Show Your Work 2002

[Rik Sanchez]

Angel,
cool website, and your movie looks great, would love to see it when it comes out. Glad to have found another person into dv from the same area, I'm from El Chuco, but right now out here in japan. Seeing the shot in your trailer at Scenic Drive was nice, brought back memories. Haven't been back to ELP in 4 years, but the next time I go back(later this year or early next year) I'll let you know, would be good to hook up and shoot something. buena suerte con tu video.

hey rik, what do you do tan lejos?
oye dejame aclararte que yo no dirijo el documental, solo hice una parte de la fotografia, todo lo que lleva glidecam, grua y dolly, ademas de otras tomas, pero como mi ingles es muy malo, creo que no lo explique bien en my primer post.
ahora estoy por terminar un documental mio, y espero pronto tener la pagina web para subir el trailer.
saludos desde juarez, y cuando andes por aca avisa.

[Rik Sanchez]

Angel,
estuve aqui 12 anos pasados para visitar un amigo y me gusto mucho a Japon y ya tengo 11 anos aqui. Nunca escribo en espanol, pardona me pasi no escribo bien. Mi esposa es Japonesa and hablamos en ingles, pero cuando hablo en espanol, es como 60% espanol y 40% japones y aqui casi no hablo en espanol. Todos mis amigos son Americanos, Australianos, Japoneses.

Cuando tienes tu documental terminado, yo y tambien todos las personas en este dv groupo, querremos mirarlo. Este groupo es el mas chingon DV groupo, todos las personas con que ha escribo son buena gente y el jefe, Chris, el ha hecho un cosa muy internacional, ya puedo habla con personas de differentes paises que estan en DV como yo.(Translation: Chris! You the man!)

mucho gusto a conocerte,
saludos desde Osaka

[John Klein]

Just sold some footage of a fire (nothing that truly exciting) to local news. Obviously they loved it compared to normal footage by "bystanders."

Can't wait to see how it looks cut with their 2/3" cams!!!!!

Anybody know what a fair price is?

And what if it's "excusive" use? They've got to be a bit different, right?

Of course if it were some real news, or really good footage it could go higher, but any guidelines?

Just seems that after I do my laundry to get the smoke out (let alone my lungs), I'm not getting much!

[Rik Sanchez]

If you didn't make a lot of money, at least you made a connection with the news people. Who knows, maybe next time you will get some more good footage of something else and at least now you will know someone to call up and offer to sell the footage to.

BTW, I wonder how much money the people made from selling their footage of the WTC, the shot of the plane going into the tower. Maybe they didn't sell it but instead gave over the footage as evidence. Anyone know the story behind those shooters?

Don't know if it's true but while talking about it someone told me it's best to make a copy of the footage in case the police try to claim it as evidence, then you can't sell the footage. I don't know how situations like this are handled, maybe you can ask the news people what the going rates are and about handing over the footage to the police.

[Chris Hurd]

The first WTC hit was recorded by the Naudet brothers with a PD150. They were the ones doing the Fire Dept. training video on the street that morning. These are the French guys who went on to do that heavy CBS 9/11 documentary from a couple months ago, which DeNiro introduces. I have it recorded, but have yet to bring myself to watch it. The Naudets recovered expenses only and donated all other proceeds to charity.

The second WTC hit was recorded by various news agencies, all from more or less the same vantage point from another building rooftop, the CNN version being the most well known. There was one angle looking up from street level, to my eye it was the most distressing shot to watch of all. It was recorded by a doctor using a single-chip DV camcorder, possibly a Sony. This video made the rounds on all the agencies, and CNN and Fox showed more of his subsequent recordings in an interview with him during the days shortly after. I do not know if he was compensated or not.

Personally I often wrestle with the moral delimma of catching tragic events on tape. Surely they are news-worthy but accepting money for them is something I have to think about privately. I guess if there were no loss of human life, I could take the money. Anything involving a fatality however I would be most reluctant. Some news stringers out there make their bread and butter shooting this type of video on a daily basis.

[Chris Hurd]

Anybody else catch the series "African Tightspots" on the Travel Channel? Quite a bit of XL1 or XL1S material in that show, with the camera itself appearing on screen fairly often.

my documentary will be finished in july, i hope next month the webpage is online to put the trailer.
as you said this is a great forum to exchange ideas with other dv filmmakers in the world, sadly my english is too bad, so i dont participate too much, but i ever read the post.

saludos desde juarez.
angel

[John Klein]

I know what you're saying about the morality dilema. I chose not to shoot a clip of the co's truck by the fire. I know it would have been an exclusive shot and probably used. I knew there was construction at the site and assumed they were probably involved (which it sounds like a heat gun was being used). I sort of kick myself for not shooting it, but also feel good for not slamming them. It was newsworthy, but not necessary.

So I can see how our editorializing (sp?) can have impact. Even worse, that I should shoot it all and let the real editors have that final say which I may regret.


PS I admit to being and indoor shooter and after looking at my (outdoor) footage in my NLE, it was about the poorest footage ever. Handheld (thank God for steadyshot), blown highlights (good shadows). What the heck was I thinking at the time!!!!! Still it held up. They had some OK footage from another angle, but mine was way better (image quality) than the sky cam which was used a lot.

They edited like crap. I don't know if it was done digitally, I doubt it. Used aweful zoom footage vs the fixed shots that followed. Weird

Time value of news?
5 PM - 1 minute
6 PM - 30 sec.
10 PM - 10 sec. although the story focus changed for addt'l time (where's my wedding going to take place now that the hall burned?)

[Peter Wiley]

Yes I just happened to have seen it, I think. This was a National Geographic production? No wait, I think what I am recalling is something on the National Geographic Channel I saw this last week or so.

There was a sequence of a guy wading into a stream with a xl1s on a monopod to get a shot of a herd of elephants walking into a stream.

It looked to me as if they were cutting between the footage from the xl1s and footage little better camera. The contrast of the footage from the xl1s was not the best -- detail in the shadows was not good. The other camera was much more evenly exposed.

Also I saw an xl1 on the Outdoor Channel a couple of days ago on some fishing show. Don't know if the show was shot on an xl1 however.

[Chris Hurd]

If the fellow with the XL1 on a monopod was a heavy-set guy named Mark, then yes, that's the one I saw... I agree the other angle was shot by a better cam... but the color match was pretty good despite the flaws you and I both noticed.

[davidisrael]

Angel,

Finalamente [am hoping mi poco Italiano stands in por Espanol] I got Quicktime and took a look at the Paganini trailer -- so this is the work that will be finished in July? Que lindo trailer. Makes one want to see the full work.

Look forward to seeing more en futura.

gracias,
david

hi david, yous spanish is as well (or as bad) as my english, so i can understand you.
im not the director of "el blues de paganini", i just make part of the photography, the documentary that will be finished in july is one that im directing, and what i hope soon can be put the trailer online.
el blues de paganini must be finished this year.

gracias.
angel

[Bruce Moore]

I think the heavy set guy shoots his XL-1 in the greenbox mode. I noticed the focus going in and out while the lioness was eating, gnawing on a bone. The focus continued to change between the bone and her face.
Bruce

[Peter Wiley]

I stand corrected. The program was on the Travel Channel. I happened across the rebroadcast and this time I watched for awhile longer.

Now I think the xl1 held its own quite well against the other camera -- esp. in the cheetah sequence. The elephants in the stream sequence, on second viewing, looked back-lit a bit.

So perhaps it all does come down to what Chris has said it does in other places -- lighting.