Voices from the Sit In on Television

 

My short documentary Voices from the Sit In is on the TV tonight.

You can watch the film on Mississippi Public Broadcasting TONIGHT at 7:30 PM and SUNDAY at 11 AM and 5 PM.

 

If you're in Mississippi, you can watch the film during the airing times on your television or you can use the MPB/PBS livestream on your computer (https://www.mpbonline.org/television/livestream/) or the MPB/PBS app.

 

If you've seen the film, or see it this weekend, be sure to give it a review or rating at IMDb.

 

If you want to know more about the film, see:

 

https://www.neh.gov/article/sit-delta-state-40-years-later

 

Eco Fashion Film Festival of Larissa

My short documentary Halina North: Sustainable Fashion Design will screen at the Eco Fashion Film Festival in Larissa, Greece, November 1-3, 2018. The film is a short documentary profile of fashion designer Halina North.

100-Second Film Festival

Robin Crawford: Glass Artist, our short documentary profile of Edinburgh-based glass artist Robin Crawford, will screen at the 100-Second Film Festival on Saturday, October 27, at 7 p.m. The festival is held in Easton, Massachusetts.

The film was co-directed by Anna Stoltzmann and Ted Fisher.

The Dead Enders: Saturday at Noon

Saturday, February 21, 2015 at noon our short documentary "The Dead Enders" will screen at "Thin Line Film Festival."

There's a nice review of it here:

"Thin Line: The Dead Enders"

Thin Line Fest’s line up of short docs this year (February 18-22) includes a truly delightful six-minute flick full of twists and turns. The Dead Enders unfolds in the heart of the Fort Worth Stockyards National Historic District. There, just off old, red-bricked Exchange Avenue where cowboys work the famous cattle drives twice a day, sits the Cowtown Cattlepen Maze.

 Hey, "truly delightful." We'll take that.

You can get your tickets here:

TICKETS

and you can see more about the film here: The Dead Enders (IMDb)

Writing "Camera Story: DC215"

Tonight, in Charlotte, NC, my short documentary Camera Story will screen at the 100 Words Film Festival.

There's always an interesting debate on writing credits in documentaries. Some dismiss this entirely, some say it should really go to the editor, and some say that only certain kinds of docs should have a "writer" credited.

Me, I think all documentaries are written, and any documentary I work on has a lot of the writing process in it. I make structure outlines. I write an approximation of what might be said in interviews, before the actual interviews, just to better understand what I'm seeking. I script voiceovers, and often the overall content of a piece. Sometimes the shot list comes from the rough screenplay.

Usually, though, this isn't directly like writing a script for a nonfiction piece.

When I heard about the 100 Words Film Festival, however, I realized that a film intended to have exactly 100 words needed either a careful script or a really obsessive editor. Both, I suppose.

So I wrote a script exactly as you would for a fiction piece ... and counted word by word.

Lessons learned:

• 100 words is really short.
• Compressing a beginning, middle, and ending into a 100-word text is a challenge.
• Think of visuals and text as partners and rivals. Let the visuals support what is said, but don't forget they can undermine the words as well.
• Take care not to let the viewer get ahead of your meaning or the words become boring. Consider which word reveals the key meaning and decide where that word must go.

Hanging Downtown (Full Movie)

Hanging Downtown from Ted Fisher on Vimeo.

Here, finally, is the full 15-minute film "Hanging Downtown."

Please, after you watch it, go to:

http://www.imdb.com/title/tt2170278/

and sign in (there are several options, including using FaceBook)

and give it an honest rating.

Thanks!

Kino Flowing

Today: good sound, good light ... good day.

Editing "Escape / Artist"

I'm working on the edit for Escape Artist. Two major sections of the film are shot, but there's more to do.

Above: Jason Escape in San Diego.

Hanging Downtown Screened in Boston

Hanging Downtown screened at the Boston International Film Festival on Monday.

The screening was at approximately the same time the bombs went off at the finish line of the Boston Marathon, sadly.

I spoke to Jason Escape by phone right after the screening ended, as events became known. Apparently the screening went very well -- the film looked great on the big screen, and sounded good, and Jason spoke at the Q&A session -- but in light of these other events, it's been impossible to celebrate or to even think about the film.

So, here's to hoping that when the new film -- Escape/Artist -- is complete, we make it into one of the Boston festivals, and get to attend a screening there, and that Boston has only peaceful events in its future.

Screening: Let's All Be Free Film Festival

My short documentary Rolling on the Floor screens on Friday, April 5, 2013 at the Let's All Be Free Film Festival in London.

It features Killebrew Mason and was made with Kirk Dilley and Matt Conway.

Rolling On The Floor

4 min - USA - 2012 | dir. Ted Fisher | INTERNATIONAL PREMIERE

They say you should dance like no one is watching ... but what happens when you do? When the idea of free, unrestrained self expression crashes into the vanity and pride of youth, which wins out? When Killebrew Mason went to the college dance, she knew it would be a moment she'd never forget. She just didn't know why.

Let's All Be Free

Some notions take a long time.

In January 2010, I had an idea for a mini-documentary, and decided the best way to approach it would be to find an interview subject on Twitter. Believe it or not ... it worked.

As you probably know, however ... there are always complications. In fact, in this case, there were many delays. The film -- less than five minutes long --wasn't completed until March 03, 2012. From there, the filtering process of finding, entering, and being accepted into film festivals has meant that no one has seen it yet. Finally, though, we've got the good word: two festivals have accepted the film -- Rolling on the Floor -- and will screen it.

I'll write more about the March screening soon.

Today, though, I want to direct your attention to our April 5th screening in London at the Let's All Be Free Film Festival.

The festival will be held in Central London at the Brunei Gallery, part of the School of Oriental and African Studies at the University of London.

Let’s All Be Free Film Festival aims to explore and celebrate what it means to be free. We seek to create a comfortable and open forum that will encourage constructive dialogue and debate around the notion of being free, with the aim of creating greater understanding and awareness around this vital issue. We want to use this enhanced knowledge and insight to implement a tangible, positive force for good in the world around us, and inspire others to do the same. 

One of the ways we want to achieve this is through creative expression – through the powerful and timeless medium of film. We seek to find the best, boldest and brightest cinematic expressions of being free, and showcase them to the world.

(Above: poster for the festival designed by Tim Leete of Creative Meld.)

Aye Aye IMDb

Watch more free documentaries

Here's an interesting update on our film Blind Faith: A Film About Seeing. More precisely, on how IMDb works and why independent filmmakers might want to consider the importance of the least important thing: the credits.

Back in 2007, I worked with five of my pals in the brand-new Documentary Certificate program at The New School to create a 7-minute documentary on blind photographers.

As part of the International Documentary Challenge, we compressed the process of making a documentary down to five days.

There's the thing, though: we did everything the way you should.

There was (very fast) Production work, including handling a (tiny) budget, getting all the permissions and releases, arranging interviews, finding the right folks, etc. etc. There was some nice cinematography work (I shot the stop-motion sequences on the NYC street, for example). There was some (incredibly quick) post-production. We shared the tasks, and decided to credit the film as a collaboration. Everyone would get credit.

We arranged for a good score, as well. In fact, we won "Best Soundtrack" at the Doc Challenge finals, held at Hot Docs Film Fest in Toronto that year. I was proud that they recognized both our music and how it integrated with our edit and content.

So far, so good. Once the film started going places (Hot Docs, Big Sky Film Fest, Picture This Film Festival, etc.) I added it to IMDb.com. That went fine. The credits went up.

But IMDb has a policy in place that they are a database of credits as they appear on the screen. It doesn't matter if you are actually the Producer or Cinematographer: unless there's a credit onscreen that says that, IMDb can revise the listing.

I don't disagree with that. That's what they have always said, and that seems good to me.

But there's the funny thing: Blind Faith went online at SnagFilms (see the video above). So, unlike many shorts that screen at a fest or two and then aren't seen, IMDb has a direct link from the listing to the online video. Cool.

But someone at IMDb had the time to watch the film, and our credits on the film are limited. If you watch it to the end, you'll see "A FILM BY" and then our six names. To us, that meant "everybody did everything" and that we were Directors and Producers and Editors and Cinematographers.

Not so fast, IMDb says. First, our Producer credits disappeared. And our Cinematographer credits. (There's no credit that says "camera" or "cinematography by" or "photography" visible. We did it, but it isn't on the titles page.) Then, the Editor credits.

More disappointingly, Joel Mumma is no longer credited as Composer, even though he was. He's now listed as appearing in the film (as "himself").

Ah well. Whatever.

But a lesson learned: as old school, mainstream and simplistic as it seems, add your full credits to the film. If you want to see your credit on IMDb, put it on the screen.

Zoom H1 Lavalier Test with Audio Technica ATR-3350

I had to record a voiceover, so I dragged out three lavalier microphones for a quick test, plugging each into a Zoom H1 and recording a snippet of normal speaking. The results? While the audio quality won't match a high-end microphone, the recording is fine for use in documentary interviews on location.

(By the way, for those times when your wireless mic is likely to run into interference, this could be interesting: clip the lav on your subject, stick the Zoom H1 in their pocket. Hit record, then lock the buttons on the H1.)

Comparing the three microphones, I believe the Audio Technica ATR-3350 Lavalier Omnidirectional Condenser Microphone has a more pleasant, natural sound than the Audio Technica ATR-35s and is significantly higher in quality than a cheap Radio Shack 33-3013. (I'd post a sample, but Blogger is not exactly cooperative with my attempt to do that....)

That's not a surprise -- the 3350 is basically the updated replacement for the 35s. It's also essentially the same as the mic included in Audio Technica PRO88W-R35 Wireless Lavalier System with ATR3350mW Omnidirectional Mic, 170 MHz. 

So, the ATR-3350 works fine. And it's ultracheap now:

Tools

I'm puzzled by the way the pejorative "tool" migrated from "working for the man, part of the problem" to "easily used fool" to "penis."

I know the Boomers were full of crap. Still, at least they recognized that some types of achievement were, in the end, at the service of corrupt interests with a hugely negative impact on our world. Getting an advanced degree in Chemistry: amazing and good; working for Dow to make Napalm: horrifying and bad.

This is how I first, at a fairly young age, heard the phrase "You're a Tool" used.

It colored my academic experience: one should be loose and cool. The uptight bastards obsessing their way to a perfect score would win, but the prize was a corporate deskjob making some widget that would kill / poison / numb the masses.

Of course, as a teacher I know that concepts, ideas and facts tend to devolve. For example, I recently had to look up the biography of a filmmaker, and after some research found that the site ranked first on Google said:

"Mr. X was born in the City of Y." Which is not true. A few sites had published:

"Mr. X was born in Z, outside the City of Y." This was repeated as:

"Mr. X was born near the City of Y." Then corrupted as:

"Mr. X was born in Y."

The same thing happens with subtle insults. Not understanding the accusation "Tool" made against those who would be a cog in support of a mainstream culture that funded endless war, allowed corporations to poison the environment on a massive scale, celebrated sexism, racism, courseness and overconsumption, my generation began to use it in blunter and less-nuanced ways.

"He's such a Tool" might be said when someone was used or fooled, thickheadedly unobservant of the game. And it began a slow gloss toward:

"Tool!" Meaning: Penis! More precisely: Dick!

Which is, at a base level, somewhat accurate. Except the implication now was that the "Tool" didn't understand the subtle, finer points of the accuser's standards for social success. The "Tool" was not comprehending or able to achieve what was expected in the accuser's society.

Unfortunately, that's the Society of Corruption, the original target of the insult.

In other words:

"You're a Tool!" = You think you are achieving something great, but you're serving the Mainstream's interests. I'm rebelling against that culture, I think it is corrupt and destroys lives, souls and the planet. Playing in the background: the LP version of "Masters of War."

Became:

"You're a Tool!" = You are the person Fooled, Conned, Taken, instead of the one smart enough to do the Fooling, Conning, Taking. (Playing in the background: the VHS version of "Wall Street" with Gordon Gekko saying "Greed is Good" while Napster downloads "Down with OPP" in the background.)

Became:

"You're a Tool!" = There's no way you are going to win this Reality TV Show without gaming everyone, and if they're too dumb to know that they're being played it's their own fault. Read: my only obligation is to the Stockholders.

I realize that's a bit of a Rant, but here's why I'm thinking about this: filmmakers love to talk about Tools. The very concept is at the heart of Independent Filmmaking -- or any kind of filmmaking. The "Tools" are ALWAYS about to give new abilities to anyone / everyone / an entire generation.

And then they don't.

Above is a photo of Super 8 camera, aimed at high-end consumers, that included features low-budget filmmakers embraced. Many were purchased with that in mind.

The current fascination with Hybrid DSLRs -- now able to make 1080p HD video, allowing the use of interchangeable lenses for a film-like depth of field -- isn't that different.

Cue the voices saying that better Tools empower filmmakers. Sure. That's true.

But ... not if the filmmakers simply want to rehash the same sexist, corrupt, greedy, needy, self-centered pointlessness. It can be done at a profit, yes. But it makes you a Tool.

What's My Line Again?

I was hoping to get one short documentary out into the world each month during 2010. Ambitious, I know... but I did get To Get to the Other Side out the door in January and screened, and now it has been submitted to a few other festivals.

We're at the end of February, however, and I'm officially behind on that schedule. Also, I'm not going to be participating in this year's International Documentary Challenge -- so can I get anywhere near that goal?

We'll see. Some projects are in fact moving forward, so maybe there won't be 12 new films this year, but ... well, just check back soon.

Snow Day

Today is a snow day -- no teaching in The Bronx -- so I'm trying to catch up on several projects.

One decision I wanted to note, however: after three years of participating in the International Documentary Challenge I won't be part of it this year. The timing just wasn't going to work out, and while we will be making a film with one of the subjects we met in planning for the event, we won't get the excitement of trying to make a documentary in five days. Good luck to everyone who participates. Maybe next year.

Above: Old Yankee Stadium yesterday, as seen from the 4 train.

All About Ego, In At Least Two Senses

Back in October, I made a post about shooting a mini-documentary on the New York Marathon as it streamed through my neighborhood.

"I'm jotting this down because, as always, when I start a film (no matter how short or casual) it seems rather imaginary. It takes a while for anything to be gathered, anything to be put together, and for it to be shaped into anything at all. And then, if it is made into something watchable, there's a huge lag for it to go somewhere."

Later, on January 20th of this year, I posted a followup:

"It's done. It's six minutes and ten seconds long, and sort of quirky. I'm sending it off to a few festivals in tomorrow's mail. I'll post more details soon, and we'll see how it goes."

Well, the first results are back, and To Get to the Other Side is heading to EgoFest in Brainerd, MN, for a one-day program featuring about 40 shorts.

Cool. Soon enough, we'll find out if it makes a few other festival stops as well, but for now, back to work.

To Get to the Other Side

Back on Halloween, I made this post about preparing to shoot a mini-documentary on the New York City Marathon as it passes through my neighborhood.

Well, I've been in the midst of a lot of other work, some of it quite uncooperative and confusing. But...

It's done. It's six minutes and ten seconds long, and sort of quirky. I'm sending it off to a few festivals in tomorrow's mail. I'll post more details soon, and we'll see how it goes.

The Canon Files

Over on my other blog, I've made a few posts giving a little background information as we go through the process of shooting a short interview-based documentary using a Canon 7D. For example:

First Canon 7D Test
Second Canon 7D Test
Working with the Canon 7D

Thursday the first interview session was completed, so I'm going to give some details on the technical specifics in case anyone finds that useful.

The 7D records H.264 format files onto memory cards and those files should be transcoded to a format that works better in your nonlinear editing software. The H.264 QuickTime files that come straight out of the camera can be imported into most editing packages, but don't seem to perform well unless transcoded to a format like Apple ProRes. This results in larger files, but the new files work well for the editing process.

The specifics for our shoot:

1. the session resulted in 5 gigabytes of files.

2. when these files were transcoded to ProRes, the total expanded to 14 gigabytes.

3. that means transcoding to ProRes format expanded them to about 3 times larger (in filesize).

4. one file, shot at 1920 by 1080 dimensions and 24 progressive frames per second, was 9 minutes long and resulted in a 3 gigabyte file. So, for an interview, we saw 3 minutes equal about 1 gigabyte of filesize (as an H.264 QuickTime).

So, our first rule-of-thumb estimation:

In camera, you might get about 3 minutes of shooting time for each gigabyte of storage.

After transcoding to ProRes, your files may blow up about 3 times larger.

So: 3 minutes a gigabyte in camera. 1 minute a gigabyte after the transcoding to ProRes.

Easy to remember. We'll see if that holds up through the next interviews.

Next time: transcoding time.

Working with the Canon 7D

Redrock Captain Stubing - Setup from matt conway on Vimeo.

Matt Conway and Kirk Dilley completed the first interview on our new short documentary yesterday, shooting with a Canon 7D. I'll be posting a bit on the process soon (including specifics on file processing and sizes), but for those interested in this way of shooting, here's Matt showing his 7D setup.