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Paulo Ardolino

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  1. Hello Ladies and Gents, This is my situation. I recently finished a show that has flipped and I now have enough days to join the union as a camera operator. I don't know how much it costs to join, but I know that I don't have enough contacts to work as a union camera op. If I join the union and continue to pay the quarterly dues, can I still maintain my union status? Also does this help me if I have a producer that wants to hire me as a union DP on an IATSE shoot? Or do I have to be in 600 as a DP for them to hire me as such? Also another reason I am considering joining now is that I have heard that when you upgrade to the next job level, they go at the rate for when you joined. Do you have to pay that full amount, or is it only the difference? On the other hand I have 100 paid days non union. Does this help me if I try and go the contract services route? I thank you and appreciate any advice you can give me in advance. P.
  2. Thank you so much Paul! This is very informative and I appreciate it very much. P.
  3. Hello everyone, first let me apologize if I have posted this in the wrong section, I just had some questions in regards to the roster and the union. My main question is should I enter in as a camera operator or as a DP? I have finally accrued 100 days working as both a cinematographer and camera operator. I have been trying to get my materials together and I have been talking with CASTF and they said that I have to pick one or the other. I'm trying to make my step up into bigger projects and I would like to join the union. I know that the DP route is much more expensive, but I would also like to be able to work as a camera operator, does joining as a DP hinder you from working as a camera op? And if I join as an operator will I be able to work as a DP? I really appreciate any advice you can give. And if you have any links to any other literature or websites that explain it I would appreciate it as well. Thank you again for your help. Best wishes, P.
  4. Wow David Mullen! Northfork is one of the most beautiful, best shot movies ever in my opinion (as well as an inspiration for a section of this film)! Thank you for your response... My negative is an A-B cut. I'm just curious as to why the IP is such higher quality than say a release print? Is it just that the stock is acetate and not SR? Or is it simply all in the contrast? Again any feedback is greatly appreciated! Best wishes, P.
  5. Hello there, I am currently finishing up the post process on my 35mm short. I am finishing on film and I am looking the best possible way to master my film for DVD/festival purposes. I originally wanted to telecine off the cut neg however I was told that is a near impossibility do to the fact that I would have jumps from the cuts. The next best alternative is the IP, but are the quality benefits enough to offset the costs (nearly 4 times the cost of a release print). I'm looking to make no more than 3 release prints therefore an IP to IN to release is moot. However I don't want to telecine a release print of the look is going to be anything less than professional. I've been looking everywhere for some literature on the IP process, and have had little luck. If you have any references or advice I would greatly appreciate your response. Best Wishes, P.
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