Jump to content

Delorme Jean-Marie

Basic Member
  • Content Count

    513
  • Joined

  • Last visited

Everything posted by Delorme Jean-Marie

  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
  15. hi all I'm writting for the hotel in the sahara desert in algeria where we shot yesterday night the "sandy" part of the comercial i'm working on now. Its a 5 day shoot and 5 day travel film for the promotion of tourism in this beautifull country. it'll be a 40" film for Europe and north africa we decided to film in the canon 5D MKII format for the look as i had the budget film in 35mm. my main concern was the strengh of the camera and the compact flash cards. but it holded the 47°C verry well. we have an ABC crane 12ft with a 2 axis head. everything is going smoothly so far but my tow assistant had to struggle with sand and wind during the night. today we move for Timgad a romanian ancient city 2000 years old we intend to film at magic hour i'll keep you update
  16. thx nope it's pure anamorphic panavisions lens flares ! nothing is fake in this commercial except some clouds
  17. hi the film was shot in anamorphic with panavision lens the film shows the real battlefields of the french army history but now. those locations were heavy for their respective history. Gergovie is in France battle between gaulois and cesar's army 2000 years ago Verdun : WW1 Plages du débarquement : WW2 (DDay beach) Austerlitz : Napoleon against the white russian army (the tsar army, not the drink!) Sarajevo : yougoslavia's war Afghanistan : well you know this one. a 12 days shoot
  18. basically it's the same format and lens. the differences are : - the ground glass, you don't frame the same in Imax and omnimax - the projection lens you can absolutly use the 30mm lens on both format the 40mm is the reference lens.
  19. Hi all I happy to show you today the result of a big job i did this spring, the comercial of the french ministry of defense. we shot on every real location including afghanistan. it's also my first french national comercial it's aired today so i can put it on the net for you the director's cut http://www.vimeo.com/5149399
  20. hi i think that befor the filming format we need to know the projection format : imax dmr imax flat imax dome 35mm hollywood films were blown up in dmr, what was the quality, for those of you who have seen such a projection?
  21. are you filming for domes or flat screen for ext day i would strongly recomand an 8/70 camera scan and lazer print no less now if you talk about the small imax for theatre release maybe an F35 could do the trick, it's to try ! do you need a dop?
  22. you can film out a print easely with DKP production CA, they have the "big foot" wich is a 15/70" kind of arrilazer you can contact them with CFI or Arane lab in Paris
  23. i'v been digging in this direction for a while i did several side to side projection digitaly for domes so far don't think HD, 2K is light the best is phase one 65 but it's not for motion film. feel free to mail me for further questions
  24. hi all here is a 5D2 story : I was recently selected to shoot a major comercial for national tourism. production/ asked me if i could do the same work i won the film with, in RED (it was 35 anamorphic) i said no. So i was hired to prep the shoot in 35 then they found a work in progress from me and another director shot in 5D2 Whithout knowing the format they asked me to re-prep the shoot in 5D2. I was caught at my own game! i don't say 5D2 is better than 35, i just say the director liked it better for his film. soon i'll post the anamorphic comercial (it's aired saturday and the 5D2 one, graded next week) take care all
×
×
  • Create New...