to be a reflection of what is most significant and striking to you.
Mon 10 Sep 2007
I think a documentary needs more than talking heads. Errol Morris is also the king of re-enactments and even his talking heads are filmed with a very distinctive style (interrotron).
Teenagers talking about chastity? I want to see more than their heads. I want to see what they're talking about, if at least in an abstract way. Maybe, create their points of view in school or on the streets, looking at people, thinking about them. Maybe don't even show the interviewees. There's a reason it's a film and not a radio show, so let's see some compelling visuals..
Mon 10 Sep 2007
Vincent, if you can get your hands on an American documentary called THE EDUCATION OF SHELBY KNOX, it demonstrates one approach to a similar topic (it's actually broader than just the chastity issue, but that is one issue covered in the film).
I also like Christopher's suggestion of possibly using animation.
Mon 10 Sep 2007
Animated re-enactments of chaste teens? hmm... :-)
Tue 11 Sep 2007
Edited Tue 11 Sep 2007 by Maria Yatskova-Ibrahimova
lol. exactly. if they are chaste, what would they be animatedly re-enacting?!
i'm with peter. unless someone has a very gripping personal story, and even then, just to hear them tell it is often not enough.
i also think that 5 characters for 12 minutes is too many.
Tue 11 Sep 2007
Hey thanks guys for the information. I'll definitely use them in my documentary. =)
I'll be interviewing all five people in their dormitories. They're all in college. Do you think that's a good idea? They all definitely aren't chaste! Lol The thought of just having an interview with just some reenactments worry me.
The Documentary Film competition aims to get an in-depth view of
what the youth think, feel and say, especially with regard to human
sexuality. This will help the congress organizers, as well as parents
and educators, see where the youth are coming from. This will also
aid them in having a good picture of the dreams, ideals, and
struggles the youth are facing in our current society.
Actually I just copied and pasted the last paragraph. What do you think is the ideal number of people to be interviewed? There's a Japanese guy, a girl from Hongkong, a lesbian, a gay person, and two "normal" people. I'm choosing the Japanese guy, the two homosexuals, and one "normal" person. This would probably represent everyone fairly well. What do you guys think about this?
Thanks again for all your help! =)
Tue 11 Sep 2007
Sorry for this quick line, but you have to take care when choosing your interviewees Vincent to how good they are as interviewees, how talkative, how focused and precise in what they say, how capable are they of capturing the viewers interests, etc...
I am curious now to know what makes the Japanese guy and the Hong Kong Girl different than the normal people? Do you mean your fellow country people?? If so, that explains...
Besides, other than enactments or animation, you might just film footage of those guys and girls lives. I mean their sexuality is part of their life (and lifestyle) after all, or isn't it?
Ok.. gotta run now. Good luck with the project!
Tue 11 Sep 2007
I've done some work that involves interviewing people about their sexuality. Here's my advice, for whatever it's worth.
Mostly people never have the chance to express themselves candidly, to a stranger, about their sexuality and sexual experience. If you create the right environment, it can be an incredibly validating, probabably unpresidented experience for your subjects.
Let people tell the story they want to tell, even if it seems to be pretty fair afield from your objectives, or what you think your objectives are for the film. Be patient, listen, as best you can try to understand why your subject has choosen to reveal themselves to your in such an intimate way. No one agrees to be recorded talking about such a personal subject unless they feel like they have something important to share, something that outweighs the risks. Even if they can't articulate it, your subjects will have an agenda. Figure out what it is, help them express themselves.
If your lucky, you find points of tangency or even overlap with your agenda. The interview becomes a dialog (even if only one side ever makes it to the screen) When you find that, the sparks will fly! The footage you get will be good as gold!
Good luck! It sounds like an exciting project!
Tue 11 Sep 2007
Great advice, Tony. And not just for the topic of sexuality but for all documentary interviewing.
Wed 12 Sep 2007
Edited Wed 12 Sep 2007 by Maria Yatskova-Ibrahimova
Yes, excellent!
To clarify: i didn't mean that 5 was too many to interview, you can interview as many as you want to or can afford to. i was saying that for a 12 minute finished film, i think 5 is too many to follow. unless all 5 are super strong - but in the end you'll see that some are just stronger than other on the screen. plus, it's only once you have all those interviews will you see what the recurring themes are or how to play one off another.
i would also, like niam, suggest that you film them going about their daily routine, the people they meet, dates they have, classes they take, social settings, parties, clubs, extra-curricular activities etc. this will later be a gold mine for you to use over whatever they are saying in the interview.
p.s. do any of them know or have relationships with the others?
Thu 13 Sep 2007
I think the number of subjects or characters you can present in a give amount of time is going to vary tremendously from project to project, and is going to depend a lot on your own skills and objectives as a filmmaker. One of my best films was a scant 9 minutes long, and featured seven subjects, selected from perhaps 30 interviews. My latest film is 54 minutes long and has only two subjects, interviewed simultaniously.
Again I can't help but think of the idea of tangency and overlap, only this time between what you think the finished film is supposed to be and the film the universe want you to make. You can't cede control to fate, but neither can you can ignore the life a project will take on of its own accord – nor would you want to!
Ultimately, a film's "will to be" is you best ally. As much as you should strive to be in a dialog with your subjects, you should hope to find yourself in a dialog with your film. When/if that happens, the film will tell you the right way to arrange your elements at least as much as you will decide.
When do we get to see it? :-)
Thu 13 Sep 2007
Also, if I'm sounding like some zen budha jedi wannabe master asshole, my apologies. That's not my intention at all.
My professional training is in commercial photography, especially larger-format products and interiors. It's an approach that allows for an exacting control of every detail of the frame that I don't think even the biggest budget features can achieve, let alone the little indie docs I produce. I am entirely self-taught, and anything I (think I) know is merely a recitation of my experience, and nothing more.
And even though I've been doing this for more than a decade now, every single outing reminds me (often in the most brutal fashion) how little control I have over the process of making a film, that the best I can do is try to set a few things in motion, and then be watchful for the happy accidents that (hopefully!) result.
But no way do I mean to imply that careful planning and rigorous craftsmanship are of lessor value. If anything you'll need to bring the very best you can muster to this project, especially considering the subject matter. There will be people will look for any excuse to dismiss your work as exploitive, pandering, sensationalist. A finely, passionately crafted film will be your best defense against these attacks.
Good luck!
Fri 14 Sep 2007
Hey guys,
Sorry for the late reply, a lot of school responsibilities need to be take care of first.
Thanks guys for all the tips and advice, you'll definitely see the end result! (if you want to) =)
Thu 20 Sep 2007
Hello All,
I am in the middle of editing my first feature-length documentary about the destruction of the oldest drive-in theater in the state of Illinois ("Hi-Lite's Last Gleaming" is the documentary's name). A lot of the story is told through the headlines of the local paper, so I am fascinated by the various techniques that are used to make headlines "come alive". Specifically, ones where the headline is shown and then a sentence is highlighted and scrolls in front of the image. Can anyone help me with what program is best used to get that effect? I have the entire Adobe Production suite, so I assume that I can format this is in Photohsop and then import it into Premiere Pro, but I'd love to know how others have achieved this effect (or other ways to dramatize newspaper shots).
Thu 20 Sep 2007
After Effects! You can do all of the things you're wanting to do with it.
Thu 20 Sep 2007
If you're up for a challenge, you can play around with the stereoscopic effect made famous in "The Kid Stays in the Picture" -- also very doable with some time, After Effects and Photoshop. And while you figure it out, you might even stumble on something cool and new that no one's seen before...
And there's even a tutorial: http://blogs.adobe.com/bobddv/2006/09/sonofben_kurns.html
Sat 22 Sep 2007
no need to sign your name at the bottom of a post, don. we see your name above each post automatically.
Tue 25 Sep 2007
I'm heading to the Ukraine in two weeks to shoot a doc on my dad who is visiting the monastary he was hidden in as a child during WWII. I've been working in the film industry for 16 years as a steadicam op/direcotor so mechanics wise I'm feeling good, but having never made a doc, I'm a bit freaked out about easy mistakes I can avoid as a first timer. Any siggestions would be great. Also, can someone point me to a short/simple release form I can bring?
Tue 25 Sep 2007
Follow your instinct....
There are lots of release forms around that are good. This one is provided by Channel Four's website.
Wed 26 Sep 2007
You know, Dave, if anyone talks into the camera they are giving their agreement to be in the film. When interviewed, they can say (and spell) their names on cam and say I agree to be used in this film. And if you do not hide the camera, so that anyone can walk away from it, you can use a shot of them.
I just find forms too unwieldy for direct cinema; better make a general announcement to the entire monastery that you will be shooting and anyone who doesn't want to be on tape should stay out of range!
Wed 26 Sep 2007
Also, when I was an assistant editor, we all agreed that the best directors had started out as editors. When you are shooting, always keep an edited scene running in your mind; think about what cutaways will be good for what a person is saying; when you are shooting action, figure out how you are going to get CUs of the same action, and move fast. the alternate angles might not happen til another day, so you have to keep them in your mind. It's so mesmerizing to get caught up in the continuity of what is happening, but you have to really think fast about how much of any given activity will end up in the final product.
Almost anything can be 'fixed in post', as long as you have the right cutaways!
(Last year I cut an amateur shooter's film about a relief kitchen in NO, and there were NO (zero) shots of people actually using the facilities…huh? We shot this after lunch, I was told…And you didn't go back the next day??? (Still photos actually saved the day, in this case)
Wed 26 Sep 2007
I agree that it makes sense that talking to the camera is like consent, but I doubt any lawyers or (more importantly) broadcasters will agree.
Wed 26 Sep 2007
You may have a difficult time getting E&O insurance with signed consent forms.
Wed 26 Sep 2007
I think you mean without signed consent forms, Joe. And it's true, a broadcaster won't show your film unless you have E&O insurance, and the insurance company will want to know you have appropriate releases from everyone. The broadcaster's lawyers will also check sometimes, but usually for the key releases of anyone they see as a red flag or potential lawsuit situation.
Wed 26 Sep 2007
Yes, without.
As always, I learned this the hard way, when I had to cut a character from a film after she soured on the film and I hadn't had her sign a release.
I now carry releases in my camera bag...and almost always forget to use them.
Wed 26 Sep 2007
What a great website! It's great to ready through the post and know we're all in the same quicksand so to speak. I am working on a doc now where I need some guidance in setting up contracts to include the main participant of our doc to recieve a portion of any funds that would be paid. Any ideas?
Wed 26 Sep 2007
Question about Sundance. If a film is accepted to Sundance do they give the director a certain amount of "passes", etc for those wanting to tag along? For instance, if I get in and want to bring my mom, dad, brother, girlfriend, best friend, etc. etc. how are these sorts of things accommodated? I've never been so I'm not even sure if "passes" are needed. Any feedback on this? Thanks!
Wed 26 Sep 2007
Edited Wed 26 Sep 2007 by Peter Gerard
Mike, sounds a bit complicated to me. Can you not agree on a figure instead?
Wed 26 Sep 2007
Until we get the film completed or start shopping what we have, I have no way to know what figure to offer. It would be a agreement with our talent for them to share in the procededs if a sale where to happen. My quesiton is how do I set that up in a contract?
Wed 26 Sep 2007
Dave-go with your instincts and remember that you will remake every idiotic mistake in the book on your own show and that ultimately it won't matter. Nothing worse than clients and nothing worse than being the client.
Thu 27 Sep 2007
David, I last had a film at Sundance in 1999 so my memory is hazy but I think they gave us a total of 10 tickets to our own screenings and we could choose which ones to use them for. You also had the opportunity to buy extra tickets before they went on sale to the public. Might be a different policy now.
Sat 29 Sep 2007
Hello! Does anybody have any suggestions on how to break into documentary? I'd love to be a part of one. Thanks!
Sat 29 Sep 2007
No need to double post, Megan. Have you ever tried to make a small doc yourself? It's pretty easy to get hold of a DV camera these days.
Sat 29 Sep 2007
Edited Sat 29 Sep 2007 by Doug Block
Megan, John doesn't quite go far enough. Yes, grab a camera. Find a compelling subject. Follow him or her (or it) for, oh, 3, 4, 5 years while something interesting happens. Tap out all your money, friends money, relatives money, while you edit for another, oh, 2 or 3 years. Get into Sundance. Win a major prize.
It's pretty simple, actually.
Sat 29 Sep 2007
Hey Megan,
I think the largest problem here is that you're in Los Angeles. You can't go an hour or two without someone looking for an intern for their documentary on any of the east coast (or, hell, San Francisco) craigslist tv/flim/video posts. Los Angeles... well, not so much. So, unlike show business, you don't really break into documentary. You can find a company that produces documentary programming and try to work with them for free and try to get a sense of what they're doing. Or more probably, you can hone the various skills that make up a good documentarian - storytelling, attention to detail, fundraising, stupid tenacity in the face of overwhelming odds, good editorial skills, and how to use a camera under less than ideal circumstances - all of which are skills which can be picked up either (as John notes) by grabbing a camera and exploring your own ideas... or, quite frankly, in the service of any aspect of production in whatever your area might give as an opportunity (and LA has its fair share, to be sure). And if you happen to spy someone posting on craigslist or mandy.com looking for an intern for their documentary, you'll be able to apply to that with some amount of skill that you've been working on developing. It's not a great answer, but perseverance is probably the biggest chunk of the recipe. But that's kind of true for anything worth doing...
Sat 29 Sep 2007
Megan, I'm writing this 11 hours after your post, so we have some history and I feel I can be frank with you.
I remember being in your position, wanting to "break into" documentary. I beat my head against the wall for years. Finally, I gave up and made my own damn documentary. Suddenly, doors began to open. I went from being a wannabe to being a filmmaker.
When I sold that first film to a broadcaster I suddenly became an "insider", and began hearing from people looking for the secret. I was always being invited to go for a coffee, and listening to stories about how "I've wanted to do this all my life". Many of these people were/are former colleagues from my time working in public radio. They offer to work for free, swear up and down that they're committed, that they want to make the world a better place, that documentary film is the only pure film, blah, blah, blah, blah......
Out of the 50 or 60 people I've had this conversation with over the years, I can think of one who actually followed up, fought her way into a position and is now working in the field.
My advice to people starting out now is to beg, borrow, or steal a video camera and make a short documentary. Really short. Do everything yourself if you like, or convince friends to help shoot, edit, write or direct it.
Then, instead of asking "How can I live my dream of making documentary films" you can say "I've just finished my first film. It's short. Would you mind taking a look?"
I could go on and on...but you get the drift.
I wish you the best of luck, Megan. Really.
Tue 2 Oct 2007
E&O insurance? What is it, how much does it cost, and should I get it?
Tue 2 Oct 2007
you only need E&O ("Errors & Omissions") insurance once you've finished your film. It's a guarantee to broadcasters, distributors, film festivals that you have all the necessary permissions and releases -- the E&O insurance comes in handy should anyone decide to sue you.
Tue 2 Oct 2007
Actually it's insurance that you should buy during production - cheaper that way and when questions come up you can ask your insurer how it might be treated by the insurer. And it does what it says helps protect you from law suits claiming that you made harmful errors or omissions of facts that libel, cause damage to someone's property or reputation, etc.
Whether or not you need it depends often on the type of film you are making. The more controversial the subject the more impetus there is to purchase it early.
Tue 2 Oct 2007
If you have a broadcaster you'll need E&O, at least in Canada.
Tue 2 Oct 2007
I am just about to complete my first documentary film. I have been working on it for 3.5 years. I am looking for a few more stock images to complete my B-roll segments. Images such as german soccer fans, pictures of Kristalnacht, pics of Germany 1930s-1940s. I have been searching on the Library of Congress site and it has been quite difficult. I would love any advice someone might have about a great place to find public domain stock photos. Thank you so much in advance. Katinka
Wed 3 Oct 2007
Edited Wed 3 Oct 2007 by Ben Kempas
Try the Bundesarchiv in Koblenz, Germany.
Newbie here. I just introduced myself in Introductions, but started asking some questions there that are probably better asked here.
I'm doing my first doc film in Italy next year. I have no budget or schedule. To be honest, I'm just kind of jumping in. Got some advice from some doc. film friends and will be buying a camera in a couple months, also doing research and interviews right now.
A few questions. Since this is an international film (will be shot in Italy) . . .
1) How should I handle the language barrier. I speak conversational Italian, but this might involve dialect, and I certainly won't rely on my own language skills to do the interpreting. I'm imagining lots of subtitles and voice overs. Though some of the people I interview will probably be able to speak English, the subjects of the film pretty much won't.
I was advised by two doc film friends to do my own camera work. Yikes! When I first imagined this, I thought I'd hire someone with some experience. Me? I have none.
So, question #2) Do you agree that I should do my own camera work? Do you recommend shooting some practice scenes first? Shadowing another filmmaker? Any other ideas? Is it fairly easy to learn about lighting and audio (I'll be in tiny dark Italian homes made of stone built into hillsides and I want good detail).
3) At this point, If I plan to start filming summer 2008, is there a schedule I can follow? I'm literally following About.com's "10 steps to making a doc. film" (!) Good grief.
4) Is it true that your story comes out of the footage? I don't know my angle/story yet, but I've got plenty of material I know will be good.
Wed 3 Oct 2007
(1) Sounds like don't really have any other option than to do it in Italian. So why worry about it?
(2) I don't agree. You can't just learn all this within a few months. Work with an experienced camera person (many are willing to work for little or deferred pay if the project is attractive). You should really focus on your story and your characters.
(3) There is no recipe, every project is different. Make sure to read our archived topics, for example the one called Shooting The Documentary
(4) There's always a story in your footage, and it's never the story you had planned to capture.
Wed 3 Oct 2007
Hi Darla. I don't think the 10 Steps from about.com will cut it. I would suggest purchasing the book, "Directing the Documentary" by Michael Rabiger. I've had my copy since 1994 and still have not found a better book for newbie doc makers. In fact, if you do a search for the book here on d-word you will find that many others would recommend it as well.
Wed 3 Oct 2007
Edited Wed 3 Oct 2007 by Doug Block
Darla, always best to ask one question at a time. Some will inevitably get lost in the flow of discussion. If so, bring them back later.
I'll only address two questions, since the other two are more complicated:
1) Yes, sub-titles and voice-overs seem like they'll be necessary, which may limit sales in English language countries. But what can you do, other than make the most compelling film you can and overcome those kinds of obstacles?
4) Yes. Doesn't mean you don't do a lot of research and planning, though. I generally like to start with interviews to get a feel for the subject matter and who's good on camera. But there are no rules.
Hey everyone,
Sorry to break some rules here already! One question at a time then, but thanks to those who answered. I'm just a sponge at this point.
So I will get that book, Reed. Absolutely.
My most important question remains, then.
Do I do the camera work myself or do I work with someone? My inclination is to work with someone. Remember, I have no previous experience. I'm only a film theory student (from long ago) and currently a book writer/editor. No technical experience.
Wed 3 Oct 2007
Darla, ditto on the book recommendation. There's supposed to be a new edition out soon, but even an older edition will work for you (the main changes will probably be the examples Rabiger uses)
Would not recommend you do your own camerawork the first time out. As Ben said, you may be able to find a professional who would work for lower than normal prices if they are intrigued by the idea or at least by the prospect of getting to spend some time in the Italian countryside. You will have enough else to worry about than dealing with the camera too.
And you should probably get an interpreter as well, especially if you are dealing with a dialect. If (reading between the lines) part of your goal is to showcase a local culture, you don't want to force those folks to talk in broken English or even in whatever the equivalent is of the "Queen's Italian". You want them to feel totally comfortable in what is most comfortable to them.
Wed 3 Oct 2007
No real rules here, Darla (other than be courteous). Just suggestions.
Great advice, Erica. Thank you! I'm feeling really relieved at the thought of not doing the camera work myself. The money I'd spend on buying one and time it would take for me to learn it could be better spent on hiring someone.
And, Doug, thanks for letting me know! :)
Wed 3 Oct 2007
Probably the only reasons for a "total newbie" to operate the camera herself would be if: 1) you can't find anyone to do it for you; 2) your access to the subject requires that you work alone; or 3) the very structure of your film depends upon your POV as cameraperson. Other than that, you are not going to be successful, especially in the tougher lighting situations you are talking about. That being said, even if you do have a camera operator on board, you should still get used to whatever camera you do buy -- do shoot practice scenes, and try to shadow an experienced filmmaker first.
Assuming that you are "doing" and "practicing", I heartily agree with others' suggestion to read Michael Rabiger's book. Definitely the best.
While much of the story can be found later on in the edit, you have to have SOME idea of why you are shooting this doc. (I'm sure you do, but you probably don't want to reveal all the details now.) It often helps to write out a short treatment or synopsis of what you envision for the film -- the process of writing sometimes fleshes out the WHY of your film.
Finally, watch a doc every day, and see which styles you appreciate and which ones fit more of the mood and tone you envision for your project. You might decide on the "direct cinema" style of the Maysles Brothers, or the "man behind camera" style of Ross McElwee, or (god forbid) the "pan 'n scan" style of Ken Burns...
Wed 3 Oct 2007
Yeah, God forbid your doc should be popular with the masses ;-)
Wed 3 Oct 2007
Hello, I've been working in the documentary field for two and a half years now, mainly editing and learning from others. At this point, I need to learn how to become a producer, starting with knowing the right way to fund my projects. Currently, I'm working on a single project (and the production 'company' has no plans to commit long-term as everyone is balancing other jobs). We're trying to decide whether to funnel the money we fundraise into a fiscal sponsor organization, or start our own LLC. My impression is that to get started, a fiscal sponsorhip makes more sense. There's no money required up front, and you have legal and accounting support in place already. Whereas it seems an LLC requires lots of Fed/State paperwork, filing fees, lawyers, and a licensing fee of $800 for the privilege of doing business in California! That is too much for us newbies to commit out of pocket right now.
My biggest concern is the after-math of fiscal sponsorship. What if you want to distribute your film, or try selling it at one of the big markets? What happens to any profits your film acquires? Are they sent back to the fiscal sponsor, and you can take them out for future productions? Or can you create a nonprofit after and then channel the funds out then? Or can you even sell the film, as many sponsors require the film remain 'noncommercial'? (Though I realize the term is ambiguous as many nonprofits sell their films to distributors).
Anyway by now it's clear I have lots of questions and would hugely appreciate any suggestions you have!! I have left messages with local fiscal sponsors, but am waiting for a returned call. Thought I would explore other resources as well, especially other filmmakers!
Wed 3 Oct 2007
as far as i know, fiscal sponsors are only involved to serve as a "pass-through" for donations and grants. you want to have a fiscal sponsor so that individuals can get tax-deductible receipts, and so that foundations have a non-profit organization to write a check to -- foundations almost never give money straight to individuals. the fiscal sponsor simply takes the money, subtracts about 5% for their own administrative costs, and passes the other 95% to you.
unless you have some other written arrangement that involves profit-sharing and distribution, there should be absolutely no restriction on what you can do with the film. good places to look into for fiscal sponsorship are: Women Make Movies, IDA, and Public Media Inc. These orgs are all specifically set up with a filmmaker in mind.
eventually, you can indeed set up an LLC too. yes, the startup costs are expensive but you can't open a business bank account without having some sort of corporation. and keeping track of business expenses mixed in with your own personal expenses gets real old real fast. good luck!
Thu 4 Oct 2007
I wish there was a right way to how to fund docs. There isn't. As to becoming a producer - just be organized and ask lots of questions. Most producers - fiction or nonfiction - are learning as they go because the landscape changes from week to week.
Thu 4 Oct 2007
Thank you Ben for that tip! Anyone have any ideas about how to get images from 2000-2006 Worldcup. I am particularly looking for images of german soccer fans. How do media sources usually respond about offering images? What is the best way to approach them?
Thanks so much.
Thu 4 Oct 2007
Edited Sat 11 Apr 2015 by Rhonda Moskowitz
You don't need to form an LLC to open a business bank account. You just need a DBA (Doing Business As) certificate from your local city or town hall, which costs about $35. Just give that to the bank. The account will have your name dba _____(name of company). Checks can be made out to the name of your company. Some banks offer free business accounts where you have a personal checking acount. (Oh, and if the name of your company has your last name in it, you don't even need to shell out the $35 for a dba certificate.) I've been looking into this recently.
Sat 6 Oct 2007
Edited Sat 6 Oct 2007 by Darla Bruno
Okay, I'm back. I read "shooting the doc", ordered the textbooks everyone recommends, watched some docs and have more coming, and tomorrow I'm going to shadow some doc filmmakers.
Basically, I have an idea, a location, interview subjects, and my research. What do I need now?
A budget? (And what if I have none?) A camera person? A classified ad?
I'll try to keep my questions simple here.
Sat 6 Oct 2007
Practice? It's a good idea to make some small projects just for yourself to gain experience before you leap into a major doc.
Sat 6 Oct 2007
Hi There,
I'd be grateful if someone could steer me in the right direction in deciding which camera to buy. I'm almost done studying doco, and really want to buy my own camera. We've been using the PD150 & 170 and a chunkier DVC Pro. I'm really comfortable using the PD, but uncertain about the lack of native 16:9. I know it's an enormous question, but which cameras would you recommend? Is it intergal to shoot 16:9? many thanks -
Sat 6 Oct 2007
As someone who actually bought a camera recently (an HVX200, for the record), it's a really difficult decision to make - especially if you're just starting out and (presumably) don't have a lot of capital to begin with. You may want to find local rental houses and see if you can look over their selection to see the pros and cons of the cameras that they offer. My knee jerk reaction to the 150 & 170 is that they're a bit dated technologically speaking these days. Sony's HDV offerings have usurped them in a lot of respects and gives a bit wider possibilities in terms of producing for future distribution. Canon, JVC, and others have some interesting models, and Sony has some HDV cameras that are much cheaper than a 150 or 170 and might be able to do what you need (or might not; hard to say without knowing more about your intent). Having used a 150 (6 years ago, now), I'd be a little hesitant about buying a unit that hasn't had any real upgrades in nearly half a decade. But that's the technologist in me talking.
From the strict "producer" point of view, I'd also note that "owning" a camera is actually not necessarily a great investment, largely since the minute you buy it, it loses value (and continues to do so) and also establishes a fair amount of risk (This changes if your project is one of those 200 days of shooting/personal travelogue type of projects, at which point, owning a camera is a far better deal). If you know that you're going to be getting the return on the investment (or don't mind thinking of it as a luxury expense), then that seems reasonable. Alternately, though, I might encourage you to think about renting for the first few projects - both to get a sense of what cameras/formats will work well with what you end up producing, as well as to limit your initial expenses in regards to starting out. Also, working without a camera can truly hone one's ability to know what to shoot (when you do finally rent the camera, for instance). Sometimes limitation is a great creativity booster. Hope some of that is helpful...
Mon 8 Oct 2007
Edited Mon 8 Oct 2007 by Christopher Wong
poppy, if you want to stay in the SD realm, i really recommend the Panasonic DVX100A/B camera. shooting in 24p, the look from this camera so far exceeds that of the PD150/170 units. all of the functions are really well thought out and it's a camera that is tried and true in the doc world, especially among us D-worders. in addition, you should be able to find DVX100's at some really good prices now - probably around $2000-$2500 now. The B version is slightly better, but the A version is definitely good enough and will be significantly cheaper.
Mon 8 Oct 2007
Edited Mon 8 Oct 2007 by Brian Boyko
One quick question: for shooting a documentary, should I be going with 24p or 60i? 24p looks more film-like... but 60i looks "realer" - and considering that I'm making a documentary...
Complicating this fact is that I'm hoping to release in theatres, NTSC, and PAL regions.
Mon 8 Oct 2007
by "realer", i think you really mean "amateurish". there are certainly times when 60i is preferable, but unless you are shooting something like "Cops" or "Jackass", where you want the feel of the piece to reflect the fact that you are not using pro camera ops, then I would shoot 24p. it's just as "real" and a whole lot more beautiful. there are numerous docs that have been shot well in 60i too, but they would have been just as good if not better in 24p. lastly, if you decide to go with 24p and you want to go to theatres eventually, shoot in 24pAdvanced mode (not "Standard" mode).
Mon 8 Oct 2007
One of my school assignments is to interview three different documentary filmmakers. If you would like to volunteer your help will be greatly appreciated. The interview should run by phone or in person. No e-mails or IM. You should allow me about 30-45 minutes of your time.
Thank you.
Tue 9 Oct 2007
Thanks so much Eli and Christopher. Really good advice from both of you. I really appreciate your help. I am going to head down to my local camera shop to have a bit of a browse...
Wed 10 Oct 2007
Hi Everyone,
What a great community you have going. Allow me to introduce myself. My name is Leah Cameron. I just signed up and I had a big question, so I thought I'd jump right into the forum.
I'm currently directing my first doc and I received two small government grants for the project. We've begun shooting on DVCPro HD. Now I'm looking to secure a broadcaster and get further funding.
Two broadcasters have expressed interest in seeing footage, so I figure it's best to show them a trailer. While I've studied story structure, I'm not as familiar with the elements that make a good trailer. Does anyone have any suggestions?
Oh. I should also mention that the film is a personal point of view documentary. My father is learning to fly airplanes again after 40 years and I'm following him to understand the battle he faced with mental illness and his life-long love affair with flight. For as long as I can remember, he's been obsessed with flying, but he hasn't been able to fly.
A little backstory: He lost his father in a plane crash in the RAF when he was six and his fiance in a plane crash in his late 20s. He got his license in the early 60s to get over his fear, but soon suffered an emotional and mental breakdown because of the grief. He was rehabilitated, but because he was on medication, he was barred from flying.
Until now that is. Now 70 and drug-free, he's passed his medical and he's learning to fly again. For him I think this is a journey about feeling in control again. For me, it's an attempt to try to understand my father and what he went through.
Any help is much appreciated.
Thank you!
Wed 10 Oct 2007
Contract help, anyone?
Hi, all,
My embryonic production company has been approached to work on the pilot for a series that has attracted the attention of a television channel. Not having anticipated the need for a lawyer (and certainly not having the budget for it), we don't even know where to begin. Are there any sites that might contain information or templates or even some hints as to the types of items that are covered in a contract of this nature?
Thanks in advance.
Wed 10 Oct 2007
leah, sounds like an amazing project. and i think by your very description of it in your last posting, you already might have the structure for your trailer.
essentially, it could go like this:
1) Start out with some scene about your father preparing to fly again. This could be anything from reading a flight manual to laying out his flying clothes (whatever that might be) on the bed. This could be a strictly observational scene where the audience doesn't really know what's going on, but is intrigued; or you could put a VO underneath with your father talking about what flying means to him.
2) Cut to a still photo (or old 8mm film?) of either his father or his former fiancee. Using old newspaper clippings or something else (VO again), communicate the tragedy of what happened.
3) Cut to interview of Dad explaining medications he used to take (perhaps holding an old medicine bottle) and the details of his emotional breakdown
4) Close with shot of him walking towards an airplane (as if he were about to enter it for his first flight...) Fade to black.
Obviously, I have no idea what footage you have, so some of those suggestions might not be viable. But that kind of structure lays out the man, the history, what's at stake, and the drama -- all within a tidy 2-3 minutes.
If you're looking for theory into what makes a good trailer, hopefully someone else will jump in. (I know nothing about that.) Good luck and count yourself lucky to be shooting your first doc on DVCPro HD!
Thu 11 Oct 2007
Leah, you might want to check out D-Word member Fernanda Rossi's book Trailer Mechanics: A Guide to Making Your Documentary Fundraising Trailer
Thu 11 Oct 2007
Thanks Chris and Doug. It's always useful to get an outside perspective. And I'd like to check out Fernanda's book.
Your advice is really appreciated.
Thu 11 Oct 2007
And, Doug, at risk of turning this thread into a 51 Birch Street love-in, I wanted to express how much I liked your film. A friend sent it my way after hearing about my project. I couldn't get it out of my head for weeks. Seriously.
Thu 11 Oct 2007
Thanks, Leah. Appreciate that. I gave a talk to a documentary class last night about personal docmaking and it really gave me the chance to think through some of my beliefs about the genre. Maybe we can open up a special topic here about it.
By the way, you certainly would qualify for Member status here, so I recommend that you apply . You also should fill out your user profile more extensively.
Mon 15 Oct 2007
In reply to Megan Conkey's post on Sat 29 Sep 2007 :
Megan, I'm producing a documentary right now about AIDS and Women in America. Write me at firstname.lastname@example.com. I'll give you more details.
Mon 15 Oct 2007
Leah, I took my thoughts one step further and have started to list "ten rules" about personal docmaking on my blog . (Sorry for the double post, folks, but Enthusiasts can't see the Directing topic.)
Hi everyone,
Am a newbie and loving the D-word already =)
I had a question about finding stories. I am interested in working with refugees and immigrants but these are sensitive topics. And since I just moved to NY, I do not have an inside person who could get me great access to these people. I tried going through the non-profit organizations route but they are very protective and usually do not want to get involved.
Could you give me advice on how you would go about getting the great access that doco filmmakers seem to be able to get? Especially if you are not local?
Any advice would be appreciated.
Thu 18 Oct 2007
Time and patience are the tools of the doc filmmaker. Journalists don't usually have much of the former, which is why they tend to parachute in, look for their "story" and disappear just as quickly.
Take for instance a doc filmmaker like Kim Longinotto: whether she's shooting in Japan, Iran or Africa, she usually collaborates with a local who knows about the culture & language. James Longley lived for two years in Iraq to make "Iraq in Fragments", he gained the trust of his subjects over the many months he spent with them. You need to find a way to spend time with refugees, maybe you can even offer them something in return - language skills, whatever. If they get to know you as a person rather than someone who just wants something quickly, doors will open.
Thanks for that John. I know what you mean. I love the way Kim makes her films. They are beautiful and intimate and subtle. Sometimes it is hard to know, do you bring your camera with you all the time, from the very first day so your subjects can be accustomed to it or do you hold off until they trust you?
Thu 18 Oct 2007
So, Ms. Veda, any particular reason why you changed your screen name to T?
Thu 18 Oct 2007
Ciao all from caput mundi-home of cinecittà . Dr. Don Levine
Thu 18 Oct 2007
Ciao, Don. We actually have another topic to say hi and introduce ourselves. Feel free to post any doc questions here.
I'm more a T and no one can pronounce it correctly to save their lives! Plus who can forget a letter of the alphabet =) Btw, Doug, are you doing another talk in NY anytime soon?
Fri 19 Oct 2007
I know a bank whereon the wild thyme blows, where oxlips and the nodding violets grows quite over-canopied with luscious woodbine, with sweet muck- roses, and with eglantine: there sleeps Titania some time of the night lull'd in these flowers with dances and delight
Fri 19 Oct 2007
Titanic (that's easier to pronounce), I'm speaking at the New School on Nov 19. Also doing a Q&A after a 51 Birch screening at the Rutgers Jewish Film Festival on Nov 4. Or else just come to Sheffield.


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Alabama Goodwill Industries
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AboutAlabama Goodwill Industries is located at the address 1129 Noble st Lbby in Anniston, Alabama 36210. They can be contacted via phone at (256) 231-0052 for pricing, hours and directions.
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San Diego State 34, Houston 10
Houston jumped out to a 10-0 lead before the Aztecs scored 34 unanswered points and Donnel Pomphrey broke the all-time NCAA rushing record, as San Diego State won easily in Las Vegas in cold temps.
The Houston loss spoiled the debut of new head coach Major Applewhite, who had just been hired last week by the Cougars, creating a shift from the leadership of interim Todd Orlando to Applewhite in a surprise move.
Pomphrey finished the season with 2133 yards, and finished his career as an Aztec with 6405 rushing yards, breaking Ron Dayne of Wisconsin's previous mark early in the 4th quarter.
Houston held SDSU to just 5 yards of offense in the 1st quarter, and then SDSU started their 34-0 run by holding the Cougars to just 6 total yards in the 2nd quarter.
San Diego State RB Rashad Penny also finished the season with over 1000 yards rushing, giving the Aztecs the first team in FBS history with one back rushing for over 2000 yards, with another rushing for over 1000.
Houston star QB Greg Ward had the nightmare game of his life, as he was sacked 8 times and was picked 4 times. Due to the INT count, the Aztecs led the nation with 26 total picks on the year. Houston's run game was no better, as the Aztecs held them to just 25 yards on 41 carries.
After starting the season as the G5 team to watch who could have potentially broken into the final 4, Houston finished the year just 4-4, as the Tom Herman drama likely caused some divisions and a lack of focus in the program.
Neither team had a prolific day on offense, with just 29 total 1st downs collected between the two teams, with just 13 coming for the Aztecs in the win.


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No one can focus on every discipline at once. I love to talk about disciplines; I'm passionate about it, but it relies on context. Within nutrition, there are times for disciplines that help one lose weight and there are times for disciplines that help one gain weight; the same is true with both psychological and spiritual disciplines!
Author: Joshua Noel
The Story of the Mining Town
The whistle blows and everyone in the factory gets to go home in Baxter Springs, Kansas. Three of said workers at this steel factor were young boys from the near-by town of Greans. These boys were well on their way into manhood, but they had not seen much of the world outside these two towns and they still loved to play. So, on the way home, they stopped to explore the caves some – as many young men would.
A Spirit-Planned, Rough, Crazy Month
Many people know that I've been hospital / home ridden for a while now, many have even asked me about what all I've been through; so, I'm finally taking the time to say what all I can about everything.
One of the following events did not really happen in the last couple months, see if you can guess which:
- I was attacked by a dragon.
- My femur was snapped in half.
- I got a concussion.
- I became a cyborg.
- I had an emergency brain surgery.
- I was brain washed.
- I sat still.
The Responsible Party
Now for the fun part, the difficult questions. In the last post , I talked about when it was okay to judge, be judgemental, and when to speak out about our judgements. However, that leaves a lot of questions for some of us:
- Are Christians responsible for whether unbelievers hear truth or not?
- Is someone who never heard the gospel responsible for not believing in Christ?
- If someone were to get pregnant after being raped, are they responsible for the life produced?
Judge, Jury, & Executioner
People always have questions about whether or not they can judge others, or whether or not others can judge them. Too often do I hear stuff like "Jesus said, 'judge not lest ye be judged,' so you can't judge me!" or "You can't tell me what to do! Your Bible says that you aren't supposed to judge me!" or from other believers I might hear, "I know I'm not supposed to judge but can't I at least speak up against…." The truth is that we all make judgments about everything we come in contact with and that's perfectly fine.
How Orlando Affected Me….
The following story is told in first-person, from the perspective of a personal friend of mine. This is based on a true story; however, some names have been changed for the sake of privacy.
Why God Doesn't Want Your Sacrifice….
Something I really hate to do is apologize. Not because I'm a bad person or because I think it wrong…. It's just hard for me. I have to apologize for some of my past mistakes and past teachings. I have been glorifying and romanticizing self-sacrifice to the point that I missed the point of scripture at certain points in my life. I would love to just start with that straight apology and get it over with, but as a story teller I have forbade myself from starting with the climax.
Continue reading "Why God Doesn't Want Your Sacrifice…."


text: Takabbar Inhabitants • Locations • Organizations • Settlements • Roads • Items • Food and drink • Events "The Forbidden was a group of people cursed by the True Gods to live in isolation on Jazirat... Forbidden Pages in category "Organizations in Takabbar" This category contains only the following page. F Forbidden Retrieved from "http://forgottenrealms.wikia.com/wiki/Category:Organizations_in_Takabbar?oldid=242094" Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you've made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Categories: Organizations in Jazirat al-Gawwar Add category Cancel Save


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You are invited to our Lotus Jewelers Anniversary Jewelry Sale – sale ends September 2, 2017.
Put our Anniversary Sale event on your calendar! Let your family, friends, and associates that may be looking for a special piece of jewelry about our holiday special.
Call 303-703-4700 for more information and details.


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Out of State Moves
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|"Daniel John Debrunner (JIRA)" <j...@apache.org>
|[jira] Commented: (DERBY-3304) Explicit commit inside a java procedure makes a dynamic result sets passed out unavailable
|Tue, 05 Feb 2008 22:45:08 GMT
[ https://issues.apache.org/jira/browse/DERBY-3304?page=com.atlassian.jira.plugin.system.issuetabpanels:comment-tabpanel&focusedCommentId=12565921#action_12565921 ] Daniel John Debrunner commented on DERBY-3304: ---------------------------------------------- I think that revision 618788 makes this code in resetActivations() unnecessary. It was used to force held cursors into non-held state to be closed on rollback() in Activation.reset(), since reset() used to check the holdability. Your change is good in that it removes this link between two methods that should be independent of each other (ie. resetActivations() should not have had internal knowledge of what reset() was doing). :-) /* ** andClose true means we are here for rollback. ** In case of rollback, we don't care for holding ** cursors and that's why I am resetting holdability ** to false for all activations just before rollback */ if (andClose) a.setResultSetHoldability(false); Now (and to some extent before the change) the javadoc for resetActivations() is incorrect, in addition the method name is misleading. It would be good to clean this up. > Explicit commit inside a java procedure makes a dynamic result sets passed out unavailable > ------------------------------------------------------------------------------------------ > > Key: DERBY-3304 > URL: https://issues.apache.org/jira/browse/DERBY-3304 > Project: Derby > Issue Type: Bug > Components: JDBC > Affects Versions: 10.4.0.0 > Reporter: Daniel John Debrunner > Assignee: Mamta A. Satoor > Attachments: Main.java > > > Repro (Main.java) that shows changed behavior after svn 602991 > (the patch committed for this issue). It seems a regression: (originally from Dag H. Wanvik attached to DERBY-1585) > An explicit commit inside a stored procedure makes a dynamic result sets passed out unavailable, even if the commit is executed *prior* to the result set; as in the repro. -- This message is automatically generated by JIRA. - You can reply to this email to add a comment to the issue online.
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Today I cried
I have never cried for eight year old me.
Today I cried.
Today I cried for the girl with the pink bedspread.
Today I cried for Annalisa and Pilar and Shelley
and Lisa and Renee and Robin.
Today I cried for you.
I cried tears for the sad in me
and the sad in you.
When I read your comments on the stories I wrote, I cried.
I cried because you said I was brave.
I cried because you said I was strong.
I cried because you said I was beautiful.
I cried because you prayed for me.
I cried because you believed me.
There is healing in tears.
The shortest verse in the bible is: "Jesus wept." John 11:35
Jesus wept for me.
Jesus wept for you.
I pray for you to heal.
I pray for you to smile.
I pray for you to feel joy.
I pray for you to feel brave.
I pray for you to feel strong.
I pray for you to feel beautiful.
Because, you are.
Now, you just have to believe.
About Pamela Hodges
My name is Pamela Hodges. I am a writer and an artist. I write to encourage and to bring laughter. I paint cats, draw cartoons and write books for children and grown ups.


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Woolies on track
During recent months Woolworths and Coles Myer have been caught in the downturn of our broader indices. What lies ahead for these two large retailers?
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We last reviewed Woolworths on March 24 when there seemed to be signs of an upturn in consumer confidence and retailers were looking forward to a buoyant winter season. The unseasonally warm start to winter and a noticeable drop in consumer spending has certainly diluted our previous sales growth expectations. So what lies ahead?
In our last issue, we talked about defensive stocks and Woolies certainly falls into this category - people will always have to clothe themselves and buy food. The ongoing growth of its businesses, the development of new retailing concepts and a focus on...
Latest Q&A With Our Experts
Revisiting Woolworths in light of AmazonQ.
Are you revisiting WOW in light of Amazon's forthcoming assault on the Australian market ? Just asking, as incumbents seem to be on the nose ! I also echo the sentiments shared by others in light of your ISD recall.Read full Q&A +
Sale of Woolworths' fuel businessQ.
Hi II team. I am interested in your thoughts on the WOW petrol sale to BP. It seems to me like this was almost a quasi capital raising in that they achieved a beefed up sale price in place of keeping some of the costs involved.
Usually w...Read full Q&A +