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Andrew Wheeler

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About Andrew Wheeler

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  • Occupation
    Cinematographer
  • Location
    Los Angeles, CA

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  • Website URL
    http://www.wheelsdp.com
  1. I’ve used it on a couple of commercials already. Both times with Sphero 65 lenses.
  2. I shot this film 2perf which was featured in the IN CAMERA section of the most recent June issue of AMERICAN CINEMATOGRAPHER http://motion.kodak.com/motion/Publications/InCamera/Andrew_Wheeler_on_Capturing_Winter_Light.htm
  3. AFI was extremely helpful to me and it has more Academy Award winning cinematographers than any other school. However, if you think that you are going to be on studio films in just 4 years and you havent already had great successes and worked at budgets near studio numbers, then AFI or anything else for that matter can't help you and you will be extremely dissappointed. Its a process to get to do studio features and you have to work up to that. Its even a process within the studios to get to do bigger studio movies. There is usually a little bit of luck involved as well. Most of the time the saying "10 years to overnight success" is true.
  4. I use Panavision Hollywood all the time for music videos. They have been extremely helpful in getting me what I need.
  5. Its hard to tell on the internet, but I shot this whole video at 2000 ISO with digi cons and Hawk anamorphics wide open. We did it for a look, but the "noise" isnt excessive even at this ISO. All the Night INT/EXT and Day INT/EXT are at 2000ASA Hope this helps Andrew
  6. Here is the graded video that came out today. Enjoy! http://www.vevo.com/watch/jamie-n-commons/lead-me-home-the-walking-dead/USUV71300528
  7. The RPP's are pretty fast, sharp, and contrasty lenses. I think they are good lenses especially if you cant afford something like a master prime and thats the look you're after. They have a lot in common! I'm not a big fan of how they flare so I try to avoid that with RPP's. They are big bulky lenses which is another thing you hear people complain about. Comparing them to Super Baltars though is apples and oranges. Andrew
  8. This was shot on EPIC with Red Pro Primes and converted and down rez'd to jpg directly from Red Cine X tiff files with no corrections, just in camera settings. It was lit entirely with par cans.
  9. Some more info about the DI. http://thepostlab.com/color-grading-on-funs-music-video-why-am-i-the-one/
  10. Here is a new music video for the band FUN. that I shot 2 weeks ago. We shot this on EPIC almost entirely with an Optimo 15-40 which had a fair amount of vignetting (although it didnt bother me.) Most of the motorcycle shots were done with a Canon 70-200 with IS turned on. All of the shots with the band were shot 1 day in Seattle and we shot everything else for 2 more days in the LA area. Color correction was done by Prehistoric Digital in Santa Monica. Enjoy! Andrew
  11. If you are going to be using 2 cameras often my suggestion would be getting 2 operators. On a small film with not a lot of time you can quickly lose control of the B camera if you're operating A.
  12. Adrian, I disagree with your blanket statement saying film school is a waste and to save your money. I attended AFI when I was 29 and I have a bunch of other friends who have as well and its set us all on a path to succeed at high levels. I could cite several reasons what its done for me and other people I know. The most difficult part is the expense. I took out full loans to attend AFI but the way I saw was that I couldn't afford to not gamble on myself. To Kyle and TStrunnia I posted in another topic a few months ago about my experiences if your interested in reading more about it. http://www.cinematography.com/index.php?showtopic=54231&st=0&p=362694entry362694
  13. Again, really great! Thanks Stephen!
  14. Thats great, so many wonderful quotes! Thanks, Stephen
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