Delorme Jean-Marie

sure executive producer in sarajevo : semio T 381 11 265 1241 F 381 11 218 8178 simiceva 9 11000 belgrade www.semio.rs producer : Sanja Radovic sanja@semio.co.yu you won't find any resources in sarajevo but everything from cameras to lab and crews in Belgrade only 4 hours drive from sarajevo.

interesting project i was filming in sarajevo for a comercial this weekend. i could recomand you an excellent executive producer in based belgrade good luck for you film

guess what ? that the price they sell a regular dvd in France and guess what ? they don't sell any and everybody go on the internet to download them illegaly ! how come?

interesting post anyway, what are today's rules? - 20 cuts and differents camera positions to tell a guy siping a coffee? - fine grain + sharp clean and desaturated images - steadycam moves cuts with close ups - show and light every single thing happening on the script what is the convention today? make HD look like film?

hi saw it yesterday night it's funny to talk about apaloosa because i think "gran torino" is a western. clint was hilarious ! the part when he learn to the young man how to speak "like a man" reminded me my first day on a major shoot! for the look, i was verry suprised in the mixed treatment, it was at times hot and goldy and at times really green and cold. was it just the print i saw or do you have any idea what was the motivation of this look. at the end i thought it was Fuji th stock used. But it was just impossible on "Gran Torino" !!! it had to be Eastman Kodak :)

here is the link to the making off http://www.vogue.fr/video/voguetv/player.a...auty/Id,223724/ nice beauty lighting and good making off

Bonjour Mr Steelberg i really enjoy your visual style could you tell us a bit more on the prep, how your choices with the director were motivated? What is the B/W S16 supposed to say? why the 2:35 and what choice of lens, stock, filter to achieve what look? if you find time, i'm just super curious ;) have a good prep

yes great film, great mood. as far as i could read from Kodak and hear from interviews. the DP used 7219 V3500T rated -3 stops (2000 asa?) for the nights and 7217 V2 200T for the exteriors. camera was 416 the new S16 from arriflex and the lens were ultra primes zeiss. Does anyone has a clue of why this choice of 7217 to match with the 7219. i wish Maryse Alberti could post here to describe all the artistical choices she made, like you gentlemen do in the "in production" segment of this forum. did you knew Aronofsky was proposed 3 time the budget to make his film if it was with Nicolas Cage and he declined about 6 millions dollars to stick with Rourk! maybe at this point the film would have been forced to be shot in 35mm..... a totaly different film isn't it ? also a fantastic perfomance of Marisa Tomei!

sorry it's not D. M. replying i recently went to a panavision presentation of the 2 perf cameras and we saw side by side film test of S16, 2perf, 3perf and 4perf scope. when you see those tests it reminds tou if needed that scope isn't only 2:40 aspect ration frame it's also an image a BIG STEP higher for resolution, color, sharpness and snap! that's a whole. producers should go to thoses projections each time the word anamorphic or 2/35 comes out in a prep. there is a BIG difference between 2:35 in S35 spherical and 2:40scope, a big difference.

you should read if don't see the point....

i've nothing against progress an science when it's bringing fantastic images like the new D21 (even if i don't see the porn for porn !) but being able to eat water taste tomatoes in february isn't a big step for me.

You know, I have mixed feelings about dressing food up. While, yeah, sometimes things just don't photograph well, that also means they don't look that good in real life, usually. So, why not make the food look better in real life? a step off the photographical debate. thats a serious point, thats what they did : make the food look good because you buy what you see (an image) but infortunatly it taste like water i'm talking about genetical modified vegys and meat. Real, natural food verry often look like nothing, is not calibrated and is not sexy looking but it taist real good. and i prefer ugly looking vegetables taisting good rather than a super sexy tomatoe that has THE chemical laboratory taste nada!

hi Lighting food is sometime not enougth to make it "sexy" it's why you'll use colors of accessories and décoration to enhance the food aspec. you'll also meet "food makeup artists" (don't know the exact name) who's job is to make the food sexy for an image. use of hair spray to make it shine, smoke (hot dish) white paint for cream ect... After you can try to light it with soft boxes and indirect ligthing and make it shine.

yes that's what i ment by ENR i expect for each one to film a character with the key from +1 to -4 stops with dark then bright background. how does those test sounds to you?

hello i'm curently preparing a short film 20-25 minutes about the men/wemen conflictual relations inside an arabic/muslim home. the director wants to avoid all the cinematographical glamour, a ruff film, cinema-verite style. a little voice tells me it should be S16, hand held with small lighting. in the other hand the producer is preparing the long feature of this director and prefers the film to be shot in 35 (for production values) i'v recomended the director to watch "the wrestler", he loves the film and it's image close to our project. We will avoid the 2,35 ratio and go for a more desaturated look. a little less granier to. He also loved the lighting of "boy A", i think he liked the warm look. After discussing with Kodak and Fuji here are the tests i'm planing to film next monday. your imputs are welcome. for 35mm Kodak 5229 process normal + push process 2 stops + ENR process Kodak 5299 push process 2 stps + ENR process Fuji 500D push process 2 stps + ENR process for S16mm Kodak 7229 process normal + push process 1 stop + ENR process Kodak 7219 process normal + push process 1 stop + ENR process Fuji 400T process normal + push process 1 stop + ENR process i'll do a telecine of those test and test the DI with a 2K scan of the best result for the film. We also have lenses to test : for 35mm - Zeiss T2,1; Zeiss T1,4; Leitz; Cook S2/S3 series. for S16 - Zeiss T2,1; Zeiss T1,4; Leitz; Cook S2/S3; Ultra prime series and filter test BPmist, WPmist, tobaco, antique and soft net our cameras will be AAton 35 an AAton Xtera i know the test list is big but we will film the long feature with the same image as this short wich is a rehersal of the long feature. your imputs are welcome. Thanks for reading

hi for hand held, i will strongly recomand the arri 235 vs arriIII arri III on the shoulder is really a nightmare it's easyer to hand held an arri III with a regular mag and an easyrig rather than the shoulder mag wich is a Tank huge and heavy to swing around. arri 235 is a light weight camera designed for hand held. Notice also that both cam aren't MOS you can't reccord sync sound.

oh and "Babel" comes to my mind the maroco section is S16, mexican is 35 spherical and japanese is anamorphic

hi what is sure is that it's NOT a comon issue first thing will be to chek is the timing of your camera is still good : point the camera to a tv set and watch the bar scrolling down on a video monitor if it scrolls with regularity it means your timing is goog. the problem shoold be around the miror mechanism when you stop the camera the mirror should close so you can see a image on the viewfinder good luck but you should take the body to a rental house anyway

is it an effect from "the dark knight syndrome" or how to make people go to movie theatre rather than whach a dvd in the coach?

hi it's a technique often used by DP Eric Gautier : - Leo's Carrax "Pola X" - Walter Salles "Diarios motocycleta" - Olivier assayas " Summer Hours" you might not want to match it verry much, if you'r using 2 formats in a film it's to say 2 diiferents things. when you shout and when you wisper it's the same voice that doesn't match...

Kodak pro 14m DCS Nikon F4s Nikon D70 Canon FTb + 7,5mm fish eye yashica 2000 minox 35GT nikor T2.8 24mm nikon T1.8 85mm + some zooms and i give it all for a 5D MKII !!!!

it's jean-pierre jeunet Ken loach and barry Ackroyd :) emir Kusturica and late vilko Filac :( Theo Angelopulos and yorgos arvanitis Luc Besson and carlo varini and then thierry Arbogast Olivier Assayas and Eric Gautier Eric Rohmer and Nestor Almendros Mikael Winterbottom and Marcel Zyskind the Dardennes brothers and Alain Marcoen for the Europeens

hi did you tryed "chunking express" "millenium mambo"

hi i used the 7205 for exterior day on a car comercial with panavision primos on an SRIII (yes) and rated it normaly. i had absolutly no grain issue as i wasn't going to a 35 print but a TV broadcast. here is the result : soon on vimeo

yes they are insured off course but the series of primes T1.4 (G.O.) is priceless as it's not made anymore. G.O. means "Grande Overture" which means Wide Aperture.