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Documentary Director’s Vision Worksheet
March 14, 2016
Have you ever discovered that an editor is cutting a different film than the one you had intended them to edit? Some of the directors we work with find it invaluable to communicate their vision in a formal statement prior to beginning post-production. We’ve codified this process and call it DOVESTM (Director’s Outcome, Vision & Editorial Statements). More concise than a treatment, this powerful document outlines the Director’s goals and approach to the film. Its purpose is to guide and foster harmony within the post-production team, making sure that the director stays in control of the film by clearly communicating…
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DOVES: A Documentary Director’s Worksheet
March 13, 2016
DOVESTM is our acronym that stands for the Director’s Outcome, Vision and Editorial Statements. New Doc Editing created the DOVES worksheet for directors who may find it valuable to state their intentions before kicking off the editing phase of their film project. Its purpose is to clearly establish the director at the helm, define the director’s goals and vision, and act as a compass that keeps the entire post-production team working harmoniously on the same film. A well-composed DOVESTM will foster amity. DOVESTM is composed of three statements, which New Doc Editing is happy to help the director craft: 1. …
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Writing Documentary Narration: Part 2
March 9, 2016
In part 2 of my series on Documentary Narration, I’ll share several tips for writing narration. If you missed part 1, which can help you decide why you might want to use narration (or not), go here. Keep in mind that writing for the screen is different than writing for print. The most surprising difference may actually make your job easier. Since screen narration needs to be conversational, this often means writing short sentences. And even incomplete sentences. Like this. Consider the following narration in the award-winning HBO documentary Getting Clear: Scientology and the Prison of Belief (2015): “Hubbard was…
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The Dreaded Film Question
March 6, 2016
How often these days are you asked, “So how’s your film going?” I used to dread that question. In 2012, I had made rapid progress on my sixth documentary. Then, as I waited for grant money, film production receded into the background of my busy life. Then, the haunting began, with that dreaded question. I finally realized that I had to get this film done now, grant funding or not. Why? Partly out of self-respect, but also for love of my film’s subject. So I went through the steps of making a promise to finish my film within a year.…
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When To Use Documentary Narration
March 1, 2016
I hope your week is going well! We recently sent a terrific documentary we’ve been editing to HBO for review. Directed by Lenny Feinberg, Father’s Kingdom is an historical documentary that includes an interesting contemporary verite arc. Since I’ve been co-writing the narration, I decided to write a 2-part newsletter to help other filmmakers who may be considering using narration. Does your documentary need narration? It’s an underrated storytelling device. In Part 1, this newsletter looks at why you might want to use narration. In Part 2 next week, I’ll share specific tips for writing for screen, which is different…
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Talented New Editor Available
February 24, 2016
I hope that Spring is putting at bounce in your step! Here at New Doc Editing, we’ve been working with so many documentary directors that I’ve added three new talented editors to our growing staff. If you’ll be looking for an editor in the next few months, please let me know. One of our gifted new editors will be available soon. He’s an astounding storyteller. Versed in AVID, Premiere, FCP 7 and X, he can also help with your film’s graphics and textual treatment. Here’s what director Steve Lickteig said about editing his film Open Secret with our team: “New…
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Editing With Multiple Characters
February 23, 2016
I hope your week is going well! We are currently working with talented director Ashley Archer Tindall whose documentary 27 Months features multiple protagonists. As we play with intercutting story arcs, our editing process leverages a powerful storytelling principle that can help you edit a film with more than one character. In screenwriting lore, a “reversal” refers to a 180-degree plot turn. But “reversal” can also apply to mood. A scene begins at one emotional polarity, such as anger, and by the end, reverses to its opposite emotional polarity, serenity. Or, two scenes with opposite energy levels are butted against…
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Documentary Education Opportunities
February 18, 2016
I’m excited to be teaching documentary storytelling principles at two prestigious venues that you may be interested in finding out more about. The Esalen Institute is offering a unique, supportive community at the Inspirational Film Festival. Beginning April 10th, this innovative festival allows directors and viewers to watch films, enjoy healthy food, and, yes, soak together! Academy Award winning director Lucy Walker (Crash Reel, Wasteland) will join us, and I hope you can too! For those interested in a more formal European experience, check out Doc Nomads, where I’ll be helping students this June earn a joint masters degree in…
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Using Animation In Your Film: Part 2
February 15, 2016
Today’s newsletter explores different types of animation that you may want to consider for your documentary. If you missed part 1 of our series on using animation in your film, read it here. The first question a potential animator will typically ask is, “What kind of animation are you looking for?” This question stopped me short, until I researched the difference between classical animation, Claymation, rotoscoping, cutout animation, Flash and After Effects, CGI and more. Although my expertise remains in story structure, not animation, here is what I discovered: Classical animation, be it Japanese “Anime” style or Disney cartoons, relies…
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Planning Ahead for an Editor
February 10, 2016
Are you planning ahead for an editor? If you’ve started making calls, you’ve probably already discovered that most gifted editors are booked, sometimes up to several months. I recently received a call from a talented director who had considered for weeks hiring one of our editors through our Finish Your Film program. The good news was that she had the cash on hand for four weeks of editing. That amount would take her from a decent rough cut to a rocking fine cut, in time for a prestigious pre-screening. The not-so-good news was that although she was ready for us…
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