Delorme Jean-Marie

hi watch for : Promised Land (2004/II) ... aka Aretz Hamuvtachat, Ha- (Israel: Hebrew title) a long feature film shot in agdvx100- you can find the dvd on amazone

The Emerald Forest ?

a cell phone will be 00 33 6 00 00 00 00 the same overseas is always a lot of number we are a lot more in the panet to contact in comparison to the states :)

hi yes interesting topic i've being digging a little in the direction of the "golden number", you could start with it have fun

+ means 00 :)

hi these questions can be discussed with your operator, unless you don't have one? your operator will do the reserch and testing needed to give you the look you need. my opinion, if you want video to look like film take the best dop you can. good luck anyway the sdx 900 is a good choice so far :)

salut thibaut tu as 3 boutons en facade : sel set et mode presse mode puis sel jusqu'a voir des petits traits en bas de l'ecran digital : ces traits signifient le style du bip, passes par tous les choix en declenchant a chaque fois pour verifier. bonne chance

hi on both tests the cam was steady test 1 : from the middle of a bridge, the seine river with flyboats and a bridge enlighted they told me they had to stop down the lens a bit test 2 : nearby "the louvre" aera on the opera district (downtowne), camera is fix and buses and cars are passing by. i don't know enougth about the conditions of this test but i'm doing a camera prep next week at panavision i'll ask them more questions about the test and a still or two.

ok both stock ware verry good, grain verry tight honestly : no grain i chose the fuji : Paris at this time of the year is verry monochromatic, greys and whites no leafs on trees... i had the feeling the skin tones ware better under un overcast weather with the fuji 64d. and to be honest, fuji gave me more stock for the best deal, and my best take (for the actors) was made, guess what? with a roll of fuji. and the fuji rates 64 asa it was so dar at noon that i had only an F4, at the mpf my lens was starting to be good at f4, so with e the kodak i was a little under (f2,8 2/3) starting to have less definition... i was filming at 30 fps i hope it will help

"The sensor actually is a square" (size?) could you tell us more about this square format. i'm looking for this kind of format just now thank you

yes but 2 kelly wil be needed to match metric and feet as far as i know (as well as samcine does) i don't know about the tables indeed the samcine is greate bcause sometime the dop will give you the f stop without the the shutter and filter correction, and you will have to do it. my 2 cents

hi it's maybe my english or my technical limits but i'm not sure to understand what you'd like me to tell you from what i saw. what do you want to compare?

hi abelcinetech talks about 4:2:2 as well : http://www.abelcine.com/store/product.php?...amp;page=1#tabs so i wonder as well

if the film wasn't frozen by the time you get them, i'm quite shure they are dead! they will have a milky aspec, no blacks.... there is one test you can do but it can be a little expensive it's to send 3ft of a can to the lab for a sensito test they will send to you the caracteristic curve of your roll. and theire conclusions. keep the rolls as dumy rolls to practice loading if you experiment shooting with them it will cost you a lot of time and money to experiment that your film is too old to experiment something else. :( sorry for the bad news

hi camera test mean that when it's tested it's YOUR reponsability if there is a problem. you'r not suppose to know how to run camera tests. it askes skills you do not have. if no test are done and it happens it's the producer 's reponsability if there is a problem later. He takes the risks. maybe the AC will run a basic test on the island if he has the time. it may work fine and it may not work fine. usualy producers don't take riks at this stage of production but some do. anyway it's not your problem as long as you let him know the issue. camera test can be done by someone else, hire any AC you know for a couple of days and he will run the tests for you.

yes verry good to hear from you Mr Pytlak !!!! how are you? to do a verry precise test of the grain structure of negative stock in 35mm, i did in february a comparative test shoot ext/day with 64D and 01 shot normaly around T4 (it was a steadycam/crane shot, starts facing the sun, continues tracking an actor that goes in a flyboat, get inside then outside and on the roof terrasse as the boat in going by the sides of the seine river) I did 2 takes in each stock and had them processed at 2 different labs in Paris (arane gulliver) and in Munich (arrilab) the 2 stocks where scaned at 4K on the arriscan in Paris at Digimage facilities and graded on a luster incineraor. then i projected the test on a 4 K sony. grain wise the 2 stocks are equal as the labs are (arane is imagecare) i also did a push process of one stop of the fuji and the grain doesn't move either.

the 01 is high contrast but as it's for video broadcast, i'll stick to the 250 and put nd's outside rather than rent loads of light fot the interiors you could also mix the tow stocks? they are both high contrast and grainfree

hi i use samcine but realy when there is a need to put 2 actors in the deps of field, when the director doesn't want a rack of focus. so the dop asks me at what stop we should work. otherwise it's too scary, most of the time you have barely nothing, nowing that it's no use for whatever calculation tool. i prefer the samcine bcause i stick a photocopy of the inchs wheel at the back of the metric wheel so i only carry and baught 1 tool. they are all acurate but think about the most solid and easy tool to grab quickly and throw as quickly to your bag.

"the thing I like the least about some of the Genesis footage seen to this day has been the obvious "video" motion smear when the shutter was set at >180°." The genesis can have this video look when you open the shutter for an additional stop or a motion blur effect, like in "apocalypto" ext/day in the rain forest, the chase scene with the pig. This isn't the case in test i saw, they had to stop the lens down a bit because the lights on the bridge were to hot !

be nice to give your real name bcause it's more pleasent to know who you are talking too, you'll have more people replying as well

yes it make sens to whatch this test on a digital or regular projection or both. the size of the screen is important when it comes to digital projection. the test had the look of a crisp 50D neg stock ! but for night and with practical lighting !!

john you'r welcome anytime to see this test in Paris :)

hi all i wanted to share a camera test a saw yesterday at an AFC conference in Paris. The panavision team in Paris did 3 days ago a test shoot, an exterior/night in paris, a bridge on the Seine river and a cross road at the opera (with a bus, cars and traffic lights, under sodium vapors). the test was done with an optimisation of gain, shutter and no additional light. it's been graded on a luster incinarator and projected on a Kinothon 2K on a 21ft screen. the result is crisp, no noise you can even see a plane light verry far away. this is an extreme test that goes in the direction of the "apocalypto" scene of the tribe around the fire in the forest.

hi i own 2 ks 12 and i'v done a lot of aerials stab for "migration" theire product look good by way too small for beta type cams weight or 16mm or 35mm for those you'll need 2 ks 8 or 12. ks 8 or 12 are heavy and comes with big batteries. keep in mind they are noisy as it's a wheel accelerating up to 24000 turns/min 1 gyro will gives you a stabilization in the air in 2 axis, so to cover the 3 axis needed for aerials you need 2 gyros. a ks 4 ou 6 will be good for a steadycam, maybe 2 ks6 or 2 ks8 will be good on your hvx. they all make noise so don't imagine doing sinc sound. hope it helps don't pan too fast you'll "force" the gyros and damage them

hi i find your posts verry inspired by navaro's work. i haven't seen "pans labyrinth" yet but i'd love people from the forum who have seen the movie to talk about the lighting, the choices, the camera work, the colors, what made this film having an oscar for he's dop. I loved the work on babel. so what is your opinion on the colaboration work between navarro's and the director on pans ? beside that the oscar for moricone was great it looked so important to this artist. the panel of directors was verry impressive, we had the day before the french award "the cesars" and when i look at the differences of the winners with the oscars it reminds me i live in a small country. "little miss sunshine" won the best foreign movie :)