Archive Thirty
October 15,
2007 - Another Look
Swords on the wind, and reflections in my mind ...
Preparing
for my
Filmmaking
Seminar at the
Mt. Shasta International
Film Festival made me reconsider all that happened
this past summer. And I'm still amazed at what we did.
Yes, that's a big WE. And I think it's time for me to spread
around the accolades to wonderful people who made this production
possible. I know I will forget some, and I apologize in
advance. It isn't because I don't appreciate what you did,
only that you are victims of my poor memory ...
Vernon
(1st AD) -- I would go to war with you any day, brother.
I feel lucky I found you just in the nick of time, the best damn
Assistant Director around (keep that DP and those corn nuts
coming)
Michael
(Cinematographer) -- I felt your visionary prowess, and your
pain in wishing we had more time to let you paint the pictures you
and I both wanted, but who always pulled through in the toughest
situations and delivered.
Renee
(Production Designer) -- I loved your dedication, attitude and
heart, and would scoop you up in a moment for the next time
around.
Elena
(Script Supervisor) -- Your eye saved the day many times, your
great attitude sparkled throughout every day, and I loved bumping
you any day (our secret).
Roger
(Prop Master) -- There is no prop around that you can't find
or make. As reliable a person as can be found. Be
well, my friend.
Susan
(Casting Director/Co-Producer) -- No better resource person
around, I wish I knew all the people you do, ha and that laugh,
one of a kind and unforgettable, just like you.
Brion
(Line Producer) -- Dedicated, hardworking, nose to
the grindstone, unrelenting, a guy with real traction and knowing
what he wants, and doing a thankless job, yeah.
Peter
(Sound Mixer) -- A character I will never forget, whose
dedication to detail and perfection few can match, and he knows
all about sound too, wow.
Mark-O
(Transportation Coordinator) -- Oh my, what would we have done
without you? Our transpo needs became overwhelming, but not
with Mark-O on the job, what a guy.
Sierra
(Location Manager) -- She was much more than that, with loads
and loads on her plate she kept it together and made sure we were
together, amazing.
Robert
(Key Grip) -- No one worked harder, and kept his head
together, even if you only had one eye at times, and a nice guy at
that. Yes, grips, the backbone on any production, very key.
Jose
(Gaffer) -- You really know how to light up the sky, and can
be quite a lighting rod yourself, loads of craziness and daring.
Daniel
(Production Coordinator) -- Came in the middle of production
when our previous PC flaked out, took it right in stride and saved
the day. Don't know what we would have done without you.
Sarah
(2nd AD) -- What a woman, and what a worker, we love you
Sarah, keep it going girl.
Mark
(Camera Operator) -- As happy-go-lucky and even-tempered
person as there is, a real joy to work around and with, all the
best.
Carlos
(Art Director) -- Always searching for that final touch, that
final look before moving on. Keep your colors together and
cooking.
Aimee
(Wardrobe Supervisor) -- Have to give you credit, you worked
through some tough times and came out on top. What a
progression, huh?
Katherine (Key Hair/Makeup) -- No one more into what she's
doing, you climbed higher than you thought you'd have to.
But of course, you did it.
Sophie
(2nd 2nd AD) -- Another relentless worker, seemed completely
tireless and always picking up the slack. Loved your
attitude and having you around.
Rafeal
(1st AC) -- One of the trickiest and nibblest big guys around,
and one of the nicest.
Wooja
(2nd AC) -- A spunky, very diligent camera person, keep it
going girl, you'll go far.
Erwin (Steadicam
Operator) -- Erwin, Erwin, you added so much production value to
our shoot, your movements a work of art, and a pleasure to watch.
Eric
the elder (Construction Coordinator) -- Primitive Domicile,
dude. Damn, what a real monument to, to, uh, what was
that Eric? You're going to spend the winter in the domicile?
Watch out for the wood rats and other varmits searching for
shelter, oh my.
Niko
(Boom Operator) -- 'Boom!', you heard that enough, huh?
But you never shirked your responsibilities, and you pulled
through, real persistence in a tough job.
Andy
(Best Boy Electric) -- Quietest guy on set, loudest guy at the
bar and cutest guy around (so I'm told), a perennially hard
worker.
Jay
(Grip) -- Man what a hardworking son-of-a-gun. If I'd
have tried half the things he did I would have had a cardiac, or
two.
Winston
(Grip) -- Another one of those tough guys, plus he can act,
just be careful will ya'?
Christopher (Electrician) -- A quiet yet passionate guy, knows
his stuff yet still wants to learn, just don't get in his way, or
else.
David
(Utility Sound) -- Willing to learn what he had to get the job
done, keep it up and you'll go far. Hope graduate school
works out.
Chelsea
(Key PA) -- As smart as they come, and hardworking to boot,
starting in the office, moving to set and finally helping the
camera department, you go girl.
Hillery
(Camera PA) -- Always running around like a busy bee and
making life easier for the camera department. You learned a
lot, huh? Very good, you deserved it.
Will
(Set PA) -- 'Lock it up!' Do you do theater by any
chance? I will never forget you Will. Do well in
school (I'm sure you will).
Olga
(Set PA) -- You always seemed like you were doing something,
even when everyone else was just standing around.
Roslyn
(Craft Services) -- Always around, always quiet, but always
delivering the goodies, probably the most popular person on set.
John (Videographer)
-- Every time I looked around, there you were shooting all that
was going on behind the scenes. Well, not all cause we
certainly can't put all that on the DVD extras. Anyway, your
stuff might be as interesting as the film.
Doug
(Driver/Burglar) -- Still trying to figure out how you drove
all those people around with that damn black hood you were always
wearing.
Melinda
(Location Scout) -- You put up with a lot and did a lot in a
short time, sure wish we could have had you the whole shoot, be
well fellow ex-UT'er.
Shirley
(Office PA) -- Our thoughts are with you, hang in there.
Holly
(Assist Prod. Coor./Accountant) -- We hardly got to know you
before you were gone, but you helped shape that office up at a key
time.
Joann &
party (Catering) -- Food, fuel, the lifeblood of any production and
thus, one of the hardest jobs of all, keeping everyone's palate
and stomach happy. An army and a film crew march on their
stomachs. Thanks for hanging in there and getting it done.
(Sorry I don't remember all of your names.)
Eric
the younger (Art Dept PA) -- Last but not least, in my eye
anyway, my son. Who I watched grow a lot during the shoot,
who came through in a pinch, and who I'm very proud of, thanks for
all you did. Now get back to studying.
The stars
must have been aligned just right to have lucked out with such an
amazing crew. Thanks all!!
Oh my, but
I mustn't forget my wife, Berry, Executive Producer. The one
who put together all the dough, from where who knows for sure,
leaving no stone unturned, squeezing a dollar out of a dime.
Believing in me and my vision, so unfailingly and so completely,
never flinching, always there. Without her fortitude and
support, none of this would have been possible. Love you
always ...
Jerry
October 25,
2007 - On word & Up word
Feeling the past and sensing the future, time doesn't need
prisoners ...
Well, I
had actually had fun doing that filmmaking seminar (see above).
Certainly more than I expected. A couple people told me
afterwards they enjoyed it more than anything at the whole film
festival. Wow, really? I never envisioned myself as a
teacher, but who knows? ...
I do admit
that preparing for it I did feel some anxiety, as I still was
pretty close to the actual experience. It had been (and
still is) a very personal journey. Writing about the process
on a blog is much less threatening than meeting and talking to a
group of people up close and personal. But once I got
started, it was a piece of cake. In fact, you could hardly
shut me up. We went over time wise and I could have gone on
for hours longer. As you can imagine we barely scratched the
surface. Some very good questions were asked, and I was
almost stumped a couple times ...
And when I
was asked what my favorite part of the whole production was, that
got me for a few moments. Of course, it all was, but I had
to answer something. And I had to say that working with the
actors was probably the most fun I had on the whole production.
Does that make me an actor's director? Who knows? I
didn't say I was great at it. Guess you'd have to ask the
actors ...
And now a
few words about the talent ...
Erin
Gray (Hope) -- What a lady, and what a class act. I
would work with you again without thinking about it. A
beautiful, daring, energetic being. And now a newfound
friend.
Gary
Graham (Marcus) -- A fun-loving, funny guy. Someone to
always have around on set to make sure we don't all take ourselves
too seriously. Levity, his middle name, but takes his craft
seriously.
Najarra
Townsend (Sofie) -- A most natural actor, you could go far
girl. Keep at it, but please take the time to smell the
roses, cause we don't want you to burn yourself out. And
don't lose that killer smile, it paints you well.
Mitchell Presas (Troy) -- You're a riot. Beneath that
quiet, shy exterior lies a witty intelligence mind, wheeling,
dealing, spinning, rocking. Keep having fun.
Tim
O'Connor (Ambrose) -- What a kind, gentle soul. I feel
lucky I got to meet you. In fact, I'm counting on you and
your wife to come by our Shasta house and visit us. See ya'
soon ...
Christian Carroll (Ryan) -- You really got that James Dean
thing going on, but I know you're really your own person.
You have talent you haven't discovered yet.
Robert
Pike Daniel (Shaemus) -- Passionate and fiery, but sensitive
and strong. Someone you'd want on your side, cause you'd
certainly not want to go against him.
Jesse
Massari (Little Girl) -- As cute as they come, still learning
about the process and the talent you have waiting to come.
Be patient, and it will find you as you find it.
And
sometime later a few words about all those bit part players who
filed in the gaps for us ...
Jerry
Comments --
New movie networking site -- 10/29
I've been reading your film blog, and I thought you might be
interested in checking out a website I just recently launched,
www.movieduo.com.
It's a networking site geared towards people who are really into
films. It allows you to connect with friends, see lists of movies
they want to see, send movie invites, and write reviews.
Thanks, Dave
November 5,
2007 - Getting Organized
New embers to light and bring forth into the world ...
Several
things going on at the moment ...
Yes,
getting our post-production situation in order.
Silverado Systems,
with help from consultant Mike Curtis (HD
for Indies), is putting together a custom editing system for
us. Finally! ...
Also, by
the beginning of the year we should have a brand new, much more
comprehensive website up. The one we have now we threw up
very hastily and is a bit wimpy. But lots more to come
relatively soon (www.dreamsawake.tv)
...
Also,
we're putting together a comprehensive marketing and distribution
plan. One that I believe will be quite unique, as we feel we
have a very unique project here. I don't think most
traditional distributors will know what to do with this film, so
we're going to prepare the process for them (and us). Should
be something, as I just love moving targets ...
Jerry
November 16,
2007 - To strike or not
Do unions matter any more? ...
So the WGA
decided to take on the studios and fight for their piece of the
worldwide pie. Hhhmm, does anybody really care? I
remember the 1988 strike that lasted around five months. I
had just arrived the previous year in L.A. searching for my piece
of the celluloid gold. At that point I had already been
hired once to write a script and two of my others were under
option. I had been sending around a couple other scripts and
was starting to get some notice. Then the strike.
Being clueless to L.A. union town status and having grown up in
Texas (a right-to-work state) I didn't think the strike applied to
me, not being a WGA member. Little did I know. I
was still sending out scripts and trying to take meetings, just
wanting to get hired somewhere by someone. Somehow the WGA
got wind of it and I got a letter from them. A warning, to
be more specific. Stating that I'd better quit my
activities. Say what? They warned me that if I
persisted that I would never be allowed into the guild.
Okay. What about if I didn't want to be a member? They
brought that up in the letter, stating they would use their
membership affiliations to make sure I was blacklisted (not their
term, mine, but their intent was clear) from working on any other
film projects. Wow, that really soured me on them before I
even knew much about what they were about. Could they really
do that, or was it just the politics of fear? All this in
the midst of the collapse of the evil Soviet Union? And
what, it was being imported into the good old U.S. of A.?
Can someone really tell me when I can work or not? Of
course. But can they make me? Of course not. At
least, not yet. What's intriguing is that strikes like this
are supposed to be about guild members and guild-signatory
production companies, not low-life minions such as myself, but
apparently they are about more ...
Now I'm
certainly not anti-union, and can certainly understand their
plight against the big bad studio conglomerate world, but do you
really have to threaten the average guy trying to make a living?
Positive reinforcement certainly would have worked better,
alluding to what their fight was really about and how they needed
my support. They hardly even referred to that. Too
bad. I doubt at this point I'll ever join a union. Can
I support their cause? Of course I can. If they ask me
politely ...
Word
is out that this could be a long one, what with the SAG and DGA
agreements both expiring within the first six months of next year.
Maybe all three could be on strike at the same time. Wow.
Could this really last nine months or more? Double wow.
And now I'm hearing the some of the presidential candidates will
not cross the picket lines at some of the network and cable
sponsored debates because the news writers are showing solidarity
with their unions brothers and sisters. Could this thing
maybe affect the election? Triple wow. On second
thought, maybe that wouldn't be so bad ...
And yes, a
very intriguing take from the founder of Netscape:
Rebuilding Hollywood ...
Hey, maybe
some of the elite, over-paid talent should help all those other
working class in the guilds out. Check
this article out. Yeah, that's the ticket ...
And
another more basic one from
Newsweek ...
And of
course words from an actual
striking screenwriter ...
And
finally, something from those party-liners at
United Hollywood
and
Deadline
Hollywood and on their two pieces on YouTube,
Voices of
Uncertainty and
Why We Fight...
One final
note on the strike and our film. Having been the writer,
director and one of the producers on our little film, I wonder
what would have happened if I had to pick sides with one of my
multiple personalities. Hhhhmmm, possibility there's a
screenplay and film in that scenario right there? Or maybe,
we all just go the path of Robert Rodriguez, and quit the WGA and
the DGA all together, and tell them where to stick it. Nah,
and then we'd all just be like him. To each his own way ...
All I can
tell you now, is turn off the tube, the monitor, the cell, and
take your family and friends with you, and go out and enjoy real
life, not those simulated reruns we use to substitute life with.
Connect to something real and organic, and maybe after awhile we
won't give a damn about all this striking nonsense. And it
will mean absolutely nothing in the scheme of things.
Because we found a better way, to live ...
Jerry
November 28,
2007 - Pre-Holiday Motions
What to do, let me count the ways ...
I'm
currently in high-speed, multi-tasking mode, and with never enough
hours in any day, week, or month to get the traction I'd truly
like, but I'm getting there ...
Waiting
for the final components to my editing system. Really
chomping on the bit to get that into high gear. You probably
already heard Apple has updated their operating system (Leopard),
and I was intent on getting it, but I've been hearing too many
tales of it crashing Final Cut Studio, as well as not having
software updates for third party vendors who interface with
hardware or software. So, I'll have to wait until I've
finished this project before I update, as that will probably take
several months to get straightened out ...
I did take
a couple Final Cut classes, both lasting two days; one from
Larry Jordan and another
from
DVCreators. While
they didn't dive real deep into the program, they gave a good,
broad overview. Since I've had some editing experience and I
generally know how editing software works, some of this was
review. But the specifics will still be quite a learning
curve. And since I am highly motivated and can be such a
sponge, I believe once I have enough time with a piece of software
I will do all right ...
I'm also
working with my youngest brother on our new website. He's a
whiz at this stuff, but at least I can strategize and visualize
what I want. Plus of course, provide a lot of the needed
content. I think this will go in two or possibly three
phases. The initial website will have lots of stuff, but
probably not a trailer, yet. We'll add that and a few more
goodies in the second go-around. The third phase will have
lots of extensive content concerning the mystical/spiritual
components/issues brought up in the film. And probably a
merchandising element by then. We've got to make some dough
to keep doing this, right? ...
And, I'm
also working on a comprehensive and alternative marketing and
distribution strategy. This is very challenging, as it
requires a pioneering sort of attitude. A la wild, wild west
on the net. But of course, a lot of people are talking about
this these days, but very few people are being successful.
That's the pioneering part, being able to actually make a living
doing this. I don't why, but I have a feeling that within
two to three years, that's going to get figured out, and we'll be
seeing more success stories. I'm focused on trying to be one
of those stories ...
And
finally, a few more notes about the WGA strike: Doesn't look
good:
Talks hit Pause Button fro Variety.
More words from the
writers:
Strike 3? - Talks 'Stalemated'
Some intriguing points:
Come on Writers &
Studios & Indies, Unite? from
the LA Times ...
Jerry
December,
2007 - Adventures in Post
A month to behold, a month to begin the journey end ...
I know, I
know, I haven't posted in awhile. I need to clone myself, or
something. Anyway, lots to get caught up on ...
My post
plan, for the most part, hasn't changed too much: Log and
capture all our tape footage onto hard drives, obviously all
neatly backed up. Make sure all that media is
well-documented, well-managed and well-noted. Hire an editor
I can work with. During that process bring in a special
effects wizard, as we have a number of shots that need that type of
'manipulation', from compositing, to effects filtering, to
possibly rotoscoping, to possibly modeling and animation. If
we need color correction (which we probably will), maybe bring in a colorist, unless the
editor can do that. Once that is locked in, we'll need a
sound editor, again if our main editor can't do that. We may
bring in our sound designer to do the sound edit as we will also
need him at this point. And once picture is locked we'll
need our composer, who the sound designer will also work with.
And finally, a final mix of it all, into something deliverable to
an audience. In what form, yet to be determined by how
distribution plays out. And nowadays, it seems offline and
online edits have almost merged, where you can actually have
initial high-quality output that may be good enough for an
audience. Except if you hope to conform to 35mm instead of
digital projection. Then you probably need a serious online
edit. But from what I understand there are over 2000
theaters that project digitally in this country now and that is
growing continuously. The problem though is that projector
standards vary quite a bit, and it is possible to have perfectly
fine media, but the projector may not be up to snuff. I've seen
that happen and it's not pretty. Anyway, onward ...
12/05
-- I finally received my editing system and tore the boxes apart
to see exactly what I had. Of course, I knew what it should
be, but to actually have it was a rush. Although it wasn't
all that easy getting it. Our place at Shasta is on a dirt
road in the boonies and not always accessible in bad weather.
A storm had just dumped snow and more was on the way, so I had to
have it delivered to an alternate address in town. That
involved me going out in weather and picking it all up there,
which I was quite happy to do. I'm not a Mac guy, even
though I have played with Mac's, but I certainly looked forward to
it. I also got a quote from the people who sold me the
equipment on what it would cost me to rent an HDCAM deck.
Obviously shooting on the Sony 900 camera, I have lots of those tapes to
log and capture ...
12/06
-- I'm reading manuals and playing when I can. The rental
deck shipped today, and I can't really do anything until I get
that deck hooked up and flying. It should be here tomorrow.
In the meantime I get myself organized to start rocking, as I'll
be on the clock. My plan is to try to log and capture 54
tapes in a week. Although, in the back of my mind I'm
betting it will be closer to two weeks. One week would equal
almost 8 tapes a day, meaning half that for two weeks.
Logging 8 tapes with a capacity of 50 minutes is a lot for a day.
Especially since I will be logging each clip (take) separately not
the whole tape at once ...
12/07
-- I got the HDCAM deck, the J-H3. Except the Fedex guy
refused to actually drive up our road, so I drove down to meet him
at the hard road. Sheesh. I had some errands to run so
I didn't actually get to hooking up the deck until late in the
day. And then I hit a wall. I had hooked up the deck
to my computer through a Kona card, but I kept getting a 'No
Communication' error message. For some reason they weren't
talking. Pretty sure I had hooked all the hardware up
correctly, I worked for hours changing the software settings,
within Final Cut and the Kona menu. Nothing worked. I
emailed Silverado (the Apple VAR who sold me the equipment,
customized it for me and tested it all) since they were already
closed for the day. Tyler was my contact and he was very
accommodating ...
12/08-09 -- I worked through the weekend trying to get the
deck to work. Nada. I was getting frustrated, being on
the clock and chomping at the bit to look at all the footage.
I had seen some of the footage from the dailies, but not all, as
we had some technical difficulties with that equipment during the
shoot. Tyler and I emailed through the weekend, and I went
to several online forums and posted my dilemma. I got all
kinds of suggestions, some of them that were part of the problem.
So I tore apart the hardware and reset everything up. Late
Sunday night I figured it out. It was a combination of a
hardware problem and a software problem. That always makes
finding these kinds of solutions difficult, because I usually try
changing one thing at a time and get there by process of
elimination. But having two things wrong makes that
exponentially more difficult ...
12/10
-- I've already wasted three days and so I hit the road flying.
I logged and captured 6 tapes, and the footage looked wonderful
...
12/11
-- Another long day, about fifteen hours, and I got another 6
tapes taken care of. Tyler informs me that I should get the
extra firewire backup drive (1 terrabyte) I ordered ...
12/12
-- Oh no! I fire up the computer and on the desktop the hard
drive where I'm capturing my media has vanished! Say what?
I go into disk utilities to check the drive settings. My
system has four internal hard drives, all 1 terrabyte, a boot
drive and three other drives striped into a RAID (yes, striped,
not mirrored). It reveals that one of the drives in the RAID
has failed. I get that sick sinking feeling in my gut.
I shut it down and restart it. Same thing. I call
Tyler, and they've never seen a new drive take a dive so soon.
They order a new drive for me. So I've lost all my work,
don't have usable drive space, have wasted almost a week and am
still on the clock for the deck rental. I dig my heals in
and suck it up. I go over into town to pick up that backup
firewire drive at my backup delivery location. Is there a
theme here? Backup, backup, backup, but at that point I had
nothing to backup to ...
12/13
-- By the way, I was getting ready to do the 13th tape when this
fiasco happened, and now on the 13th day I'm trying to get
restarted. I'm not superstitious, so just has to be a
coincidence. Right? Anyway, since I still have the
logged edit in and out points (I lost the media but not the info
about the media), all I have to do is stick in the 12 tapes and
recapture the media on the G-Tech firewire drive. It's
firewire 800, but it's not as fast as the internal drives.
It takes the rest of the day, so I lost two days from this fiasco.
And realizing that this drive may run out of space by the weekend
and that Silverado may not get another internal drive to me before
the weekend, I order two more firewire drives online, a 1.5TB and
a 2TB. That should be enough for capturing through the
weekend and for backup, until I get the new internal one and can
build a new 3TB RAID ...
12/14
-- So it's been a week now, and Tyler just informed me that my new
internal drive won't come until Monday. Also, only one of my
new firewire drives will arrive today, because of availability.
With the Apple's recent release of Leopard, I've been told that
people are buying up these drives like crazy. Hhhmmm,
really? I log and capture 6 more tapes today. 18 down
and 36 left to go. At this rate I'll be doing this two more
weeks, but obviously I can't. Christmas eve is 10 days away,
and I've done none of my shopping. Plus I have to drive down
to Ventura for the holidays with the family. I'd planned on
leaving next Friday or Saturday, so I only have a week to finish
this. I'm really on a fast track now. It's at the end
of the business day and that new firewire drive hasn't arrived.
I track it online and it says it was delivered. I go to both
the front and back door, but nothing. I call UPS, and they
claim they delivered it. Nope I say. It's snowing
pretty good now, and am concerned I won't have enough drive space
to capture all weekend. Backup plan is to log the tapes all
weekend and capture once I have enough drive space. It's
dark and snowing and with flashlight in hand I decide to check
outside again. I walk around the whole house and find the
package with the drive on the side of the house at one of the
sliding doors to a bedroom. Jeez, what was that guy's
problem? It's got to be below 20 degrees, and I wonder how
long that drive was sitting out there. Not sure the
temperature parameters for hard drives, but it should be okay.
Hopefully ...
12/15-12/16 -- I have enough disk space to capture all
weekend. I'm snowed in, so nothing else to do. I get
very little sleep and log 16 tapes over the weekend and make sure
all my media is backed up ...
12/17 --
The minimal sleep and stress is starting to get to me, as well as
feeling a case of cabin fever hitting me. That internal
drive has arrived at my alternative shipping location in town, but
don't feel up to going out. I log and capture all day.
6 more tapes down. I have to admit the footage looks great,
but there are a few more takes I wished I'd gotten of some of the
scenes ...
12/18
-- I slept more than usual last night, and prepare myself for that
final stretch home. I log 7 more tapes, and go out to get
that new internal drive. I haven't gotten out for days and
look like a mountain man. Wow, three-dimensional space, so
used to staring at a two-dimensional 30" screen, seems a bit
weird, actual interactivity with the real world. Late that
night I install the new internal drive and create a new RAID from
the three drives ...
12/19
-- I have 7 more tapes to log and I go for it. We had a
second camera that last week of production and I'm now logging
those tapes. There must have been something wrong with that
camera, because there are lots of time code breaks on a number of
takes, meaning those takes are saved as more than one clip.
So if I use those takes in a final edit, I'll have to stitch those
clips back together. Problem is there may be some dripped
frames in there. Hhmmm. Since I already have a system
down with my firewire drives, I don't even use the RAID. My
plan now is once I've captured all tapes on the firewire drives I
will backup all that up to the RAID. Then use it for my main
scratch disk (source drive) and use the firewires as my backup.
And I have another firewire drive that I can backup a final edited
master to, and actually will probably have a main master on my
RAID, and two backups on firewire drives. We'll see, plans
may change ...
12/19
-- I've logged and captured all 54 tapes, as well as backups for
all. Yeah! I get myself together and prepare for my
long journey down south for the holidays. Somewhere in there
doing all this I found time to do my shopping. Hooray for
the Internet. The last stuff is delivered today, so I can be
Santa bearing gifts when I get home ...
12/20
-- I load up to head down. I decide to take my editing
system with me and break it down. My SUV is completely
loaded up. I drive to the local Fedex and ship the deck and
crashed drive back to Silverado. I head over to Santa Cruz
to meet Eric, my son who goes to UCSC and who worked on the film,
to caravan down with him ...
Wow,
reflecting and looking back on this journey that has taken almost
four years of my life, and realizing that I am on the last leg
before we get it to an audience, is a totally amazing feeling.
And the fact a new year is around the corner. A new year
with all kinds of possibilities, progressions and potentials.
A year I get to actually see my vision realized in a final form.
Wow, I'm almost there. Happy New Year! ...
A final
note --
IFQ interview with Najarra Townsend, one of our cast members
...
Jerry
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