A Few Reasons Why Documentary Excites Me

Welcome to VivaDocumentary.com, this is my first article for the site so let me introduce myself. My name is Karl and I’m a senior film and video major at Columbia College Chicago. I am concentrating on editing there and I have a particular interest in documentary and experimental forms. I find documentary films so interesting because there seems to be so much unexplored territory.

People have been writing stories for thousands of years and people have been telling stories for tens of thousands of years (if not more). Film in general is unexplored; it has been around for less than 150 years. Now if we look at documentary film making it still hasn’t even taken hold in the mainstream in an art form that is less than 150 years old. How exciting! I love the idea that I could be a pioneer of this vast territory.

Not only is documentary new exciting and unexplored, but there are some other aspects that really draw me to it. Making documentary films are in general much less expensive than other forms of film-making. In documentary it is often beneficial to work with a smaller crew. The crew for the latest documentary I shot was around four people, and when the crew was larger that four people it actually became detrimental to the shoot. The editing process for documentary is a little different too. Instead of editing based on a script the editor uses an idea or message. To me the best part of making documentaries is the editing.

Why are documentaries so cheap? First of all, documentaries use a lot less than fictional narrative films. For example documentaries use less equipment, actors, sets, props, costumes, make-up, and crew. Don’t get me wrong this is not always the case. I’m sure there have been some narratives that used less than most documentaries and some documentaries that have used more than most narratives. This is just generally speaking. Documentaries use more of what is available to them on the location that they are being shot at. They try capturing events that would be happening anyway where narrative creates events to capture. This aspect of not having to create everything that is shot is the main reason documentaries are generally cheaper.

One of the reasons documentary can be cheaper is that there is usually a smaller crew. The crew is small on documentary films for a few reasons. The main reason is that it is hard to manage a huge crew capturing a large event and many times it is unnecessary. A crew of only a handful of people is enough to get the shots needed from that event. The crew for the latest documentary I shot was around four people, and when the crew was larger that four people it actually became detrimental to the shoot. With a larger crew there were too many people doing things at once and this disrupted the event that I was filming. With a smaller crew each person’s role becomes larger but the ability to be disruptive is much smaller. I personally like having an important role in making films. I think this is mainly because I’m a student and people don’t trust my abilities enough. It feels good to really be a part of a film. With documentary this is the case. If you are working on one you are probably doing something big.

My favorite part about making documentaries is the editing. The great thing about docs is that nothing is for sure in production. You might not get the shots you need at one location but get wonderful shots you could have never dreamed of at another. This is why documentaries can’t be scripted exactly. The director can only find messages or feelings that he wants to convey. As an editor this gives you a lot of freedom. There is all of this footage that you have to sift through over and over to find the best way to convey the messages and emotions that the director intends. Many times the footage holds much more that what the director ever expected. Finding this in the footage is what I truly love about documentary. As an editor I have to ability to create something amazing out of mounds of footage. I have the ability to create something no one ever expected out of it.

Documentaries are powerful. The true power is yet to be found because it lies in such unexplored territory. Right now they are generally cheap with a small crew. While things in production are generally smaller the power is unleashed in the editing. This power is why I love Documentary.

Six features I wish Final Cut Pro’s log & capture window had


(Written while waiting for several MiniDV tapes to be captured)

1. Capture full tape in X segments

Sometimes, for a simple offline edit, I just want to capture a full tape. Why isn’t Final Cut smart enough to just capture the full tape in, say, ten minute chunks, finishing with a shortend if the full tape wasn’t used?

2. Pause capturing

This is pretty self explanatory, but seriously, why can’t you do this? And in a similar vein, wouldn’t it be cool if you could:

3. Auto-suspend capture when CPU usage exceeds, say, 80%

I can’t tell you how many times I’ve had a capture attempt that was almost done aborted because I was trying to do one too many things on my computer…

4. Ability to keep the good portion of an aborted capture attempt

5. Capture off a tape for X minutes, timecode breaks be damned!

A user should be able to tell FCP to capture the next X number of minutes of a tape, without aborting due to a timecode break without having to resort to using Capture Now.

6. Ability to toggle preview sound on and off midway through capture

Tip of the Day 6

When making festival submission screeners, don’t forget to write the title, your name, phone number and email address on the DVD itself, so it’ll be super easy for them to contact you.

Tip of the Day 5

When writing grant proposals, one-sheets or treatments, your word choices should be passionate, exciting and dynamic instead of academic or dry sounding. If your enthusiasm for your topic is obvious, it will make a positive impact on potential funders.

Tip of the Day 4

Never store non-rechargeable batteries (i.e. AAs or 9-volts) in a situation where their contact points can touch (like in a big ziplock bag together). Over time, they will suck the charge out of one another.

Chicago 10 screening Sept. 27th


A free screening of the groundbreaking animated documentary “CHICAGO 10″ will be presented on Saturday September 27th at the Chicago Cultural Center’s Claudia Cassidy Theatre (78 E. Washington St.) at 2PM. A discussion featuring the filmmakers will conclude the event. A simple RSVP is mandatory and available online here.

A press release with more details follows, sent to us by ITVS Regional Outreach Coordinator (and Viva Doc friend) Naomi Walker:

CHICAGO 10
(95 minutes)
Saturday September 27, 2008 2:00 pm

Chicago Cultural Center
78 E. Washington St.
Claudia Cassidy Theatre

Synopsis
Written and directed by Brett Morgen, CHICAGO 10 presents contemporary history with a forced perspective, mixing bold and original animation with extraordinary archival footage that explores the build-up to and unraveling of the Chicago Conspiracy Trial.

At the 1968 Democratic Convention, protestors, denied permits for demonstrations, repeatedly clashed with the Chicago Police Department, who waged a week-long terror campaign that resulted in riots witnessed live by a television audience of over 50 million. The events had a polarizing effect on the country.

Needing to find a scapegoat for the riots, the Government held eight of the most vocal activists accountable for the violence and brought them to trial a year later. The defendants represented a broad cross-section of the anti-war movement, from counter-culture icons Abbie Hoffman and Jerry Rubin to renowned pacifist David Dellinger. Seven of the defendants were represented by Leonard Weinglass and famed liberal attorney William Kunstler, who went head-to-head with prosecution attorney Thomas Foran. The eighth defendant, Bobby Seale, co-chair of the Black Panther Party, insisted on defending himself and was bound, gagged and handcuffed to his chair by Judge Julius Hoffman. From the start, the trial was a circus with the eight defendants on a collision course with the governmental authority.

Eschewing talking-head interviews and omniscient narration, CHICAGO 10 allows the viewer to experience the drama and tragedy of Chicago in a unique and dynamic style. The film moves back and forth from the streets of Chicago to the courtroom at an exciting and accelerating pace that brings the past into the present. Ultimately, CHICAGO 10 is more than a historical drama; it is a new style of documentary with a visceral and emotional core.

Discussion: WHO’S LENS IS IT? REFLECTING ’68
After the film, there will be a discussion with the audience examining the subjective role the filmmaker plays when documenting history. How does the perspective differ when looking through the eyes of race, gender, political persuasion and across generations?

The discussion will feature:
Kevin Gosztola, Student, Filmmaker, Activist
Sam Greenlee, Author, Film producer
Judy Hoffman, Filmmaker
Tracye Matthews, Associate Director, Center for the Study of Race, Politics and Culture (Moderator)

Tip of the day 3

Expose correctly on location. You can always make it look “cool” in post, but you can’t always make something that looks “cool” on location look normal in post.

Michael Moore’s new doc to be distributed online for free


Michael Moore’s new doc “Michael Moore’s Slacker Uprising,” chronicling his efforts to oust President Bush in 2004 with his get-out-the-vote tour will be available on the internet for free at the end of the month. The trailer can be viewed above.

The film, which its makers say had a budget of “over $2 million,” will be available as a digital download as well as a DVD, distributed by Brave New Films, which has pioneered a new activism-centered doc-making approach, often relying on donors to fund its politically progressive efforts.

“This is being done entirely as a gift to my fans,” says Moore, who does not plan to profit from the film’s DVD sales. “The only return any of us are hoping for is the largest turnout of young voters ever at the polls in November. I think ‘Slacker Uprising’ will inspire millions to get off the couch and give voting a chance.”

It’s a novel distribution approach, and one has to ask, will it be worth it? Certainly not monetarily since nobody stands to profit, but from the outset, profit wasn’t the goal it seems (getting out the youth vote was, and it’s a laudable one). Moore, who is sometimes criticized for being narcissistic, may also get some criticism for making a film about his own tour four years ago, whose current relevancy some may question.

Still, it’ll be interesting to see how well done it is (and how well it does). Check the film’s website to watch it for free on September 23rd.

Theatrical Releases Not Easy for Iraq Docs, Says Donahue


In May, Phil Donahue’s and Ellen Spiro’s documentary Body of War was playing in a severely limited release across the country. The Iraq War doc which features an injured vet who seeks answers (trailer above), eventually grossed a paltry $71,716 in theaters. Donahue discussed some of his frustrations with the film’s release and editing process at a Q&A session at the time, and Viva Doc was on hand to transcribe his thoughts.

An exclusive partial transcript is as follows.

Donahue on his frustrations with the theatrical release opportunities for Iraq War films:

DONAHUE: The distribution of the movie. The movie does not have a distributor. Iraq docs are playing to empty seats. The winner of the Oscar [for Best Documentary] this year, Taxi to the Dark Side, fell off the marquee. As you can see, this is not a ‘take your girl to the movie’ movie. And we don’t have the big corporate budget that normally rolls out a movie.

We don’t have the money for full page ads. You know Hollywood spends more on promotion than they do on the movie. But I shot my wad on this movie. And you know, the cost of doing a Hollywood type of roll-out is prohibitive. So Landmark [Theaters] agreed to take our films in major cities across the country, giving us a chance to tap dance and see who would throw pennies. But the movie does not hold up. We get crowds like this for the first and second night, when I’m doing Q&As, but it…

HBO? Well it’ll probably be Sundance Channel, and we’ll be selling a DVD… So this film will somehow find its way, but Jaws we’re not gonna be. This is not a theatrical success. We just aren’t selling popcorn.

Donahue on keeping the importance of editing and keeping the documentary lean, mean and focused:

DONAHUE: It’s only one movie. And it is true, 1.2 million civilians are dead. I don’t know how many ornaments you can hang on the Christmas tree, that’s our problem. If you do too much, it gets to be wallpaper, and they’ll run screaming from the theater. It’s hard enough to get somebody to come see this film. That’s why we tried to keep it as tight as possible. And that’s why a lot of things didn’t survive the film. We took Thomas [the main character] to Harvard, he talked to an egg head there who talked about stem cell research. And it just slowed the film down, so it didn’t make the final cut.

Doc-makers make a splash at the Democratic Convention


(Left to right: Al Gore, Davis Guggenheim, Ken Burns, Stephen Spielberg, Tom Hanks, each of which played a role at the Democratic National Convention this year.)

Tens of millions of Americans watched the Democratic National Committee Convention (DNCC) this year from Denver. And although most people were focused on the historical nature of the nominating convention, there were actually several short documentaries that were featured.

While it’s typical to screen short intro biographical videos before high profile speakers take the stage at these events, they’re usually produced by the campaign’s advertising firms, not big name doc-makers. But, in an interesting development, the DNCC this year featured polished documentaries by Steven Spielberg, Ken Burns, and Davis Guggenheim.

Guggenheim, who is best known for his 2006 doc An Inconvenient Truth directed a short biographical documentary on Obama which aired before he took the stage in front of over 80,000 Americans in person and millions watching at home.

Burns, who is best known for his epic PBS documentary series, produced a powerful biographical documentary about Senator Ted Kennedy (D-MA), which also aired before he took the stage.

And although Spielberg is more known for his fictional work he’s directed nonfiction before, including a 2000 Emmy-nominated television documentary Shooting War, about Armed Forces cameramen, which was hosted on-screen by Tom Hanks. Hanks reprised his role as host in Spielberg’s doc, which was about honoring veteran’s service, particularly in Iraq.

All three of the docs were quite well done and broadcast on primetime national television simultaneously on different networks covering the convention. Audience menbers could be seen tearing up in reaction to the stirring short films.

Watch Guggenheim’s documentary about Obama on YouTube here.

Watch Burns’ documentary about Kennedy on YouTube here.

Watch Spielberg’s documentary about veterans on YouTube here.

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