Delorme Jean-Marie

Lazlo Kovaks : ZZ top because this easy rider rocks!! Delbonnel: freddy mercury "he is the champion............" :) the best in taipei airport after chek in is take off bcause there is nothing to do

if art isn't democracy do you intend to become "dictator of photography"? ;) verry good interview .

i watched andrei zulowski "public lady"(la femme public) last night maybe it can help a lot of tension, green and red lights, inside night and an incredible camera work! :unsure:

maybe everybody isn't to far from the point. beauty advertising is one of the most ridgid form of look yes beauty has to grainless, sharp shadowless.... it would be interesting to know if a production company is ok to spend more to obtain the best ever look( also for thetre realese comercials) buy shooting in 8/70 iwerks as camera gear and film stock and processing is low budget compare to directors rates or lighting rental.... do you think it's possible to sell the slight diff of look? is beauty is the F1 for the image it may make sens to shoot in 65. the larger the format is the more light is needed (to avoid hot spot you need larger sources), is it already super hot in the studios shooting beauty's?

hi it's great you want to do everything, directing, write, act, light, drive the truck and fix the sandwiches but for lighting there are 2 solutions you could learn lighting and then your first lightings are gona be newbes type of light or contact a DOP nearby your place. i'm sure you'l meet some great guys or girls who experienced those questions and wait for directors to put what they have in the head in images. filming is a team work and discusing whith the DOP will help you directing as well. plenty of DOP will be glad to make you discover the lighting have fun :)

just an idea you could have a flickering bulb effects (with a buzz)?like a bad bulb about to die this could add tension and un unconfortable feeling that could work is it night or day? i asume it's a night scene because of the red light you talk about? you could justifie this red light coming from the street (shop electric panel, trafic light...?) if you need anger and tension try hard lights, hard contrast, diagonals shadows....wresel or boxing on tv in the back ground, hot steem cooker on the kitchen? have fun :)

hi if you shoot sync sound choose a BIG came beacause it's always a nightmare shooting in a european compact with the director, operator, ac, 200 lbs sound mand and.. tow actors, batteries, light, camera, mics, camera, extra mag.... don't forget you need room to work for the other ones laughting i think i should do a short a bout a film crue shooting a romantic dialogue in a fiat 500

hi i agree at any point with Mr Salzman many verry famous directors and DP does teribles comercials nowadays and you'll never guess who his behind this pasta or soup or lipstick advertise. (great peaple to meet anyway) i think i'ts amazing how those many "authors" does always have the same look wathever comercial they do. No thanks to colorists and tv producers a happy meal will always look the same maybe i am off topic where you talking about cinema or peaple who does it?

telecine does exelent job at CFI los angeles as well as Gulliver in paris. so up to you there is no noticiable differences between 35 and 65 mm for tv release? according to still photographers SLR is good enouth for magazines but they still use large negative to advertize on fashion i was told that some years ago hollywood was used to shoot some special effects on large format because they needed more info from the neg (to go thrue CGI) thand 35 could actualy give? (thank you D.M for the explanation of the 30's light prints, i heard about it but didn't get it befor your clear demonstration, did you thought about giving course somehow?):)

hi all in comercials photographers are using the largest possible negatives for beauties products. does it make sens to ask why cinematographers don't do the same (maybe they do?) i was verry impressed by the density of Ron fricke's tod-ao job on Baraka or the differences of look of 70mm (5,8 or 15 perf) prints vs to 35mm even on video screen.(exept vista or todd-ao) maybe HD can give the same level impact. i'm only talking about big budget comercials (beautie, cars, jewellery) not food or toilet peper ;) what is your feeling about that?

hi i do not get why you need to go back to film when you shoot in 16mm either you show your work in digital beta or you blow up the final editing to 35mm? but this is a big budget documentary? when you do the telecine ask for a copy of the dailys on digi-beta then transfer this beta to mini-DV for editing. But the best would be to edit from the digi-beta and have a master on digi-beta. have fun

Mr mullen thank you for sharing your creative process could you tell more about the differences of "look" between the stocks shot normaly or retained of 2/3' as you experienced it on "shadowboxer" as it's gonna be your choice, i assume? what does look a 30' copare to a 20' excuse my lak of experience on telecine

hi gautier is actualy at the bangkok film festival where he will be interviewed buy christopher doyle about "making love to the lens" i'm mad about the idea of missing such a conference, if anyone is able to obtain the content.

it's true i'm not very precise on my wonders. i was comparing lighting and painting and painters were directors and dp of theire craft. but for exemple when a Rubens is painting red shades of water drops on a women skin that was to enhanced the idea of life and it could be dp choice not bothering the director whith this kind of detail?. my purpose was not much about fashion effects as zoom in and out "cool" manga look. if every representation of life has a meaning how deep do you go in your choices of "image solution" for the director? i'm verry surprised to see many diferent films with the same look and totaly different stories. when contrast, bleach-pass, desaturated colors, green moon shades are more the fact of a fashion rather than an "image solution" meaning something. am i way far from reality of dp's concerns or directors and producers are asking for the same look as other movies? is theire a studio way of lighting an a cinematographical one? this discution seems to be open for features as well as for comercials, video clip...stills is it more a student concern?i hope not

an eye chek is thrue the eye piece or video filming the ground glass and what is on the ground glass (if adjusted properly) is what is on the film. the difference is between mesurment and eye chek and ALWAYS do your eye chek at full aperture by

hi all thanks for this forum which helped me in many times thanks for the freedom of speaking, it's only here i saw profesionals talking whith beginers. a little idea could be a sub forum on the framing concerns? i mean composition, movments choice of format, rules, experiences i expect more of an artistic kind of forum rather than a pure technical one but i think it's a huge part of cinematography and it's always hard to have discutions and infos about this topic. this forum is like cinema it has no limits happy new year

hello all i wonder what is the part of symbols you try or not, to put in your work to enhance, the ambiance, the point of the director, the understanding of a scene. colors, contrast, perspectives, movments, what you hide or reveal...

hi yes, the main part of a camera assistant is to do the focus. u/w is a bit tricky because the water act as a lens. to be 100% sure of your focus you'll have to do prior specific camera test. 1) leak test of the housing it looks stupid but i had a leak once on the pendant destryoing all the electronic.(in egypt red sea !!!!) 2) re-write the marks with eye focus on an illuminated chart (full aperture) in a water pipe, for every lens!!!! 3)shoot in a close distance the chart, with a tape mesurment and compare the eye focus and the negative then you'll know where your focus is. it may change a bit with the salt density but you shoot in a pool if you shoot in video, focus with the video feed back and stay dry have fun

you noticed like me that in most of the night effects, low key are green. is it to obtain better deep blacks or is it some kind of representation of nights that is going to become old fashon in the coming years??? i have nothing against.....i just wonder

do i need absolutly a hd monitor for a feedback?

hi i'm 1 AC and i already shot 6 films in that format i'll be glad to help you with precise questions and i can give you names of specialists dp's, editing, cameras, stock, lens...... feel free to contact me i shot "migations magic carpet", "brain power", "origine ocean", "klassiker", "patrouille de france"

thanks i removed the colors thru a mcbeth chart in a light box with the vector scope and stored it to a file, it took me several hours. so i have 2 preset with and without colors, post prod guy told me the best way was thru post prod but it's because it's his knowledge? i apriciate your remarks

what technique would you recomand for a B/W effect? - post prod way or - Desat color by color on the matrix? or an other sollution i didn't thought about. it's for a drama, the film is mostly in color but some parts are B/W thank you to share you experiences

chek "transpotting" when Mc greggor goes deep in the carpet or spud's seeing the ceiling with water coming down. or hyper-realism like rides filming at 68 fps and projecting at the same speed gives such an effect.....?

there are actualy diferent ways to film 3D in 15/70 the old way was 2 MKII on a rig filming right and left eye (wings of courage) recent way a single camera (size of a minibar) withe to mouvments desync. of 1/48 th of second a single camera (big MSM) with 1 roll, 1 corridor and 2 15/70 windows !!! then for the editing you cut one frame for right eye and do a roll and the same for left eye. this is the space camera that went on the ISS Last solution is the cheaper filmt in HD 3D the blow up for the IMAX SR projector