Delorme Jean-Marie

it's for projection considerations.(my friend Gertrude needs to project a film we shot in 16/9) if you'r familiar with this cam thank you in advance for yours posts as the sensor is 2/3 correct?

if you are curious about a film set ask for a PA job on an indy short and see buy yourself. one thing is theory another is real life out of books. do both you'll save time and money. ps: they always look for PA on indy film don't worry

take the job and remember focus is always somewhere, try to put it on the actors eyes as much as you can. it's stressfull but understanding perfectly what focus is about helps you. what i do : wait till the very last time to take your marks enless you'll have to take marks all the time for the same shot. if it's verry difficult and they don't want to give you enougth time to do your job properly just notice them it''ll be totaly out focus. if they relie on you take the risk and remember how stressfull was your first time in the dark room. i'm preparing my first film as a dop right know and i may be in the same situation as you are, emotionaly talking good luck and have fun

filming and color correction is made in video but as the final print is 35 positive does it make sens to film a color chart?

if we have to believe the video screen to build an image on set what can be used as a reliable video assist : calibrated crt tube only? lcd? laptop computer? what is you experience about this point gentlemen (and ladys)?

and "promise land" shot by caroline Champetier for Amos gitai in 2004

hi i have a new question, (i hope i'm not abusing of the kindness of the members of this forum) i need to do a effect on a child face, it' s at night, outdoor, a flash lightning comming from what the child is looking at. He is actualy looking at a body surrounded by electricity, (like the dolorean in back to the future...) i thought about turning on an hmi arc but i'm scared to be too green and hard to control. how would you do this?

thank you mr nash for lighting the darkness of my knowledge, it's a lot more clear for me now.

hi here is my wonder of today. lighting for dv cam such as agdvx 100 allows a small latitude... somthing like -2 stops and +1 stop (correct me if you experienced this camera latitude whith a different result ) it means that if i do not want to burn the hilights, and shut of the low lights i have to stay in this range. my question is do we realy feel differences of contrast of 1/4 or 1/3 of a stop or do we have to work on a higher scale like 1/2 a stop. my question is vs film wich has a large latitude compare to 4:1:1. i believe it depends how "contrast" you want to be? but i doubt that we can notice, by eye, a difference of 1/4 or 1/3 of a stop. thank you to share your experience in this point i hope i made myself clear...

brilliant!! thanks all that's what i needed

thanks it's verry interresting, i like the "elegant thin" approach of this lighting the sodium effect is there but verry light....not the thick orange monochromatic effect. i love it here is an exemple of the main actress in the sodium light of Alger (sorry it's out of focus) but it gives a good idea of the sodiums over there it was shot with the nikon d70 with a tungsten setting http://www.cinematography.com/forum2004/st...e_types/gif.gif

thomas your exemple is verry good but in my case, in algeria, the street have no shop lighted to justify a soft light it's only dark and vapor sodium (not much to play with) i was remembering the look in "happy together"WKW lighted by C doyle (but he is more talented than i'm and was using 320 agfa in 35...)

thanks for sharing. so if i understand correctly : - i light the face with the look of my choice OVER the sodium light. (if i want to avoid the monochromatic effect) - I can keep the sodium back light effect - I play with the sodium untouched in the background so acording to you there are no differences from light to light on a street lighted by sodium vapor because it has a single frequence on the spectrum

thank you Mr Pytlak, always there when we need you! do you think it make sens for the lab to film a Mc beth chart in every different light?

hi all yes i'm preparing my first drama as a "dop" the film will be shot in algeria by the end of september. i'm using the agdvx100A (imposed by the director who baught one recently) and a 35 print will be made out of it. Some night scenes will take place in a street lighted only with sodium street light. my concern is what is the the way the agdvx manage the spectrum of the sodium wich is regularely "rich" un the greens (over 20 pt) should i recreate a sodium look out of a controled light projector or is there a way to manage with the practicles. is there a follow focus for this cam i should ask for? at what distance is the minimum focus without a wide angle adaptor and is it serious to strart a production without such an item. for the grip equipment i have 35 tools available for free (crane, spyder, head and tripod) how can i handle this cam on the shoulder? if you've experienced tricks you want to share don't hesitate it's my first job after nearly 8 years as a cam assistant in the 35 industry and i'm a bit exited about the project thanks

hi i'm loading 35 cams and others for 8 years, pulling focus.... Now i'm starting a DOP work and i'm not afraid by holding a 35. being camera assistant can help too, to become dop as well as sensitometri, lab process, color corection, composition ect....

just to share flicker free system avoids the fliker problems but if you have the light reflected on a non stable reflector (ondulating water, fog, with curtain) you have as a result a new flicker. my 2 cents

the screen has a diameter of 70 fet that's the size of an imax dome.(omnimax) the manifacturer's industry is video projection for boeing, airbus and army simulators and planetarium so it as not experience at all with film or video.it's back ground is CGI and GI's . I'd love to discover super 35 is a fine enougth format so i could use 35 lens (i'm verry atach to) , and cameras and stocks. (not all available in 65 , john ?) so to you ,so far 35 resolution is still over HD (viper, c-mos, Dalsa) when it comes to project in video? maybe a solution like vistavision, but i have to chek the formats size not to loose to much in the ratio. definatly i'll have to go thrue test (i'm happy with that) but only yhe ones that make sens..

it's possible it's a super contrasty stock with a verry small latitude the perfs are bigger to every thing wich isn't a russian camera AND if the film EVER jam remember it's plastic, it meens it will never break, you will destroy your camera!!!!!!!!!!! have fun :)

curves negatives and positivs are reversed and you can calculate where your 18 % d-min and d-max are on the positive from the negativ with the "diagram of Jones" you can find the rules and principles of this diagram in sensitometri books. the curves of positiv film follow the rules of paper when you process stills i'm i correct mr Pytlak? (i'm verry impressed to talk to the LAD inventor):)

one thing important with fluos is IRC profesional fluo either 3200 or 5600 are superior to 99 it meens the spectrum of color is complet. in the ceiling of a supermarket, you will have plenty of different IRC(bleue, red, green, yellow...pink) so first chek if their is a majority and then set the corection you need. it can be really tuff to motivate a supermarket fluo light buy a fresnel, it seem more natural to motivate it with a fluorescent light but anyone is free to light his way... have fun

here we are pushing in the right direction, i wasn't clear enouth at the begining of my post.(sorry) i have a new problem if i film in 65 it's the crappy lens..... and for this point i have no clue i was thinking about the 10/70 japanese format, but i have no idea of this specific industrie, camera, lens.. is anyone aware???? thanks a lot david i'll try to keep you informed as soon as the project go on

thank you all it was verry clear the projecting system i'm using is the new Evans and sutherland digistar 3 planetarium projector. It make a video image cut in 6 files, and projected by 6 hd projectors on an tilted dome up to 70ft wide. the computer program make the picture back with no noticable edges between the 6 images. the film is a signature film so all the budget goes in the image. it's only thinking in a foolish way you can keep awake ;) thank you again

thank you david for your post. The 4K cameras you are referring to are not really suited to Imax applicationsmy link to imax technologie so far in this project is only the syze of the screen because the projection system i'm asked to use is only a barco system. So i absolutly do not need a positive. what can be my best way to film : film stock or HD excuse me in advance i the answer is in your previous post and if i didn't catch it. thanks again to this comunity sharing it's knoledge, i hope i'm not abusing with all my questions.