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Jesus Sifuentes

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Posts posted by Jesus Sifuentes

  1. Jesus, I appreciate your honesty on the matter. Those who disagree with the difference in discipline have either A) worked with old school vets who have the old ways ingrained in them or B ) I question if theyve ever shot on film. I honestly have not seen the same disciline on a digital shoot ever. Not even once. Its too easy as humans to lax when you know you can.

     

    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. Gregg, I believe you touch on some good points. But I wanted to point out, although I know this is not new information, that film is about much more than the chemical process and even the look. It is about an approach to filmmaking that, I believe, is dying.

     

    That approach is about discipline, dedication, mastery of one's work, and that unsettling drive to pursue greatness the first time around. Digital filmmaking is introducing a new paradigm that basically allows one to always let the cameras roll, ignore auditioning, attention to detail, and most other aspects of a controlled set because either 1) you can experiment and shoot more without consequence 2) there is this idea that you might catch something greater because the camera rolls more often 3) some even have the idea "you can fix it in post." Then again, the post idea even started to creep in with film but to a lesser degree, I believe.

     

    Digital, in its quest to provide a pathway of entry, has done little outside of flood the market with lesser quality products. The barrier to entry of film seemed like an evil for some but it was a necessary evil. It permitted the dedicated and talented to rise to the top and the winner in the end was the end viewer. They didnt have the burden of sorting through thousands of low end films. Yes, there was always low budget stuff but the nature of film made those types of films easy to spot. Digital technology has allowed sleek presentations on the box with poor product on the disc. There is difficulty for the viewer to discern by looking at a box. In fact, many lower end digital features have greater artistry in their marketing concepts than in the finished product. Perhaps the filmmakers should switch careers and pursue marketing!

     

    So I dont over run my time, I just want to sum up that I believe the demise of film brings with it the end of an age of discipline, dedication to quality, obsession with detail, passionate desire to get things right the first time, and the death of patience in this industry. When you hear of people editing on the set before the production is over, you know something is wrong. Time should be taken and care should be given to look at the overall vision and behold what you did in production. If the Director is involved in the editing process, he needs a chance to process in his/her mind what just happened and to regroup, even if only for a weekend, before he delves into editing decisions.

     

    The implications for you working professionals is even worse, Im afriad. At least at the lower budget level. This is the first of the hammer falling. Soon filmmakers will cut you out if new technologies render you useless, and by useless, we arent talking about them getting the same quality as having you. No, they dont need as good of quality, only passable quality as enough to justify cutting you out of the chain. No different than film is being cut from the chain. Perhaps a studio boom stand with a long reach can replace a sound guy and any buffoon who can press a button can man the record and stop button to further automate processes that used to take skill. Ok, Ive said enough for now...would love to hear others thoughts.

     

    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. 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.

  4. 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

     

    Any work by Sam Bayer as well.

  5. 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.

  6. *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

  7. Hey guys - just curious, given the economic meltdown, where would you be looking to produce your movie in the current climate?

     

    for me, there are a couple answers to get started. First off, the dollar has enjoyed a resurgence recently, so it makes sense to look outside the US. A place like Australia has a pretty diverse list of film locations, a good film history = good crew hopefully, and their currency has recently tanked, giving me the max for my money, and they are English speaking, so it's easy to get around/crew up/ and even get some actors.

     

    If I were to stay in the states, I would be looking for somewhere with incredible incentives currently, like Louisiana or Michigan. For me, Michigan would make the most sense.

     

    Any other hotspots you would be considering right now? it's kind of a fantasy for me b/c i'm not yet ready to film, but i'm curious.

     

     

    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

  8. I know how it goes; believe me, we've all been there in that realm of the budget. actors/actresses working for points happens; but I feel differently about crew; especially pro crew. I wouldn't want to hire a "free" gaffer, myself, or a free AC. Doesn't mean I'm against negotiating something that production can afford but, like i said, you get what you pay for, or to use a term I learned in my highschool accounting classes, TINSTAAFL-- There Is No Such Thing As A Free Lunch.

    Actors/Actresses often benefit a lot more in terms of "resume/experience," from low-budget shoots than crew does [excluding DP]. The way I look at it, it's practice for them and you're often just using their raw talent. Same with a DP, who may be doing it free because it allows him to work in a new format, or for his own creative ways. The times this becomes a problem is for everyone else on the crew; from the grips to the makeup people all of whom really are working-- creatively of course-- but to pay the bills. just my thoughts on it. It's a prickly brier patch, often.

     

    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.

  9. 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.

  10. 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

  11. ...Didn't we have this conversation already? (Anyone remember the RED/pr0n thread a while back?)

     

    Shoot on film, man! GO FILM OR GO HOME! :P Give the production company some sort of deceptively wholesome name like "Puppies and Yellow Flowers" and start calling up rental houses.

     

    I <3 this forum....

     

     

    Andrew Blake shoots most of his adult films in Super 16mm & 16mm. I would go with a 16mm

  12. just take a stroll on your local Craigslist TV/Film/Video job post for a good laugh. Some of the job posting rates are just plain offensive. None the less I did recently get a 1st AD job of a Craigslist posting. Decent budget and decent rate.

  13. It all depends on where you are outputting it to. DVD use Mpeg-2. HD videos online then H.264. Nowadays most pc video players will play both because they have the codecs for it. A few years back it was a pain to view any video format online because of the numerous codecs. Now its not a problem. For a more universal codec I would use Adobe Flash Video codec FLV.

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