Andy Yeomans

Thank you for the suggestions. Puting the time period aside...what are the main steps in creating such a brown hue for shows like '24' and 'Numbers' and the movie 'The Arrival'? This isn't what I was looking for but I am curious...is it mainly in the timing or is it filters? Thanks

If I could think of a movie off hand I would tell you, but unfortunately I don't know that many movies from that time period. I come from still photography, and when I think of that 70's look, I think of old slide film that is somewhat desaturated and has a brownish hue to it. But if I think of a movie, I will let you know. Thanks Yeomans

I am going to be shooting some interviews (digitally) for a documentary. I want the interviews to have a 70's look somewhat and I'm looking for a filter to go along with post work. The interviews will be done in offices and I will not have a chance to do any pre-lighting or set backdrops...I will just be going in and shooting the interviews. I'm not sure how to describe it best but saying I want the 70's look. I am looking for filter recommendations but anything will help, especially best lighting practices that are done on the spot. Thanks Yeomans

Thanks

Hello, Is there a reference somewhere for colors in cross-processed film, such as color saturation amount, color change and amount of varience with different lighting and film speeds? I am looking for a lighting scheme that is cross-processed but very blue and white. Thanks Yeomans

Hello, I am looking for suggestions for specific gel applications. I am going to do some still photography shots that will be lit entirely with your basic Home Depot, 32 watt, dual bulb cool white flourescent ballasts and I need to subtract all of the green because this will be cross-processed. I will be shooting a scene that has a color scheme of only pink walls and black clothing and fairly pale skin. I need to know how much "minus green" to add to the ballasts to subtract all the green. It's 35mm still and I shoot most of my portraiture on a 50mm lens. I will be using either Kodak 100 Kodacolor or Fuji 100 Velvia color reversal and it's all indoors. I would do some tests but I would like to know how close I can get with anyone's knowledge. Thanks Yeomans

Hey, I bought several, 2 tube 4 foot flourescent ballasts from home depot and they work great for soft lighting. With the adjustments you can make on the XL2, the color of the flourescents can be controlled. For directional lighting, I bought several clamp on fixtures, the ones with the metal domes that require regular incandescant bulbs. I then bought some stainless steel heating/cooling ducting and mounted it to the dome. I painted the inside of the ducting with flat black paint to control directionality. The dome lights can usualy use up to 150watt bulbs. The GE Reveal bulbs look great on the XL2. That's just what I do...with my very small budget. Yeomans

Can someone give me an exact example of how they would or have used a viewing filter? I guess I am just not getting it. Thanks Yeomans

Hello, Is there a way to achieve a cross-processed look in camera with the XL2 or at least something close without having to do it all in post? Thanks Yeomans

Hello, Is there a way to achieve a cross-processed look in camera with the XL2 or at least something close without having to do it all in post? Thanks Yeomans

Mr Burton, What set up did you use on the XL2? Thanks Yeomans

Can someone explain exactly how a viewing filter works? I looked through one the other day and it seemed like I was just looking through an ND filter. Maybe I wasn't looking at the right lighting to tell a difference. Thanks Yeomans

Is there an option on the XL2 to set a simulated ISO speed or is my light meter now useless for determining f/stops? Thanks Yeomans

That's what I was looking for. Thanks Yeomans

If I am using the Mini35 adapter, which focal lenght measurements would I use? The 35mm measurements or the 1/3" CCD measurements? Thanks Yeomans

I think you need to click on Demo. Looks good, but the music just doesn't grab me...I think it might be too mellow. Yeomans

Has anyone used the Optex Arri PL lens adapter for the XL1 or XL2 cameras? These adapters are far cheaper than the Mini35 adapter and I want to know if they work well and have high quality. Thanks Yeomans

Mr. Mullen, Do you have any particular scenes in mind? (refering to the wide angle camera moves) Yeomans

Hey, Does anyone have any links to some music videos, commercials, movies etc. shot on the XL2? I am looking for a wide range of XL2 examples (lighting, lenses, filters etc.). I've seen 28 Days Later and have read the articles, but I want more. I've been impressed with what can be done with some adapaters such as the Mini35, but I want to see it in action with the XL2. Thanks, Yeomans

Believe me, I am always open to criticism and opinions. What I have found is, the movie works for some and not for others. This was my first movie, and although I have been focused on being a DP, I want to direct. Again, I hate writing and would have rather directed something else, but I was required to write it. I appreciate the honest feedback...now I'm off to my next project. Yeomans

Regarding the question about the 35BL...unfortunately I did not have access to the 35 camera, I was required to shoot on 16mm, which I was happy with considering I wanted the grain. I did make this movie for less than $400 toal including processing and transfer, so I can't complain. yes the script was pretty raw, but I was actually going for an odd type of dialogue and I had to tell as much story in as little amount of time due to time constraints. There are things I would have done differently, but that's for my next project. Thanks again for all the comments, I appreciate it. Oh, and I was unhappy with the upload quality, the sound from the orginal turned out great, everything is clear. The echoing is what I wanted, it's a warehouse, and it's natural. I love natural. My movie has been seen before, I had to play it in a theater for judging. Thanks Yeomans

What do you guys from Enlgand know anyways...Joking! I appreciate the feedback. Although as much as I would like to write, I suck at it. Thanks Yeomans

Too bad I did...at least the one I went to.

My questions were a little unclear, but your answer is perfect. Thanks Andy Yeomans

I am fresh out of film school and the one thing I am unclear on that is really bothering me is the pushing of film stops. I tried using the search option but I came up with nothing, so sorry if this has been covered before. Okay, maybe two things...first, can someone explain quickly the stop ratio, ie. ND filter, correct exposure by 1/3 stop? If I am shooting at f5.6, what do I go to? I just don't get the stop ladder. Second, If I am shooting on 500 speed film and I want to push it one stop in developing, do I meter and expose for the stop difference? Thanks Andy Yeomans