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Jesus Sifuentes

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Everything posted by Jesus Sifuentes

  1. 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.
  2. 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.
  3. Anybody shooting a indie feature on 35mm or 16mm?

  4. 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.
  5. It would be a combination of the UPM/Line Producer and the 1st AD with imput from the director and DP.
  6. Looking for an amazing producer to join my team.

  7. 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
  8. 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.
  9. 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=
  10. 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.
  11. *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
  12. does anybody know what camera and film stock were used?
  13. 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
  14. solid reel. gave a variety of lighting, texture and mood. like it.
  15. I second that. New directors and producers need to understand that the last thing you should do is underrate your crew. People make your movie not equipment. Keep in mind that the crew never get any residuals or points for working on low budget productions. As far as deferment payment I have never seen a dime from the earlier productions I've worked on. Make a fair offer to all professional crew 1/2 to 3/4 of their normal rate if its a low budget production. A few months ago I worked as a 1st AD/UPM on a comedy show pilot. My normal rate for a non union job is around $350 to $400 a day and the director/producer and I negotiated a fair rate for myself, my dp and gaffer friend's. We reassured him that a professional crew would give him a higher production value. Last month his comedy pilot premiered at the Alamo Drafthouse with a full audience. At first he wanted to offer $100.00 a day rate which I politely replied that maybe he wasn't ready to produce the pilot and that he should raise a bit more money, which he did after a week. New producers have to be reminded that not only is filmmaking our craft and passion but it is how we support our families and pay the bills. If you offer a grip $50.00 a day rate he has every right to hit you with a c-stand.
  16. I would suggest working on your production package; script, storyboard (colored illustrations always convey your visual concept best), budget, shot list, locations, mock movie poster, still photography of attached talent, crew resumes etc. It's your responsibility to have all this before you even think of approaching potential investors. It will show them how dedicated and passionate you are about your project.
  17. Burden In My Hand - Soundgarden - Jake Scott Come To Daddy - Aphex Twin - Chris Cunningham All is full of love - Bjork - Chris Cunningham Sober - Tool - Adam Jones Touched - Vast - Wayne Isham Los Mate - Tego Calderon - Unknown some of my favs out of the top of my head...i know there are tons more. awesome topic
  18. Andrew Blake shoots most of his adult films in Super 16mm & 16mm. I would go with a 16mm
  19. wicked style. caught my attention on the first frame.
  20. what were the odds? guess the old proverb still stands. "always have your camera with you" nice work.
  21. WW III had some excellent cinematography and the editing really blended well with the theme of the short. I dug it.
  22. very informative for beginners. production quality of the video was excellent.
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