Delorme Jean-Marie

more pictures : a time laps on algiers and a green field

more locations and setups

yes thanks, Algeria is a brand new country for filming it has incredible locations such as sahara sand dunes, mountain, green fields and sea shore like the riviera in the 30's and great people too (and good food and wine) ;)

hi here is my problem : I filmed a short in 35mm at 24 fps with a sync sound at 24 fps it's for a final print. The editing was done on FCP with the flex list. this editing method was refused by the lab who asked an editing with the tc time code wich is at 25fps. (what the editor did) and now we are out of sync for the sound !! is it normal that a lab refuses an edl based on a flex list? don't we do any more films at 24 fps or i'm i missing something. It's a verry well known lab in belgium that i'm going to call tomorow . i'm verry interested in your point of view thanks

setup2

one setup !

Hi all It's now 3 years i'm posting on this fantastic site as an AC I filmed this month my fisrt job as a cinematographer. it was 2 commercials in Algeria, only exterior day (sea shore, a corn field, a mountain river and the sand dunes of the sahara) one film is for a mobile phone operator and the second one for a soda. for both films i used an arri III with primos (10, 17,5 27 35 50 75 and 100macro) Kodak stock 5201 and 5205 and a polirizer almost all the time. we did the DI with a Davinci 2K in Paris. I also used a Jimmy jib crane 30ft with a 3D head (with a french grip) The director was also french but i met him on the set. We had a total of 10 days filming and travelling with 2 weather days!!. As soon as i get them i'll sent you a link to the spots. they should be on air now. that was a big step for me and i'm happy to share this moment with you, you'v been verry helpful at every step. thanks again

thanks last frame of this good old 80's look some vintage here : http://www.dailymotion.com/relevance/searc...ood-chewing-gum

Hi all it's all about water in the air slightly freezing to give a "fresh" look to a sunny day. Yes we are talking about a "comercial" look. to achieve this effect it's about filming with a shutter closed at 90° or 60° or 45° (i'll be filming with an arri III so not as many options as with the 435.) what is the law here for the speed as i don't want to slow down to much the motion. did you found any combo working well. are theire any problems coming with this effect, than the compensation stop from the shutter angle "hollywood chewing gum" as a brand of gum sold in France in the 80's, they had a strong visual effect with a "splach" on every spot, have you seen it? thanks

don't you think film will be dead when kodak will stop manifacturing film stocks? and only at this time!

yes chinon in french is a wine :) verry good wine indeed

"Seriously, the final test will come when the RED camera is shot badly, not shot well, because everyone can make mistakes sometimes." I agree, i saw 2 years ago at a "AFC" conference a test shot xith the genesis hand held around a pool table, large windows on a bright day and no additional light with a 360° around the table and a fix F stop. there you could see a lot ! how the camera manage hight contrasts, bright lights and deep shadows. Projected in 35mm print. does such an "anti-demo" exist for RED?, maybe one of the new owner of this board could film a simple test like this one and let us know? For true HD concerns what does the RED offers more than the Modular?

when i saw 1000ft of fresh kodack stock from the take up side of a mag we took hours to shoot on a major feature with the lead actors. i couldn't sleep intil the lab report 2 days after. fortunatly th mag was still in the changing tent and it took me a fraction of a second to understand it wasn't normal to see the take up with film inside!!!! the dop was verry concerned about this roll as i understood later he revoved his eye during a take. nothin happened finnaly :)

Avoir 20 ans dans les Aurès (1972) ... aka To Be Twenty in the Aures (International: English title) on imdb

you can add "avoir vingt ans dans les aures" by rene vautier a french fighter in the algerian independist lines. the guy is still followed by the "RG" (french cia) today !!! he is a hero in algeria thow :)

this film was forbiden in France for decades ! guess why?

HD CAM SR is HD so 2K in 4:4:4 10 bits

so with an HDcam SR tape recorder you are out of the REDCODE data system and workflow correct?

is it recomended to plug an HD cam SR recorder to the RED to record on tape and avoid the data style recording. i know it means more compression but it's also freedom on the field? your opinion?

when you make feature that is planned to be post produce with a certain DI route do you have a contract signed that tell the workflow, in case they change theire mind and put your work down or do you simply remove your name from the credit?

hi thanks i'm trying to figure out what happened because this could have happened to me. i'm learning with thoses mistakes bcause i don't want to be in a situation like this when i'll get to deal with post house workflow and "sharky" productions who are able to kill my job to save some bucks in post production thanks anyway for your expertise, i understand that you don't have enougth elements to give an advice. thhank you also for the information regarding camera gear in LA, finaly went to mole in hollywod. I saw there a fantastic movie theatre "archlight" with the amazing dome!!! unfortunatly a saw the terrible bikker movie. too bad i couldn't see "the astronaut farmer", i was invited by a client. was the astronaut farmer projected in digital too?

hi in 1:85 aspect ration you'll have barely no gap between 2 frames as the size of your image is 11,90x21,95 on neg which isn't a pb but i don't get why to be in super 35 as regular 35 is good enougth fot 1:85

well i don't think it's a luster pb either I'm not the dop on this job i was told that after editing they kept the "hd" tape from telecine and didn't scan again from the edl somehow i'm sure they drop the ball in post prod and it can be in many different parts. the shot not color corrected look good on the final print what would be a workflow that would make sens? to me they did a cheap telecine in "hd" and a tape to tape transfer prior to shoot the dop told me it didn't looked in the color corection room like in the final print. they first saw a print 0 from the neg that wasn't as bad as the one i saw from the interneg. will an interneg amplifie a problem you could barely see from a neg? i asume it xas graded from an hd monitor. i don't think the post house did any testing prio to this job, i think they are practicing with our film which is no big deal if they deliver a good job. but here men it's one of the most terrible print i ever saw! does 2k means 1920x1080? which means HD or i'm i mixing all this

hi the film is shot in 35/3 perfs on kodak5218 aspect ratio : 2:35 shot with primos the worflow an HD scan, 2K, the a DI in luster incinarator. the print 0 is made from a shoot after DI from the HD. the series print are from an inter neg. projection from the print series shoxs alot of artifacts from the takes that came from strong grading. artifacts are electronicnoise in the blacks and electronic whites clipping does it come from an inapropriate LUT ? it's the first film of this new post house and they just received the luster. what is your opinion

hi i was recently proposed in france a job : 10 days in row no extra salary for the WE work in the "non working day" at normal working day fee no avertime paid and had to smile :( it's a big production company renting expensive stuff my point is: we have no union to protect the workers, productions don't want to put the minimum legal amount off money on people salary. why? and i think it's the same problem everywhere? newcomers needs to know. when you strart working in the film industry, from the indy side, you work for free. when you start in the paying industry you'll work for the minimum wage (which isn't bad compare to other jobs) but you'll work only one day or tow or if you are lucky the entire feature. then you'll struggle to have a salary, that you need to negotiate each time, for each jobs with people a lot more experienced than you to talk about money. when there are to many people for a certain amount of job, you become goods. so you always need to know how much you are and why you acept to work at which conditions i'm not talking about art or whatever, i'm talking about industry and people majing benefits whith your work. i agree that it's different for directors, dop's. most of the time if you are not respected in your salary there is no reason why you should be respected on the set.