{"id":2821,"date":"2022-05-18T17:40:42","date_gmt":"2022-05-18T21:40:42","guid":{"rendered":"https:\/\/redfeline.com\/chronicles\/?p=2821"},"modified":"2022-05-18T18:03:11","modified_gmt":"2022-05-18T22:03:11","slug":"the-new-adventures-begin","status":"publish","type":"post","link":"https:\/\/redfeline.com\/chronicles\/2022\/05\/18\/the-new-adventures-begin\/","title":{"rendered":"The New Adventures Begin"},"content":{"rendered":"\n

For the looks of it, it appears that Dani had a great time while location scouting for Aventura<\/mark><\/strong>, a film in which she has one of the two female lead roles, the role that Amy was going to have back in the day. Mila has a role too, but as one of the bad gals. Jac has no role except that of the kind dad of the director.<\/p>\n\n\n\n

The film was going to be shot sometime in 2016 but things changed. Amy left for the US, Jac went into the rain forrest after traffickers of Jaguar teeth, and things got kind of weird after that.<\/p>\n\n\n\n

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Back in present time, while Dani enjoyed the heat of the tropics, Jac faced the sunny sometimes hot but mostly cold winter of La Paz, checking those construction materials I mentioned before, but he spent most of the time at his computer, working on the script for 69 Ann\u00e9e \u00c9rotique<\/mark><\/strong> and assembling the shots for CruXtreme V – The Playmates<\/mark><\/strong>. <\/p>\n\n\n\n

He completed almost 4 hrs of material ready to edit, with 5 hours of raw material to choose from still.<\/p>\n\n\n\n

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The process of editing is fairly straight forward. The first step is to synchronize the camera reels with the sound reels. That is a good moment to look at the footage and to select the shots that are going to be in the film. <\/p>\n\n\n\n

Obvious you say? Yes, but the issue is WHO SELECTS THE SHOTS? Well… the director does, always, that’s why he’s the director. He might have an editor to work for him, but the director has to be there, at the editing table, selecting the shots. <\/p>\n\n\n\n

In the old days of celluloid, the film reels shot at any given day would be taken to the lab to be developed and a copy of the negative was made, right away, that copy was called the work print.<\/strong> That work print was then taken back to the studio for the director and producers to see how it all came out. <\/p>\n\n\n\n

They would get together in a screening room with a 35 mm projector and watch the reels.<\/p>\n\n\n\n

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This is what a work print looked like back in the good old days<\/strong><\/mark><\/figcaption><\/figure><\/div>\n\n\n\n

The lab work normally happened during the night and it was done in a rush, that’s why the work print reels were called “the rushes<\/em>“. <\/p>\n\n\n\n

However, If the production was in a far away location, like Haiti, for instance, the director would see the work prints long after the shooting was completed, maybe days, or weeks or even months. The director and producers could only hope and pray to all the gods and goddesses for all the hard work done in dangerous conditions to come out fine.<\/p>\n\n\n\n

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