Jesus Sifuentes

Straight up Matthew if I could I would only work in projects shot on film. Even for a 1/3 of my rate. I'm just bored to death already. I'm so committed to working back on film that I'm looking everywhere to jump back on any indie film brave enough to shoot in 16mm, Super 16mm or 35mm.

Hey Matthew. Valid point. Just finished watching Side by Side the documentary about film vs digital http://sidebysidethemovie.com/ Hosted by Keanu Reeves. They had interviews with Chrisopher Nolan, Steven Soderbergh, James Cameron, David Lynch, Richard Linklater, Martin Scorsese, David Fincher and numerous other Directors and DP's giving their take on the whole Film vs Digital topic. You know I was raised right in the cusp of Film and Digital. My first PA job was on a Target commercial, shot on 35mm directed by Albert Hughes. My first 6 yrs in the business I was working as a PA, Grip and 2nd AD where 70% perfect of all the work was on 35mm. Now it the last 6 years working as a 1st AD, Line Producer and Producer 95% of all I work on is on digital. There is a huge difference in disciple, prepping and atmosphere between being on a film set compared to a digital set. The shame is that the majority of these new directors and "directors of photography" just don't know the bear essentials of photography. Can't remember the last time I saw a DP with a light meter or an AC measuring distance for focus marks. What ever happened to measuring your Key Light, Fill Light and Back Light? Everything is a given on digital. Nothing is earned. There is no evolutionary process.

Hey Steve. Stacy Parks from Film Courage recently post her list on her website http://www.filmspecific.com/public/department206.cfm "...But Which Actors?" - A Guide To Researching Marketable Talent For Packaging Films. I renew my $25.00 monthly membership around ever 3-5 months so I don't have the list myself but the stuff I've gotten from that site is worth the price. Also Stacy recommends contacting foreign sales agents who will tell you flat out if who you have in mind has finicial weight in the foreign market.

It would be a combination of the UPM/Line Producer and the 1st AD with imput from the director and DP.

I got an original one that I am giving away for free if you sign up to my filmmaker newsletter. It's an original Excel file. Front and back. You can modify it for your own production. Just do a quick subscription and grab the file. If you personally don't like my blog then unsubscribe with no hard feelings :) www.mistersifuentes.com

Could have been the whole marketing and promotions budget. It's usually more than 1/2 the budget of any studio feature both indie and mainstream.

Awesome resource Michelle. Thank you.

Any work by Sam Bayer as well.

You could get a DGA signatory and have a professional UPM on your set. It's called a DGA's Low Budget Sideletter Level 1a http://dga.org/index2.php3?chg=

Rule of thumb is to keep every single form signed including, call sheets, shooting schedule, budget etc. For the most part your 1st AD & UPM will help coordinate all the paper work for the producer. I recently bought Gorilla Pro 4.5 http://www.junglesoftware.com/home/ which is a production software for Budgeting & Script Breakdown. Fairly decent if you are on a budget. I will be upgrading to EP Budgeting/Scheduling since that is the industry standard http://www.entertainmentpartners.com/index.asp The key is to always back up your digital files and make 2-3 copies of all documentation. You don't want any hurdles holding up distribution.

*updated* for future reference City of God Camera Aaton 35-III, Zeiss and Angenieux Lenses Aaton A-Minima, Zeiss and Angenieux Lenses Aaton XTR Prod, Zeiss and Angenieux Lenses Laboratory Megacolor, Brazil Film length (metres) 3573 m (Sweden) 3557 m (Switzerland) Film negative format (mm/video inches) 16 mm (Eastman EXR 50D 7245, Kodak Vision 250D 7246, Vision 200T 7274, Vision 500T 7279) 35 mm (Eastman EXR 50D 5245, Kodak Vision 250D 5246, Vision 200T 5274, Vision 500T 5279) Cinematographic process Digital Intermediate (2K) (master format) Super 16 (source format) Super 35 (source format) Printed film format 35 mm (spherical) (partial blow-up) Aspect ratio 1.85 : 1

does anybody know what camera and film stock were used?

You know I was doing some research on the same topic for a future production outside of the US. I found that the country of Turkey has some amazing incentives and the landscape is so diverse and stunning. http://www.turkishfilmcouncil.com/aboutus.php