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Delorme Jean-Marie

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About Delorme Jean-Marie

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  • Birthday 06/01/1974

Profile Information

  • Occupation
    Cinematographer
  • Location
    paris, france

Contact Methods

  • Website URL
    http://www.jmdelorme.com
  1. Hi i'm the happy owner of an A cam DII and here are some lens test i shot during french AFC trade show in Paris last year enjoy
  2. Hi and happy NY all!!!!! It's been many years since i was posting in the forum but i'm glad to be back here is below what i did so far : www.jmdelorme.com let me know what you think about it, mainly comercials 2013 may be the year of long feature and 3D so i let you updated. take care
  3. I only got the news today! such a big loss for the cinema. i feal verry sad, he was at the top of his career so many good films behind him at only 55. so much knowledge, expérience gone For a bunch of us in France we had a true respect and admiration for the art and kraft of this gentleman.... Goodbye Mr Savides and thank you for the show.... it was great movies, great moods, great emotions.
  4. i do not test film from 5D to theater copy are made everyday and they look great. recomending not to follow a new route because you didn't research enougth is also unprofessional for a DP. if you don't have money you need to work more than just follow the safe and expensive way. and to me red look like crap on the big screen. give me one good exemple for the image a film shot in red and i'll change my mind
  5. thanks Matt here my lens list Nikon 16mm T2.8 24mm T2.8 50mm T1.8 55 macro T2.8 85mm T1.8 80-200 ED T2.8 300mm T4 canon 7,5mm Fishe Eye T 5.6 FD (uncoated) 24mm TSE T2.8 35mm FD TSE T2.8 (uncoated) 85mm TSE T2.8 a picture of my setup : http://www.camera-forum.fr/index.php?showt...amp;#entry32058 and http://www.camera-forum.fr/index.php?showt...mp;fromsearch=1 i use uncoated lens to bring flares : - i give a naturalistic look - i found thet 5D footage reminded me anamorphic textures so as flares are part of the anamorphic look i try to push in this direction. - the high def of the 5D can make a too sharp image (too videoish) if used with a too sharp "modern" lens. so a good old piece of glass makes it fine. i'm preparing a short film with the P+S Techniks prime lens serie with a nikon mount (with my nikon canon adaptor ring) http://www.emit.fr/fr/objectifs-digital-35/377-2-c-l.html focus pulling is an issue with 5d
  6. hi here is the footage http://www.vimeo.com/7285508
  7. hi same for me, clever lens will work fine manualy only
  8. maybe you could film at a desolated airstrip, they look the same worldwide and are free from buildings, powerlines. I shot myself in afghanistan in may and it wasn't dry at all, it was raining like hell. landskape near Kaboul is only grey medium mountains, no trees, it's already 6000ft high!! we stayed at KAIA the KAboul International Airport. if you find a military air strip you can cheat afghanistan. saying that i don't know new jersey
  9. nice work but a little long i think for an advertising but a know this bar it's in berlin? fantastic place with excellent wurtz. good work, but the high lights are tuff to handle. i like the lighting of the wide shot in the office works verry good
  10. this film was done before the new upgrade firmware. http://www.vimeo.com/5493032 your comments will be apreciated
  11. hi if you light with only the fire i'll be : natural, low level, redish, high contrast and hard shadows now my advice would be to lower the contast, cool a bit the color and level up the scene. i'd try to keep the natural effect of the flames rather than to use a flicker box. don't try to light the fire itself, it's useless. for close ups you can cheat the fire with a torch close to the actor. my advice, breif the set decorator to bring a lot of wood to burn 'cause you'll need to keep the fire at the same level of intensity for 8 hours. i just lit a scene at night in an oasis in the desert with 3 fires, 3 tents 20 people, a palm tree oasi and the sand dunes..... it was tuff. I had 2X10K 3X 2K 3X 1K and 1 X 4X4 all tungsten i'll let you see as soon as the footage is edited i was at 500 asa T2,8 with the 5d2 canon
  12. hi i'v recently shot 3 comercials in a row at magic hour only. i founded that i prefer the moment before magic hour and backlit. i'm looking for flares, it adds naturalism to the scene. i think the best reference to me are "easy rider" an "Days of Heaven " as if you look for a magic hour front lit the reference would be "Tess" from Polanski natural lighting was a fashion in the 70's with the hippie mouvment.
  13. hi i'm back in paris well i'm working and testing this "camera" for 4 month now. to have it ready to film, you need to work it like a 35mm camera. same number of assistants, grips, gaffer. the weight of the overhall is tremendously reduced. the trick is to properly accessories the camera. to achieve this as it's brand new technology i had to buy everything! and that was a bet. i also ran the photo flee market to find lenses with no anti-flare coating. i'v been testing all the existing lens on the market compatible with the 5D2. and finally i founded my package. "sahara" is my second film in 5D2 the first one "APCA" soon on vimeo got me the job in the competition. "APCA" is in the editing process for the directors cut. the story is funny because I first won "sahara" with the images of "ministere de la defense" then i was fired when they saw "APCA". the director had sended the "APCA" to the same agency. then they found out it was the same DP. at this time "APCA" had no grading, ruff editing, no post production value, bad typography ! they really had to love the footage!!! i'll let you know when i'll put it on vimeo what's good : the lens, photographic lens are fantastic what's bad : the lens again, they aren't made for motion picture a smooth follow focus is almost impossible what's good : the depth of field, less than in 35mm because the sensor is much bigger what's good : the weight. with this camera the director comes easily to operating and you work very fast. what's bad : it's hard to have people believing you can do a better image with a 2000$ camera than with a 35mm package ! and wuen it comes to a 300,000€ film it can be an issue. talk to you soon
  14. thanks for the comments, glad you enjoyed the helicopter system is a continantal side mount with 2 KS12 gyros in addition the chopper was a super puma from french army the music was composed in LA it's from anthony zimmer "the thin red line" malik's film ps : i wouldnt enrole myself too even if i had to ware bullet proof jacket for the afghanistan part
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