Documentary Filmmaking Step by Step - How to get it made

Every great documentary starts with an idea. But where do ideas come from? And how do you know if your idea is good?

You found the perfect subject or subjects for your documentary, now what?

You've got some interest from your subject(s) now how do you get them to commit, and what if they want money?

You've got some subjects committed and/or interested in being part of your film. Now how do you get the money to go make it?

Your treatment, your deck and especially your log-line are essential to communicating the vision of your film. But how do you make them? And what do they look like?

Anyone putting money into your film wants to see a solid budget. And you need a schedule to make a budget. But how do you make them? What line items do you absolutely need? And most importantly, how much should you pay yourself?!

Your film is a small business, how do you protect your business? 

How many people do you need on set of your documentary? 2? 6? 10? Where do you find them? And how much should you pay them? (All rates given here are as of late 2018).

So, what are you going to shoot? Not sure? Here are some ideas that work for nearly any documentary.

Wether traveling across the globe on a shoestring budget or filming in your backyard, what gear is necessary to make a documentary? 

So you've started shooting. But you've got a long way to go. How do you earn the trust of your subject(s)? And when should you put the camera down?

What should your camera and audio set-up look like? What does mine usually look like? 

I've interviewed difficult subjects from Julian Assange to Alt-Right leader Richard Spencer. Here's some tips for conducting a great interview (especially what not to do).

What should you expect a typical shoot day to look like? I break down exactly what one looked like for me, complete with video, so you know what to expect.

For many filmmakers Cinema Verite scenes are going to provide the backbone of their storytelling. But what is Cinema Verite and how do you film it? And what about Direct Cinema?

B-Roll is the secret weapon of any documentary. Nearly every documentary film is going to contain some amount of B-Roll. So how do you spice it up? Here's some secrets I've learned after shooting B-Roll for 8 different features.

The age old question: Do I really need to get releases? And in what cases do I not need releases? And what if someone permits me to film and then changes their mind after and won't sign a release? Can I still use it? Yes, here's all you need to know about releases.

"The Hiatus" is my secret weapon, learned, practiced and nearly perfected after 8 features. Plug it into your schedule and reap the benefits in the edit room.

How do I know when it's time to stop shooting?!

How do you find an editor? How do you pick an editor? How much should you pay an editor? What software should you edit on? Prepping for your edit is perhaps one of the most important steps in the process of making your documentary. Pay attention!

What's an "Assembly Edit" and how do you go about making one? Is this the job of the assistant editor, editor, or director? My answer may surprise you.

I share some secrets about what to shoot after your rough cut is done. I also answer the difficult question- How do you know when you have cut a rough cut that's good enough to show people? 

How much should you pay a music supervisor and a composer? And what does a standard music budget for a documentary look like? I get into all this plus share some of my experience working legendary composer Clint Mansell (Requiem for a Dream) and share some secrets to finding great, free music.

Think preview screenings are only for big budget Hollywood blockbusters? Think again. I tell you why preview screenings can be a great tool in the edit process. Also included is my personal preview screenings form you can edit to your liking.

The edit of a documentary can go on forever. So how do you know when it's time to lock picture?

Do you really need to hire a team of professional sound editors and mixers for a documentary? There are no car chases and explosions. Uh, yeah, you do. Here's why and here's how much to pay them and how to save a ton of money during the mix.

How did we get Academy Award winning actor Benicio Del Toro to narrate a documentary with a budget under $100K? I tell you how and share some secrets for how you can get world class talent on board to narrate your film. It's not as hard as you think.

Well designed titles and graphics can really raise the production value of your documentary. But how much is that going to cost you? The answer is lower than you probably think. I also discuss all different types of titles you could possibly throw into a film and show examples from The New Radical.

Does a super low budget documentary really need a color correct and an online? If you want anyone to see it, it does. But how much is that going to cost? I give you some secrets to keeping the price down low and the quality high.

Nervous to screen the film for your subject? You should be. Eight films in and I still get nervous. Here are some tips I've learned over the years on how best to show your subject the film, make them happy and still get your way, and protect your creative control.

Getting into a big festival won't make or break your film, right? Actually it will. Here's some tactics I've used over the years to get into a great film festival even if don't know anyone on the staff.

You got into a major film festival, congrats! Here's how much it's going to cost you, and how to save money. You're also probably wondering if you need a publicist. The answer is not necessarily "yes."

You don't really need a sales agent, right? You can sell the film on your own? I made the same mistake too. Here's why you need a sales agent, what percentage is fair to pay them and how to keep from letting them rip you off. The devil is in the details (of the contract).

Awesome, you got an offer from a distributor. But are you getting a good deal, or getting ripped off? And what are your other options? Hint, you have a bunch of options, many of them potentially lucrative.

You found a great archival clip on YouTube but the rights owner wants more than your entire archival budget, for 10 seconds! Do you have to take it out? Not necessarily. "Fair-use" is a filmmaker's best friend, but it's also a thorny, complicated subject that I break down in 15 minutes.

You didn't get a distribution deal. And your festival run is over. Time to give up? No way, time to make some money! Here's a self-distribution crash course that will hopefully help you get some or all of your money back.

Thanks for watching, and stay in touch!