Barberin’ is now available for sale on DVD.  The film was released in 2007, and was an official selection at the 2007 DC Shorts Film Festival and the 2008 Our City Film Festival.  The film was mentioned in both the Washington Post and Washingtonian write-ups on DC Shorts.  If you weren’t able to see the film at either fest, now is your chance!

Barberin’, 7 min

“Step inside the doors of Edges Barbershop on 14th and U streets in northwest Washington, DC. Donnie, Vincent and George each offer insight into their profession. Meet customers young and old as they participate in lively and diverse conversations about everything from women to politics.”

Our first feature length film, Keeping the Kibbutz, will be screening at the George Washington University on July 10, from 7-10 pm.  The screening is part of Docs In Progress, a DC based non-profit that screens works-in-progress to the public.

Please come out and see the film and give us feedback/criticism so that we can improve the film and finish it!

Details:

"The Way We Get By" screening

You can check out the published peices on the Washington City Paper website at the following links:

Q&A with Aron Gaudet, director of The Way We Get By

Q&A with directors of Silverdocs Winner October Country

Q&A with Marshall Curry, director of Racing Dreams

Homepage of the new Eidolon Films website

A long time in the making, our new official website has finally launched!  It will be the new home for Eidolon Films.  The blog will still live on, but will function as a real blog, not as a pseudo-website.  We will post news, movie and gear reviews, press, and funny stories on the blog.  The official website will house all of the information on our films, clips, trailers, and contact information.

So stop reading this, and go check out the site!

(Over the next few days we will slowly phase out parts of the blog, and will probably be ironing out a few kinks here and there on the official site.)

By Tessa Moran

I admittedly ground my teeth upon first hearing of “Waltz With Bashir”, the anamolous animated documentary feature now in theatres.   I thought it sneaky for director Ari Folman to categorize his film as documentary via the auspices of animation.  In truth, I was miffed that I hadn’t thought of the brilliant strategy myself.

Animation is particulary fitting for this film: a haunting tale of fractured memory.  It is comprised of a series of interviews that Folman conducts with his Israeli comrades in an effort to recover his apparent lost memory of the 1982 massacre at Sabra and Shatila. Their interviews – redrawn in animation – are intercut with scenes of their tragic memory: one in which IDF soldiers punch bullets through the body of a young boy armed with an RPG.  Another in which a soldier’s steep fear causes him to run away as his unit is gunned down; he continues to live with the guilt that he could of done more.

In some ways, this patchwork story is an admission of culpability.  Afterall, Israel was sharply criticized for not preventing the slaughter of Arab Palestinians by their Christian couterparts.  The film goes so far as to draw a notable, yet careful, comparison to the Holocaust, where too many a turned eye permitted genocide.

Folman isn’t preachy; he’s apt to recognize the “fog of war,” best defined by shamed Vietnam commander Robert MacNamara in Erroll Morris’ Oscar winning doc.   At the tender age of 19, these men are drawn into a war they cannot comprehend, and one they can barely calculate in their wiser years.  Their memories are spotted by the crafty tricks the mind plays to save the soul and twisted by their awkward reentry into the world of the living. Via animation, we are able to visually understand Folman’s feeling of being caught in time upon returning from the war:  his young uniformed figure set in slow-motion as the world speeds past him, pumped by the sound of techno music.

Throughout the film, animation is cleverly used to blend reality, memory and dream so that each are indistinguishable from one another.  It is an antidote to the documentary “purist” who perhaps naiively sees film as capable of truly achieving authenticity.  Reality is a projection – true or false – of both the filmmaker and storyteller.

Animation in this film eases scenes that would have otherwise been too violent to watch, yet at the same time is unsettling to minds accustomed to it as a form for children’s stories.  The drawings are crisp and near-real looking.  But the heavy notion that this story is a true one, and one that involves a massive loss of life, becomes clear in the very last seconds of the film when animation turns to actual footage of the dead.

“Waltz With Bashir” is more than worthy of a go-see, not only because of its foray into an unchartered form of documentary storytelling, but also because of its sophisticated discussion of war and its lasting impact.

With Christmas (and Hanukkah) nearly upon us, we have compiled a list of gift ideas for the documentary filmmaker or fan in your life.

Netflix Subscription - $4.99 a month and up ($59.88 + for a year)

This one is easy and cheap.  Netflix has a broad selection of independent and documentary films, which are often difficult to find at your local Blockbuster or other movie rental store. Not to mention, the convenience is unmatched. You receive the DVD via mail, and when you are finished watching the movie, simply mail it back – no postage required.  It’s the perfect gift for those who always respond with “Eroll Werzog who?” when you ask them if they have seen the latest critically acclaimed documentary.

Super 8mm or 16mm film Camera - from under one hundred dollars to a few hundred dollars (e-bay).

Most independent documentary filmmakers work with high definition video since 35mm film cameras are very expensive, especially with the shooting ratios so high for documentaries. But the benefit of film can still be integrated into documentaries – and cheaply – with the use of old Super 8mm or 16mm film.  Your film-lover will love playing with this toy!  Now they can be the abstract artist they’ve always wanted to be.

Gift Certificate to B&H Photo Video

If you are feeling generous, give your filmmaker a gift certificate to B&H Photo Video, one of the largest and most trusted retailers of photo, video, lighting and other technology needed for the production of videos.  It’s like a crack store for film-makers.

Final Cut Express ($199)

Not everyone can afford a state of the art edit suite to cut their labor of love on.  Final Cut Express offers anyone with a Mac the ability to make documentary masterpieces.   Providing many of the features of Final Cut Pro for a fraction of the price (and rising way above the barely usable iMovie), Express is perfect for editing documentaries, which generally don’t incorporate fancy editing tools or special effects.   Give the gift of endless hours in post-production!

Books!

The documentary filmmaker is constantly learning about the topics they cover, as well as their own chosen craft. These books serve as excellent references for both young and experience filmmakers:

The Art of the Documentary: Ten Conversations with Leading Directors, Cinematographers, Editors and producers

Making Documentary Films  and Reality Videos

Documentary Storytelling

Support (free)

And the biggest gift you can give to your documentary film-maker is support.  It’s a tough field, with endless self-doubt, anxiety and little reward.  Obviously they would not be in the field if they did not love it, but give them a pat on the back, say their latest film was awesome, and tell them everything will be ok.  They will be grateful.

By Tessa Moran

While LA is central to fiction filmmaking, New York City is considered the capital for documentaries. And so I’ve often been asked why I don’t move to the big apple to pursue my dream. My simple answer: why not make films anywhere else? After all, the “set” for a documentary could be in a jungle, or the desert, a home in middle America, the inner city of Chicago. So really, a documentary filmmaker’s home is anywhere. I’ve been fortunate to live in Washington, DC, a vibrant and diverse city that has been the inspiration for two of my films. And here, there is a small but active documentary film community, one that embraces filmmakers of all levels.

Two years ago, when we started to think seriously about documentary filmmaking, we discovered Docs in Progress, a non-profit organization that screens works-in-progress documentaries to the filmmaking community and public, providing filmmakers with both industry and layman’s feedback on their docs. Prior to going to docs-in-progress, we had only seen finished, award-winning docs we’d rented through Netflix. So it was encouraging to see flawed documentaries, and to watch their transformation into great films. It helped us trust the process, and to be patient, something I still struggle with. It was also a fantastic way to meet, trade ideas and possibly collaborate with other filmmakers.

Docs In Progress Directors Adele Schmidt and Erica Ginsberg moderate audience discussion with the filmmakers of the doc Merian

Docs-In-Progess is just one of many innovative resources for filmmakers. Here are a few surefire ways to benefit from your doc community:

1) Sign Up For Listservs In Your Area:

We subscribe to the email listserv for Women In Film and Video, a local group that hosts monthly free round table discussions as well as a variety of conferences and classes on filmmaking. Members of the organization receive discounts on classes and conferences and have access to an exclusive listserv through which they can connect with other filmmakers and even find job opportunities. We also subscribe to the listservs of the “DC Film Alliance” and “DC Film Salon”, which hosts regular meetings, networking events, and screenings of films by local filmmakers. Try to add as many workshops and events to your calendar, especially those that are free.

2) Submit Your Film To Local Fests

Festivals held in your hometown or city are an excellent way to stay involved, especially since many fests tend to favor local filmmakers. Some even give awards to “best local film.” The media is also more inclined to highlight local films in their coverage of a fest. When our film was selected at DC Shorts, myself and other local filmmakers were contacted by the Washington City Paper for video interviews. Screening at a local fest is also convenient way to meet and network with other filmmakers without flying across the country and paying for a hotel. Many fests host workshops to which festival filmmakers are given priority seating and no-cost admission.

3) Patron Your Nearby Indie Theater:

The AFI in Silver Spring and Landmark Theaters in Downtown DC and Bethesda are some of my favorite weekend (and even weekday) hangout spots. They show some of the best films and are cleaner and less crowded than their blockbuster-screening counterparts. Landmark even sells beer and wine!  But what’s great about these local theaters is that they often host special events WITH the filmmakers present. Last year, I saw Billy the Kid and attended a Q&A with director Jennifer Venditti. Make sure to sign up for email alerts from your local theaters so you never miss out on some of these great events.

4) Support Other Local Filmmakers

Make an effort to attend the screenings and fundraisers of films by local filmmakers. And be sure to send them your feedback and congratulations either in person or through electronic avenues (listserv, email, facebook, myspace, linkedin, blog, etc.). As an indie filmmaker, you know more intimately than the average person about the challenges in making a documentary. You know how hard it is to get the message out, to support yourself financially, and to overcome the often crippling bouts of doubt that comes with an uncertain career. So give another filmmaker some love when deserved, and most likely they will return the favor when your shining time arrives.

By Ben Crosbie

Ok, so you’ve finished your masterpiece – color corrected until your eyes watered and sound edited until your dog could no longer hear that slight hiss in the audio – but finally your life’s greatest work is complete. All that remains is producing a bunch of copies of the DVD to send off to film festival — err, wait a minute, what is the difference between DVD replication and duplication? What are all these websites touting the best/fastest/prettiest/will also ship with a Ronco Showtime Rotisserie oven-DVD replication/duplication services? Can I just order 50 DVDs – or do I have to order 1000 of these things, and use the remaining 950 to build that sick DVD fort I’ve always wanted? All these questions are natural when you’re sitting bleary eyed at 3 AM, trying to completely wrap up your latest film. So, go get some rest and come back in the morning and we’ll give you the answers you so desperately seek.

Making Mothers DVD Case Wrap

Enough to feed myself, or an army (AKA: DVD Duplication vs. Replication)

There is more than one way to skin a cat, and so the independent filmmaker has two options when it comes to mass producing DVDs – replication and duplication. But just as with skinning cats, it all depends on your budget and the final number of copies you want.

DVD replication is generally only used for runs of 1000 copies or more. Replication lends itself to higher runs because of the longer and more complicated manufacturing process involved. Replicated DVDs look exactly like the DVD you would rent from Blockbuster (if anyone actually went to Blockbuster anymore for any other reason than to look at those weird people who still don’t use Netflix). This type of DVD is called a DVD-5 or DVD-9 (single layer/dual layer). They are made from a glass master, which is then used to stamp the data on to blank media (the whole process is more detailed, but you get the idea). This is very different to what happens inside your home computer when burning a DVD, which uses a laser to “burn” the data on the blank DVD-R. If you don’t believe me, grab a burned DVD and compare it to a rented DVD. You can easily see the difference on the data side. One is blue and has a darker area where your data was burned, and the other is a solid shiny silver. That is the magic of the glass master stamping process.

Making Mothers DVD Label

DVD Duplication is generally used for runs under 1,000, and works like your home DVD burner, just on a much larger scale. Because no glass master needs to be made, the duplicating process is quicker and cheaper. Most vendors won’t even require a minimum order, with some allowing just 1 copy to be made. Of course, most vendors do offer price breaks for higher quantities, but duplication is cheaper than replication for anything under 500 discs. Once you cross 500, duplication might get more expensive than replication, and then you have to ask yourself if you want those extra 500 discs. The turnaround time for duplication is also shorter than replication, sometimes only taking a day to produce and ship.

Both replication and duplication provide the same result in the end – an exact copy of your master. Nearly all vendors that replicate/duplicate DVDs will say on their websites that the two are equal in terms of quality. I’ll have take them at their word for it.

Disc Makers, Pacific Disc, Kunaki?

One quick Google search of “DVD duplication” will yield a host of websites offering their services. Most appear to provide the same general service in the same price range – full color disc and packaging nicely wrapped up in cellophane, ranging from $2-3 per disc (without shipping) for duplicated DVDs, and $1-1.25 per disc (1000 minimum order) for replicated DVDs. I haven’t had the chance to use all of these services, so I can’t speak to their quality. Disc Makers and Pacific Disc are both very good options (no affiliation with either, just thought their pricing and services looked the nicest), but we used Kunaki for our duplication needs.

Kunaki is quite the opposite of Disc Makers and Pacific Disc. They barely have a website to speak of, and offer only one product – a single full color DVD in an amaray style case, with a full color case wrap and the option for a one page insert – all for $1.75 per disc. Kunaki offers one of the cheapest duplication services around, yet their product is superb. Before you run out and start throwing 7 quarters at Kunaki, realize that Kunaki is not for everyone. If you want anything outside of what they offer, you’ll have to shop elsewhere. Additionally, if you want lots of help getting through the designing and production process, or need customer service, you might also want to look at using a different vendor.

Kunaki has a unique interface that allows you to build the DVD packaging, preview it, and upload your data directly to their facility (another limitation: the interface is Windows only). Your DVD label and cover have to be designed prior to uploading, because Kunaki doesn’t offer robust free designing software like Disc Makers does. Once you have mastered and uploaded your final disc, you can order as many as you would like, as many times as you want. Kunaki keeps your project on their servers indefinitely as long as you place an order from it every 180 days.

Kunaki perfectly met the needs for the DVD duplication of our film Making Mothers. If Kunaki can meet your needs, it’s by far the cheapest, easiest and quickest way to duplicate small runs of DVDs. Otherwise go with another vendor like Disc Makers or Pacific Disc. But in the end, you can’t really go wrong with any of them, just make sure to pick one and go with it, or your pièce de résistance may never be seen by the masses!

By Tessa Moran

We’ve finally completed a rough cut of Keeping the Kibbutz after 8 months of editing!  Admittedly, the project had been put on hold as we were busy with full-time jobs and paying gigs like our recently completed short Making Mothers.  But in recent weeks, as our other work commitments eased, we were able to spend some quality time stringing together our first feature doc.

We started editing in a rather haphazard way, working scene-by-scene, character-by-character.  We have four characters in total, and our intention was  to interweave their stories to paint a picture of the changing kibbutz.  Over time, however, we started to lose sight of what footage we did have and how each scene would flow into another.  We had reached a sticking point, as is  common in editing.  But this time, we couldn’t seem to get unstuck.  So we considered writing a script, not uncommon for non-fiction filmmaking, but a relatively new endeavor for us.

I’d been rather averse to script-writing. My first attempt at it was for a short historical documentary I was tasked with in college. My professor insisted that we write the script before going out to shoot our interviews.  And so I begrudgingly wrote the two column draft, inserting quotes from experts I thought would work well.  I found it awkward to be writing something purely fictional for a non-fiction film, and indeed, it turned out to be largely a waste of  time.  The script was tossed out shortly into editing, and the film took an entirely different turn.

In retrospect, a shooting schedule and a detailed outline or treatment of our intent and focus would have been more effective prior to shooting; it would have given us clear direction without pigeon-holing us into a script.   Then, after gathering our footage and taking some time to work with it, we could have written a script.

Barry Hampe in “Making Documentary Films and Reality Videos“, promotes writing a script before shooting, an approach I find difficult, but may work for you depending on what kind of film you make.  For example, a narrated, structured documentary might lend itself well to a pre-production script, while a cinema verite or direct cinema film may benefit by naturally unfolding itself on film and in the edit bay.

With shorts, its easier to get away with editing without a script.  Both Barberin’ and Making Mothers were constructed rather organically, the footage in both films somehow developing its own form as we cut and re-cut.  But the same approach did not work for our feature; it was simply too large.  So a script seemed like the logical next step, as reluctant as we were to write it.

Script Writing Lesson #1: Keep it general, stop relying on words!

We used a two-column TV format for our script; the left column for visuals and the right column for audio.   Below I’ve pasted the opening sequence of the script we wrote for Keeping the Kibbutz.  We didn’t write out the complete quotes, and were pretty general on which visuals we would use.  That is because we were very familiar with the material, and could easily call it up.  Not to mention, writing every detail can be exhausting, and likely a waste of time.  As you write your script, you will probably be reviewing your footage, so be sure to mark the location of each audio and visual piece in Final Cut so that you don’t have to go back and search for those pieces again.  Writing out the time-codes in the script would also work well.

Hampe also recommends keeping the script fairly general, especially when it is written before filming begins. “The script will include dialogue for actors.  But where real people will protray themselves, it may simply suggest what they can be expected to say,” Hampe writes. He also says that details on camera movement are not necessarily needed, unless they are essential to the script.  “A master scene simply describes what happens in that scene and leaves it up to the director to decide how to photograph it.”   Throughout the process of screenwriting, one must always be conscious that your film’s primary task is to show a story, not necessarily tell it.  Hampe suggests “thinking in pictures.”  He says, “If you can’t see it, you can’t film it.  If you are a writer trying to get a handle on how to do a script, remember that the hardest thing to do for a writer beginning to work in documentary is to stop relying on words.”

By Tessa Moran

The work of a documentary filmmaker does not end when the final cut is set. Rather, his work has just begun.  Now the film needs to be packaged, marketed and disseminated.  After all, one’s film would have been produced in vain if it is never shown to the public.  And the now weary filmmaker will not be compensated for his efforts if the film never reaches a paying distributor.  

Convincing the right people to watch or distribute your film is a challenge, expecially for documentary filmmakers, who by nature tend to be averse to self-marketing.  Though your film certainly speaks for itself, it may struggle to gain a platform without appealing packaging and aggressive outreach. 

This isn’t to say that the filmmaker should now master graphic design and transform into a marketing guru.  That isn’t possible, nor is it ideal.  Documentary filmmaking is a craft, and it requires a tremendous amount of attention, especially for those low-budget guerilla filmmakers who already wear multiple hats.  However, one must be attuned to the business of making documentary films, including marketing.  After all, we want to support ourselves so we are able to make our next film.  

I recently went to a seminar hosted by Kelley Baker, also known as the “Angry Filmmaker“.  Baker has plenty of unkind words for the “independent film industry,” which admittedly has drifted towards Hollywood and away from truly low-budget films.  He argues for self-distribution, even suggesting that filmmakers travel from state to state showing their films at small town theatres.  

Not everyone has the wherewithal to roam via bus with DVD in hand.  And Baker’s unorthodox approach borders on that of a used car salesman.  Throughout the seminar, he brought our attention to a table, where his “angry filmmaker” t-shirts, pamphlets, books and DVDs were on display for sale.

Nevertheless, certain aspects of Baker’s mission are worthy of consideration.  Most important is the concept that there is no sense in making a film unless people see it. Second, there is more than one way to distribute a film.  Ofcourse we all dream that our films hit the festival circuit, first premiering at Sundance followed by the usual big-leaguers: SXSW, Toronto, Telluride, Full Frame, Hot Docs, BritDoc, True/False. Then ThinkFilm and the like all scramble to pick up your film for theatrical distribution.  But few films garner that privilege, and there are plenty of films that receive their own level of success through a non-traditional route.

The following are a few notes I’ve jotted down on other distribution paths to take:

1) Sell DVDs yourself: This is actually easier than it sounds, especially these days with new self-distribution platforms like CreateSpace, which allows you to sell your DVD on Amazon.  You simply upload your film, including packaging, and it will be available for sale.  There’s no need to estimate inventory, as the DVDs will be produced as customers order them.  Your product may also be eligible for email and/or online promotion through the CreateSpace on-demand program.  The platform will take a decent cut of the sale, but it is still an easy way to get your film seen and make some money too.

Many DVD replication companies can also work with you to sell DVDs on demand, either through your own website or places like Amazon.  Kunaki, the DVD duplication company we used for our recent production, will duplicate, print and package your DVD on demand for the low cost of $1.75 (excluding shipping and handling).  Customers can order the DVD through Kunaki for the price you determine, Kunaki will pocket the production fees and shipping and handling costs, while you will pocket the rest. Good deal, no?

2) Educational: Documentaries tell stories, but they also teach, often in transformative ways.  Many of Ken Burns’ films were shown to me in my classes as an American Studies major at Georgetown to complement our traditional study.  And in my own time, I’ve continued to learn through documentary.  I knew little about the folly of the Vietnam War before being introduced to its number one player, Robert MacNamara  in Errol Morris’ The Fog of War. 

Think about putting together additional educational materials: discussion questions, background information, additional DVD footage. These materials could be sold together with the film.  Usually, “educational” versions can be sold for much more than a single consumer DVD, due to the fact that the film is being screened in front of larger audiences, usually multiple times.  

Contact Universities to inquire if their student activities organization would be interested in hosting a screening of your film.  They have budgets for these sort of events, and may even fly you out to attend a Q&A. 

3) Outreach: Non-profits are always searching for innovative ways to disseminate their message, and they are increasingly looking to documentary film as one way to do this.  Find a non-profit whose message resonates with that of your film, and contact the directors there about possibly tailoring the film to their outreach efforts.  Attend non-profit fairs, or connect with non-profits on  meet-up sites like Idealist.org.   

4) Television: Television stations such as PBS, National Geographic, Discovery Channel, History Channel, and HBO (to name the big ones) acquire a portion of their programming from third party production companies, rather than produce entirely in-house.  The competition is steep for these channels, and the requirements are strict. Watch each channel’s programming carefully to see how to tailor your film accordingly.  Make sure you have everything in check: broadcast specs, location and model releases, legal soundness.

Other stations that show documentary films include the Independent Film Channel, the Sundance Channel, Cinemax, The Documentary Channel, NOVA, Frontline.  These are just within the United States, but there are plenty of international channels that feature US-produced documentaries.  Channel 4 is one of the UK’s public television stations.  Here is their site for producers.

5) Online Distribution:  No, not youtube – the quality there is poor and you won’t make any money.  There are, however, online sites or channels that will showcase your film, with intermittent advertisements.  One example is Snagfilms, which also allows viewers to “snag” your feature film and disseminate it elsewhere, say, on a site that supports a specific cause aligned with the film.