Robert Baird

Where is 2.8 on an Optimo 15-40 or 28-76? Is it between 2.6 and the first mark? Or is it on the first of the two marks that occur between 2.6 and 4? I have heard two different explanations from sources I respect.

Thank you all for your timely and detailed responses. The director will use DaVinci and power windows. So, for this shoot we may choose not indulge in the cross-processing after all. I would still like to shoot the reversal stock for its rich color saturation, but that means taking it back to the U.S. for processing. FedX swears they will hand-inspect and not use x-rays, but it still feels risky, with precious exposed negs. Thanks for the links again, Mr. Pytlak, they are a great resource.

Hi, I am shooting a music video in Taiwan. At first the director was excited about cross-processing but has since become nervous about the unpredictable effect, especially on skin tones. I have cross-processed Fuji Velvia before, in Los Angeles, with beautiful results, and am aware of some of the challenges. For this project we chose Kodak 100D for a slightly faster emulsion as we will be over-cranking 48 - 150 frames in early morning, quite likely in overcast conditions on the beach. It turns out if we want to use this film we do not have any option but to go ahead with cross-processing as there is no E-6 process available in Taiwan. I shot a roll of Velvia slide film here in Taiwan and had it cross-processed C-41 and the results were some of the worst I've ever had, really yucky green alien looking skin. Now the director is very concerned, and I am trying to figure out if we need to scrap the reversal stock all together, or if there is a way to normalize the look a little bit. I don't think he minds if the background colors are a little wild, just not the talent, a female Asian pop star. My question(s) is/are: Does anyone have an opinion as to whether the traditionally "warmer" Kodak stock may have less of the greenish hue in cross-processing? Is it possible that using the C-41 negative print process adversely effected my 35mm Velvia slide film tests? What about compensating for the green look with a magenta filter, or maybe warming it up a little with an 81EF? Or, because of the unpredictable nature of cross-processing, would it be better to fix it in telecine? As a last resort there are two options: (1) not to cross process and for me to fly back to Hollywood with the film and have it processed E-6, so I can deliver him a nice saturated fine-grain reversal look, or (2) shoot on a locally available negative film stock. We originally wanted a very dramatic, new, edgy look for this video, but after seeing my tests, he is chickening out. I would love to be able to deliver something really unique here, so I am just wondering if anyone has any thoughts. A long and wordy posting, I realize. I believe at this point I have read every discussion on this forum about cross-processing, including the links to the Kodak technical data. Just wondering if anyone has ever had any luck compensating for the ugly green skin tones? Thanks, any advice would be appreciated greatly. Rob Baird PS No time or money left for additional tests!

In L.A., it's 30 union days in a year, to get on the COMMERCIAL roster. Or, 100 non-union days in three years to get on the Industry Experience Roster, which allows you to work on union features and TV shows. I've heard that in NY, they used to give a test. Don't know if that's still true. Depending on how busy it is at the time you attempt to join, these rules can be bent or even thrown right out the window. When skilled labor is hard to find, they will make exceptions. It helps if you assist in "turning" a show (organizing a strike), but still KEEP ALL YOUR RECORDS! If you are in L.A., just call Mary McDougal at Local 600 and she will be happy to send you an information packet with all the details. Then get ready for the long road ahead. Good luck! IATSE LOCAL 600 MEMBER