Delorme Jean-Marie

sorry Big frame mag

chek : boug frame magazine ISTC conferences LFCA conferences the only rental house is IMAX corp Missisauga, Toronto Canada all the cams are prototype and verry tricky to use. I know IWERKS designed one 15/70 but i never used it. there is also an industry in 8/70 Labs are CFI Los Angeles and Gulliver (in france) Stocks are both Kodak and Fuji

hi fellows i had the chance to shoot several films in 15/70. new cameras (MSM) martin muller design aren't so heavy, larry Mc conkey takes it on his steady cam :o the 1000 ft mag is about 3 mn long. a camera was braught on the top of the evrest and so on. some special cameras goes to 48 fps. recently we flew MSM on ultra light for a remake of "migration" for imax magic carpet show....

tu as tout a fait raison laurent.a c'est mon erreur. is it possible to film high speed in 50 hz without fleeker free sources?

and what about the new honk hong school with Mark lee and chris Doyle tow different styles but brilliant. and robbie Muller (paris texas). chris doyle did "liberty height" in the U.S but do you know if mark Lee is on a U.S. film?

hi in France we are about 70 000 to works in films, tv, actors, production all included (the intermitent workers) and we are a verry small indistry and maybe 30 000 more who work all year long for the same company (contracters) so let's say a total of 100 000 not big hey! i noticed recently that spain was verry dynamic they have like 15 camera rental houses (35mm) as we have only 6 (5 in paris).

hi be very carefull if you set your character with streetlight of fleeker problem if you play out of the safe 24 fps for 180° beacause street light aren't fleeker free i'm not shure of the angle at 60 htz cause i work in 50 htz (sorry)

talking about colors what do you think about : sandi sissel's lab problems in the goldy "salaam bombey" and night colors : -"paris texas" DP Robbie muller -"millenium mambo" DP mark lee ping bing (hong kong) -"chuking express, in the mood foor love..." DP chris doyle (agfa320) (hong kong) -"Topazu" DP Tadeshi aoki (japan) -"a la verticale de l'ete"DP Mark lee those films are a firework of marvells and it works good because they are "ambiance" film. for desaturated chek "lucia y el sexo" it's a spanish film bleu tones and over exposed like 3 stops and it works great.

thank you Mr gross you'r the man thank to the forum :D

thank you grimmet i wasn't aware of this manufacturer, if any one else have an opinion about bartech, it does interest me :D

hello i'm a bit experienced i filmed in the sahara this month of august with a 435 arri and 5 years ago in egypt with an imax. most of the trubles doesn't come from the heat (except from film stock) but from the dust. Raymond depardon the photographer did a long featur in the sahara he used kind of a dark room around camera body and the tripod to be able to reload without dust."a man without the occident" "un homme sans l'occident" (in french). if you doesn't need sync sound take a 435 or a arri III if not good luck. for the stock i freezed it (the 65mm stock) and send it to the lab in cooler as soon as filmed. i hope it's helped you. i'm shur you'll find icredible light in the desert theyre are rules about that to aske experienced DP's

for an helicopter nose mount and traveling car system i'm interested to by a wireless comand including 3 motors, cables a bracketing and a run, focus, zoom comand what do you think of the scorpio vs fiz vs aladin? thank you

hi according to my experience aaton 35 isn't build to film in antartica at all. what you can do is make a test in an industrial fridge after winterising the camera body. Arri III is noisy but goes verry well in those conditions. we should aske DP's thierry Machado who filmed last winter a featur in north canada for several months. I did a prep in S16 for antartica thru fridges. Maybe aske directly Mr beauviala at aaton what they think about antartica because there are verry few mechanicles parts in the mouvment and a lot of electronic for the video head. We used it (aaton 35) for "migrations" on ultralights all over the world and it was not easy to maintain in a good shape. good luck it must be a magic destnation!!! to film

just a little note. in france we have to go thrue test for insurences and buy watching charts for either primo, S4 or Arris on microscope from the negative (even in anamorphic) you can compare the sharpness, softness and differents "warm or cold" ambiance of the image, just on a chartd it's a cheap and easy way to compare lenses, you can also says if old optics are matching together. primo are warm soft with a verry good definition S4 are colder but with more light effect and excellent definition Ultra primes are... close to yhe S4 but that's only my opinion by

i saw ths discution and i think it's the one of thomas english with his software solution with an additional computure... I was talking about a hardwaresolution size of a small cell phone which understand when the shutter bade is rolling and hit the pause of a wathever recorder on the rec pause position. it's pluged in the accessory plug of the camera body. has anyone used it?

thank you sir if anyone is curius about anything with cinematography in france don't hesitate to ask me i'll try my best to give you a response. by for now

hi i'm new in the forum i worked recently in france with a U.S. crew and the A.C brought a beautifull item able to record on a vidéo clamshell only when you hit the run of the camera which verry useful for action type sequences when you are usely not a few. IF anyone know about this item i would love to by a couple for my jobs in france. thank you