Delorme Jean-Marie

hello all i'm preparing a short in 16mm for next month. the story take place in a casino and the actors will all be over their 60's. it's mostly heads talking over a game table. I was asking myself : for lighting this table and the closups which of these 2 technics are the most apropriated : soft tubes and kinos or large difused source? i'd like a result in the style classy, soft , grainless and warm. my first idea was to use a daylight stock to make all the practicals and slot macines verry warm but i'm concerned about the grain of the fuji 500D and i may go in the direction of a tungsten stock instead. i'm interested buy your opinion if you've ever filmed in a casino what do you think is the best stop(at 320 or 500) to render all the lights of the slot machines and typical accessories of a casino. i'll make the faces key to match with this best result. i 'll scout there but before ordering the stock i doubt 'ill be authorized to make stills in the room.

as far as know it's not a reflex cam but you have either an optical viewfinder per lens or a video feedback to match different focal length the regular lens coming with the cam is a 9mm i met the guys who designed them and i think it's a great cam to do incredibles shots on music video it's really small cheap an lightweight

lighting someone with a very dark skin isn't only a mater of exposure it works also with what's going to shine. you want to go deeper than seeing your talent . ex : what is the key in the dark scene of the godfather when brando goes in the light then seat back in the shadow. ask yourself if you always want your talent be exposed corectly? just my pov.

what you mesur with your incident meter is the amount of light that, whatever will come on it. if a window gives you a f4 it'll be a f4 for a white guy a black guy a chinese beauty or an angora cat. an other thing is to choose the stop on your lens. how do you want your subject to be exposed (normaly, over or under) a shade part is usualy under, a hilighted part will be over. now how your subject is going to absorb the light (dark subjects) or reflect the light (clear subjects) is another point. you may want your key light not to be found in any part of the picture and it'll still be well exposed. the grey a 18% is a reading of the light (with a spot meter) reflected by the skin of a caucasian guy in mid day in winter drinking a beer bla bla bla it's only a theorical reference and it help to calibrate the color corection

hi, ;) so far with the little money i had to recreate a moon shine, i only could use a 2K open face with a chimera on a balcony. But from working on long features i could see, as an assistant, helium balloons wich seem to be a first class moon. But between those to extrem moons (cheap an expensive) what option do we have at the lighting rental house from your experience?

hi all my first post in the 16mm, after a couple of dv shorts i'm stepping in the 16S so i'm enquiring about the range of lens (non zoom) for 2 shorts comming in the next 2 month. For both projects the equipment will be rented at regular rental house. do i have any chance to get the "velour" and sharpness of a primo or an S4 with a 16mm lens? according to your experience what goes from the top of the basket to the bottom? thank you one project is night interior (low light ambiance) the second one is exterior day and night (high light)

my mac only burns -R no +R just to help..

thanks often when my terminology is wrong, it's because it's not clear for me my point was with the pd150, from what is recorded on tape, how many stops can i expect from a small detail in the dark to a hot spot where the information is almost washed out? thats what i call the latitude i'm i wrong?

so does everybody strongly recomand a projector to fight against the sun?

thank you but what is a "bonnet car mount"? polarizing the lens is definitly what i intended to do, is it what you wes refering to?

hi cole i'm also curius about this setup as from my AC experience i only worked on loaders to film cars moving with dialogues. i don't inted to use any light projector, only to choose roads with apropriates angles of the sun. i was thinking about taping some ND's gels for the background and diffusion for the key but somehow the driver will need to see the road!!! i'm filming dv and my concern is to reduce the contrast.

Hi all I'll be filming in dv super soon pd150 and dvx100 (2 different projects) from your experience how many stop can the format handle between burned white and dead blacks (over and under the Key) for the pd150? in the dvx100 it'll be different from one gamma to the other or maybe i'm wrong? and what do you rate the pd150 at? ( for zero db) in asa thank you verry much

arri is more noisy taka a bl4S more quiet the aaton is great, the lightest to handheld one day a tried a bl4s on a steadycam and that day i knew i'll never be a steadycamer!!!! i'll take the aaton no hesitation

war photographers do an incredible job and they don't do it to be famous but because they need to inform us about what is happening next door and some time legitimized by our votes! thanks to them, stars and unknowns. most of them don't care about photography they just care about witnessing. but i'm talking about real journalists, not main stream, news pipline feeders... thanks to stanley green for his work in tchetchenia. after his work , nobody can say anymore :"we didn't knew" but instead "we don't care"!! so my point is that cinematography has just little to do with war. it's what you film rather than how you film. just my opinion...

the movie "harrison flowers" from ellie chouraki is about that what's in the head of a war photographer, it's from a true storie. a german doc about james natchwey also talk about it. if you read the books from isabelle hellsen (harrison flowers) you have a good POV from a war photographer. a lot of locals unknowns dies everyday on war zone making still or films to fight against what should never ever happened, the most terrible thing on earth : a WAR !

will a "frazier" lens system make the trick?, it's a lens for primo mount that spin the image from it's optical center opdticaly, or use a 360° ring but if you are not flying or floating you don't need to be gyro stalilized from my point of view

is a panasonic AGDV100A enougth quality for a broadcast tv diffusion?

hi all I'm working for some time to find out wich could be the best cam to rent for a music video and i'll apriciate your opinion on my choices. It's a music video (rap) 2 days of shoot set is a studio only ambiance is dark with strong colors no special effects except some keying editing is homemade on a computer and that's where i want to provide the best format that an "homemade" editing could handle (final cut pro) it needs to be broadcast quality (720X576)minimum?

thanks Mr Tyler you are so fast...:)

thanks you are gold mines :)

hi now this new forum is up, i need to do a crane move from 12 feet to 5 feet with a beta kind of camera Will a crane on a tripod be enough i remember a crane for video like this anyone??

thank you very much gentlemen

hi all would a grip forum be interesting for us as grip technics is one side of cinematography as well. in fact i have some questions about grip stuff and don't know where to post them. Mr Tyler any opinion? take care all and best wishes

hi thanks for reply do you confirm half stop over the key for the bleue screen?

thanks mr williams. So if the look of the light is the same white either for a practical source or the sun is it better for a "realistic look" to warm a little the practical and "cool" a little the daylight ?