[Bob Cole]

[Frank Otto] “Bulidings, such as Grauman’s/Mann’s/whoever Chinese Theater, The Flat Iron Building, The Gugginheim are copyrighed and trademarked.”

otoh, check this out:

https://www.swlearning.com/blaw/cases/rock_and.html

It is all very confusing. I agree with your sentiments entirely. The use of copyright and trademark law is oppressive.

My personal example: for a documentary I wanted to illustrate the concept that American culture has world-wide impact. Some corporations were happy to help, and sent me images of their products being used by ordinary people around the world. But one corporation sent me a letter threatening legal action if I used a shot of a man in China wearing a sweatshirt with their cartoon figure on it. It worked; I didn’t use the shot. Who needs trouble? But I sure won’t be going to their amusement parks anytime soon….

I’ve suggested this before for the COW, but I would still love to see a forum on law as it relates to filmmaking. We need a place to pool our knowledge. Is there such a forum anywhere?

— BC

[Bob Cole]

[Frank Otto] “If a client signs a document that claims to have licensed the material, it is up to you to do the due dilligence and verify the veracity of the document. If you accept, “bald-faced” the document and it turns out to be false, then you get to be a party in the action.”

I think you are absolutely right; but taken to extremes, this policy can be too careful.

If you think the client is wink-wink-nod-nod signing a document he/she knows to be false, then I’m with you 100%. If a client brings me material and his/her claim of ownership does not seem to be dubious, I don’t ask for documentation. For example, for clients who bring in factory-labelled buy-out music libraries or image CDs, I’m not going to demand documentation.

But if a hypothetical client were to claim that his copy of the latest Rolling Stone CD is licensed for his/her use…. maybe my editing system would suffer an inexplicable sudden total breakdown, and “you might want to try another shop.” Fortunately I don’t have clients like that. But if they were that unethical, you wouldn’t want to have them as clients anyway.

Wedding videographers do this all the time, right?

More to the point for documentaries, what about incidental music playing on a jukebox or radio, in the background of an interview?

— BC

[Bob Cole]

[Walter Biscardi] “but if I did need one, who cares what it looks like? Unless you really want to impress the engineers with a pretty clock. Just curious.”

To impress a client? That’s worth something….

I only use them when asked; I like timecode better. But I have heard that lots of tv station engineers just cue the tape up by eye anyway, in which case a countdown will help them zero in on the proper fade-up. I use a spartan, clean, combo slate/countdown.

As for needing a countdown, I just fixed a spot that had a countdown, and the timecode was obviously random. I suppose some editors just “print to tape” wild (I forget the proper term), and the countdown removes one more detail — timecode — from their world.

Walter, what are your “strict timecode guidelines?”

— BC

[Bob Cole]

[john sharaf] “I’d try to use camera setup first,”

I know you can’t tell us how to do that in detail as every camera will differ, but could you tell a little more about that strategy?

— BC

[Bob Cole]

If you want best price/performance forget wireless.

[Bob Cole]

It sounds as if the client changed gears on you at the last moment, and didn’t provide you with enough budget to rent a backup system.

I’d discuss it with your client as part of a debriefing. Rather than falsely claiming total responsibility, you should be honest. It WAS your fault … in that you tried too hard to please your client and agreed to a risky plan. Insist, for the client’s sake, that in future you have adequate time and money to prepare for the worst; have enough time to rehearse thoroughly, and bring as much redundancy as you can afford to the party.

As far as your sense of awkwardness with the client, respectfully, that’s understandable but it’s not warranted. Actually you are more valuable to the client now than ever. But having had this experience, you should show your client how you are going to benefit from it.

— BC

[Bob Cole]

[john sharaf] “I must be the truck driver”

Darn; now I’m disillusioned. I thought that there was at least one of us who had a nicer time travelling….

— B

[Bob Cole]

[Charlie King] “Hope this helps.”

It does help. Thanks. I’ve been undercharging.

— BC

[Bob Cole]

Do a search on this forum, including archives and all active posts, with the words “Interview lighting,” and you will have a good start.

— BC

[Bob Cole]

Even on non-stop flights, it is not unusual to have your checked luggage arrive after you do — sometimes the next day.

To AVOID that, arrive at your departure airport very very early. Our equipment tends to throw some inspectors for a loop; they feel no compunction about putting weird cases on a later flight if they can’t resolve their confusion in time.

To DEAL with that, I always hand-carry a bare-bones kit (camera, tape, lav mic, and sometimes monitor) and hope for the best.

John is too right about the airport luggage handling; it is brutal. I think there was an old commercial for Samsonite showing monkeys throwing suitcases around. Keep that firmly in mind as you pack your delicate stuff.

Finally, do as I suspect John does; have someone else drive your 4-ton truck full of gear, and fly with a toothbrush and a paperback book.

— BC