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Jack Aversano

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  1. The Compound Effect by Darren Hardy. Not lick of of cinematography in it. Invaluable non the less IMHO.....
  2. I saw 2001 projected at an art house theater when I was a wee lad of 9 and I totally got it. Years later went to a lecture hosted by Douglas Trumbull very cool.. Ridgecrest? I got a wife from Ridgecrest.
  3. the set has a bank of tube monitors and they need to be on
  4. I want to use my 5d (video) to film tv screens without the rolling scan lines. I'm shooting at 24p, 1/50
  5. I have been is the same boat trying to get the career moving. I moved to LA in dare I say out of a bit of desperation. Upside: I shot a short film in the area and had great access to talent and crew etc. Downside:I had very little luck in finding production work. For my last project I posted an add to hire a grip. I got 54 responses in one hour. 54. Having lived in NYC and LA I can say that one should not be attached to a location. I think it is more a function what your vision for your career is and if you can focus on that with out any angst or stress.
  6. Touchy issue here. I've seen matters like this before. Once Producer or Ex. Producer credit is offered or given it can open the floodgates to sociopathic behavior from the one getting the credit. Even if it is credit only. I've seen cases where the person was offered credit only provided they perform certain tasks as an incentive. Not only did they not perform the tasks they tried to hijacked the project. In another case I saw a Ex. Producer credit given and the individual ran roughshod over the project. The project was run into the ground and hundreds of thousands of $ waisted and only 1/3 of the film shot. My advice is if you are going to offer credit make sure you get a complete release and waiver from the person you give it to. The waiver should stipulate that she may not interfere with or block the film from distribution. A complete waiver of rights. Have a entertainment attorney draft it and get it notarized. Make her sign the writer agreement first.
  7. It's a small space and cramped. I like the 5d for it's size and low light. And yes it will get warm in there.
  8. Yeah I think the work flow on digital is so turn key now that film is not worth the investment. I can go from the 5d work flow right to a digital cinema package for theaters. Deliverables it seems are not an issue given good cinematography. The choice seems then to couched in what is the best artistic choice and for what funds. I'd rater invest in better. production design.
  9. I am facing a 10 day shoot to finish off a feature. This will be our "A" cast and comprise 2/3s of the film. We are also angling for a theatrical release. We have shot 7d and will shoot with my 5d if all else fails. Having looked into the issue with 5d and dig I am looking hard at 16 or 35. So let us assume I can get a bit more $ to shoot film. I will use the 7d/5d footage as well for parts of the film that are to look like found footage/documentary so with those bits the quality is not of issue. I know there are a lot of opinions out there. Over all cost savings of film vs. the easy of digital (which at this point is 5d)? Have anyone faced this issue? Thanks....
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