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Lyle Norton Vincent

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About Lyle Norton Vincent

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    New york

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  1. I tried to email you but it bounced. I would like to buy this if still available.
  2. If anyone is willing to part with a Arricam LT package I would pay well or even trade for one of my vintage lens sets. Please email me at lylevincent@gmail.com
  3. Thanks for your interest. I'm flattered you want want to use one of my stills as your background. The green in the subway is simply from shooting under florescent light with tungsten film and not correcting. I haven't shot a feature yet. I have had a few opportunities but turned them down because of extreme budget constrictions, ect. all the best, lyle I hear you both and I'm actually working on a speed reel verion right now. However, my last reel was quicker paced and shorter and I kept hearing that producers/directors wanted to see scenes play out a bit to see continuity in vision and lighting, ect. What I'm planning on next is to have a snappy 1 min commercial hook montage then have individual selections of scenes from films on my site. Thanks so much for your input guys. All the best, lyle
  4. The underexposeure problem may be the result of rating the camera at 500 ASA. I recently shot a short film with this camera and rated my meters at 160 ASA. During prep I determinded this using a macbeth chart and a 18% gray card. The menus were basically zeroed out and the gama was set to dynamic, so I think that this is the highest ASA this camera is capable of with gain set to 0db. I found this to be a real drawback to this camera, especially for night int/ext. We usally use these type of cameras when the budget is low and therefor we don't have a lot of lights. Another big problem is the built in lens goes from 1.6 at its widest to a 2.8 when in full telephoto. So if I'm lighting a scene and we have puchins and CUs ect then I have to light the whole scene at a 2.8 unless I want to do relighting. When I shoot I like to move fast and not have to totally relight for every shot. Plus when working in these small formats I want to be on the long end of the lens anyway. I guess this low ASA is from craming so many pixels onto a 1/3" chip.
  5. The film was shot on the varicam with a P+S tecnik pro 35 adapter and zeiss superspeed lenses. The B&W and color effect stuff was all rotoscoped in shake. Color correction was done in final cut pro and shake. Thanks for taking a look. lyle
  6. If anyone would like to see my reel it's availible at www.lylevincent.com. Any feedback is welcome. Lyle Vincent contact@lylevincent.com
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