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Delorme Jean-Marie

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Everything posted by Delorme Jean-Marie

  1. i posted on separated threads to make it simple for users when they need the information on a specific item and this thread is open if you need to coment on the robbery. they left with bags and didn't took the flycases ! they cut the telephone wires on the street . they opened a hole on the side of the building hidden by trucks from the camera security system then they smached the alarm bell. panavision hired a security guard for this WE but the site is so big he didn't heard the alarm.
  2. i just posted 3 lists of serial numbers. please refer to those lists prior to purchase any used equipment. thank you
  3. Qty Item Brand Type Serial Number 1 Camera PANASONIC AJ-HDX900 187 1 Camera PANASONIC AJ-HDX900 199 1 Camera PANASONIC AJ-HDX900 413 1 Camera PANASONIC AJ-HDX900 416 1 Camera PANASONIC AJ-HDX900 458 1 Camera PANASONIC AJ-HDX900 516 1 Camera PANASONIC AJ-HVX200 080 1 Hard drive PANASONIC AJ-PCS060G 221 1 Camera SONY HDW-790P 100 1 Camera SONY EX3 400394 5 box of 5 cards SXS Pro 16GB 1 system PRO35 P+S TECHN 200453
  4. Camera Seriial Number Arri 435 7460 Arri 435 7563 Arri SR3 1656 Arri SR3 1354 Arri SR3 1124 Arri SR2 62031 Arri SR2 63250 Arri SR2 63616 Aaton XTERA 2190 Aaton XTERA 2224 Aaton XTR Plus 1781 Arri III 40638 Arri III 41635 Arri III (PV) 41296 Platinium 419 Millennium 160 Cameflex
  5. here is the list of the lens stolen at Panavision on it's site in Gennevilier zeiss go 35 n°16 18mm 7148784 25mm 7148756 35mm 7359277 50mm 7205619 85mm 7205898 Zeiss go 35 n°4 18mm 6625473 25mm 6625695 35mm 6523876 50mm 6616686 85mm 6723980 Zeiss go 35 n°1 18mm 6625414 25mm 6523887 35mm 6622004 50mm 6616715 85mm 6752538 Zeiss go 35 n°19 18mm 7147440 (Transpalux) 25mm 7148650 35mm 8806783 50mm 7149218 85mm 7148502 Zeiss T2.1 n°1 16mm 7280842 20mm 7111978 24mm 7259209 32mm 7194091 40mm 7156452 50mm 7280338 85mm 7280544 Zeiss T2.1 n°4 16mm 6888160 20mm 7111943 24mm 6888368 32mm 7111903 40mm 6821883 50mm 6887358 85mm 7086015 Zeiss T2.1 n°B5 16mm 7280780 28mm 7112362 32mm 7193969 40mm 7156422 50mm 6887426 85mm 7193917 24mm? 7259264 Zeiss T2.1 n°B6 40mm 7964701 50mm 7280402 85mm 7280555 COOKE S4 n°7 40mm O228 50mm OO53 75mm OO54 100mm OO53 COOKE S4 14mm O269 21mm OO46 optex 100 mm macro 1005608 Zeiss go 35 n°12 18mm 7181234 25mm 7148600 35mm 7178040 50mm 6616776 85mm 6616499 PRIMO ZOOM SL17.5-10 SL17.5-11 SL40-13 SL40-14 SL50-198 SL50-199 SL75-24 SL75-25
  6. it's not 15 but more 25 cameras stolen ! 35mm, 16mm and HD with loads of lens series be verry carefull on your coming purchase on the net! as soon as the company wants to publish the serial numbers i'll inform the forum
  7. "We always pay salarys at 8 weeks delay".... one of the biggest comercial production company in France. no kidding
  8. some of it is labelled but this rental house work more tv production than motion picture films so they have both gear. as soon as i have some detail on what's stolen i'll let you know
  9. this news come from http://www.cinematographie.info about 15 cameras and lens serie were stolen this WE from cinecam a company of panavision. so far i don't know if it's S16 or 35mm but as soon as we know more about the serial numbers we will let you know. it's a warning for sale in ebay i bet they won't try to sell this stuff in europe i feel verry sorry for them they are good friends.
  10. fuji does it as david says but not all the stocks and it's a special order a few months before production starts sorry i didn't understood it was a production cost essai
  11. hi what is the doc about, it what field will you be working? a 35 cam is maybe 2 or 3 time more gear to move than a S16 i did shows in imax by my own and other with 3 people with me. it depend on the location, number of shots and moves per day ect.... an advice take 2 assistant bags, one full of things you never use, in the truck and one almost empty with you
  12. call the arri representative in NY and LA they will tell you where to find one, it migth be in Munich !
  13. also only CFI in LA and Arane gulliver in Paris will process your neg. i strongly recomand 765 arri as a cam but "film school and 70mm" doest match to me budget wise why don't you work on a clean S16 film instead it will be more usefull in your coming career my two cents
  14. yes thanks i didn't knew this imdb "trick" i also posted the same question on cinematographie.info wich is the brand new brother of cinematography.com in french language with more Europeen cinematographers members. and more connections with Europeen culture . i'm not saying that cinematography.com is U.S centered, to me it proved it's open minded to the worldwide comunity of cinematographers and cinema lovers in general.
  15. and last one "wonderland" from michael winterbottom thanks
  16. hi all i'm curently preparing a short film I have the choice between S16 and 35 to achieve the look and i 'll go thrue testing thanks to Panasion Paris, Kodak, Fuji and my friends techniciens. i'm trying to find out what whas used as a comno lens stock for the following films, so maybe you have a good memory, or the proper AC mag issue or you where the opérator yourself. anyway thx in advance for your imputs the films are : - Enfant, L' (2005).. aka The Child from the dardennes brothers - Rosetta (1999) from the dardennes brothers - Sur mes lèvres (2001) (writer).. aka Read My Lips from jacques audiar shot in Cook S3 but what stock? - Scaphandre et le papillon, Le (2007) aka "The Diving Bell and the Butterfly" from julian schabell - Eternal Sunshine of the Spotless Mind (2004) from michel gondry - Loin (2001) ... aka Far from andre téchiné - Exils (2004) . aka Exiles from tony Gatlif i think all those film goes in the same direction with the "look" thanks for the imputs
  17. thanks Mr Mullen you'r a gold mine of informations i'm always amazed you give some of your time to the forum as busy as you are. thanks a lot
  18. hi i'm not a geek but securizing data is one of the most important issue with the data technologie. ususaly people are doing copys of copys, miror discs and complicated workflow to secure the data. Data is the neg or the tape. by formating the hard drive you erased your data. i heard once about a software to have the data back but it's quite expensive and should be done at Mac consumer service nearby your place. good luck but you'r contents may be lost.
  19. hello my point is to be able to film in the aspect ratio 2:35 in the S16 format. the idea is to scan/shoot the film aplying a strech to obtain an anamorphic 35. does this route make sens to you? as it been done before? on what film? as this route been discused already? will the size of the neg left in 2:35 be enougth to hold the scan?
  20. hi verry nice naturalistic style and mood like your work on the flares good work ! you have your own style
  21. still 315,000 workers left worldwide ! maybe not all at custumer service thow.
  22. as it was said earlyer, the direcctor didn't call "cut" so i assume it's even on the film. on big show like this camera can keep rolling almost all day long!!! crews are used to keep rolling when the director is making an adjustment. the director knows that if he call "cut" everybody will take advantage of this moment to fix whatever problem he/she saw while focusing during the take. often directors hates that.
  23. what is the story about? some strorys needs for a full truck loeded some others needs nothing. go for something simple but well done.
  24. it's also very strange the director didn't noticed anything maybe he was burried under the video village. i assume the dp was not operating i can't even imagine an operating dp walking on a set during a take on T4 !!!
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