Delorme Jean-Marie

ring light is usualy verry flat i'll use large soft source for key as it's a group, fresnel back light and back light in the frame. usualy young girls brings little problems when it come to lighting. )

scorpio is a top tool it's made by the great spanish company : service vision in barcelona http://www.servicevisionusa.com/

this situation shows 2 problems for me. - first no one for no reason should do anything else than focus on what is going on during a take and should only think on how to fix the problem AFTER the cut. i know often people wants to do theire best in theire craft and try to save time working during the takes and it can come to this situation. - second it's a shame that the sound crew put this stuff on internet, the sound is clear and sharp and come from an open mic. it's sad to see a high level film crew doing stuff like that. working on a film set is often verry fun but one should never forget it's a place of creation that needs focus and respect. i can understand what bayle felt : "they respect theire craft more than my work, they don't give a poop of me" and at this time you could here he wasn't beleiving anymore to nothing".... sad my opinion

hi more a question than a reply, i'm starting to get confused and need some of your brain. this camera doesn't have a shutter and regarding it's frame rate : 30 fps should it have a flicker issue in 50Hz area?? thanks

hi nobody's credited for dp'ing the last Ken Loach movie : "Looking for Eric" on imdb. anyone knows if Barry Akryod is involved?

maybe the jacques tatti movie could be rated as silent movie in color and in 70mm !! " playtime" 1967 "My Uncle " 1958 my favorite "Mr. Hulot's Holiday" 1953 and the buster keatons and don't forget the chaplins The Gold Rush (1925) my favorite Modern Times (1936) City Lights (1931) then i notice for the first time he directed thoses master pieces !!!

notice also that the focus of a zoom is never linear but in an "s" shape if your focus reference is at the midel you'll be off focus at beguining and end of the lens. if the mark matches the end you may be way out at the beguining. if the eye focus matches the mesurement focus mark focus on the neg the ground glass will be good.

slumdog has also this true bollywood look, we love, because boyle and dodmantle hired a 100% indian second unit to shoot 35 material. as dodmantle said in AC i found also the tv game segment too bulky, noisy compare to the rest of the film. it's logical for a tv show to be shot in video but in the story the show represent the "must" of success, wealth, the dream so visualy we expect it to be rich as well just my opinion... verry good film ideed with interesting second cast (the brother) the end is a bit strange (in victoria station) but must have been more conveniant to film it on this location. with slumdog we are verry far from "the beach" and it's a good thing

title : a towel for johnny roc what's the point of making an interneg if you need just one print save here rather to beg or leave the lab on a sprint ;)

where is the poetry of cinematography here, i'm lost ! help !

Miranda is usefull to convert your HD signal to sd so you can read it on an sd monitor for steadycam or wireless systems

a good idea would be ,at first ,not to compare a grip or a PA to a janitor. (if you care for your nose) then it's to have an idea of who does what on a film set. then where to meet "film workers", maybe go to a short film festival where you can meet people with projects, or try to meet filmstudents and help them in theire exercices. a small film crew is around 10 to 15 people a middle size one is around 30 there is no room for tourists on a film set and you'll find it verry boring anyway, the best aproach is to find something helpfull to offer. if you know nothing you'll be seen as useless. But maybe you have a driving licence and can do transportation, shopping, go to rental houses to pick up stuff, go to the lab to deliver film...... then at lunch tell the chief electricien you'd love to learn about his craft, or the camera assistant or production, sound. and last advise, never ask the grips how to become janitors ;)

hi i used the triX here in paris and it's super grainy, but that's usualy why you choose it. red filter is a good idea if you have a bright sky with some white clouds. a yellow filter make it good for skin tones and a green filter will enhanced the green but you'll have to wait for spring to acheive this. don't hesitate to give me a call if you want to see the footage i have also some plus X shot in this short film shot S16 with the Kodak camera.

but remember that in the editing any fade transition IS a special effect that needs aditional optical work and a new line in the budget. still the cheapest route

the movie cam compact is a good camera with money saved maybe you can try the T-Rex systeme verry usefull for car extreme POV it saves also a lot of time and open at T5.6

hi ramy please post with your real name as per forum rule before any answer from members thank you

form warm tones i would suggest you to try : amber deep amber an CT straw golden amber is verry "red" to me for cold tones you can try them on a 5600°K projector if you'r filming 3600°K

I was not critisizing you Mr Rakoczy and again there are no rules. I was expressing my personal feeling about the responsabilities of a DP on set as you expressed yours regarding the best route to become a DP to me the DP isn't only paid to frame and expose the film, but also to lead the camera department it means at last to take technical decisions about equipment, crew and problems with equipents and crews. and to take those decisions you need to know what you'r talking about : (cameras, makeup, forecast, grip equipment, lighting equipment and electrical issues........) in order to take the best decisions for the film, to explain them to the producer or to the director or both Also don't forget what area we are talking about, in Europe we don't use much the gaffer as you do in the US

hi for "the traveling car" you'll certainly able to find one in adition withe a "loader", a trailer where you can instal a traveling on the side. so you car drive the crew, lighting/flaging and 3 axes of camera. "U turn" is also a nice reference of road movie. inf you inted to do some handheld forget about the 535 for the bike, as it's a shot/effect maybe you can try a small HD head with a PL mount something like the modula http://www.easylooksystem.de/documents/49.html

hi and first congrats for beeing where you are, in prep of a long feature once to give the idea of a hot summer Nestor almendros will put the characters in any shade he could find and let the sun burn on the film. i thinks it's the exact oposite to your idea. on "blood diamonds" Edouardo serra will over expose uncorecter 5218 2 stops to achieve the same thing in many westerns they played with the "heat" leone and tonino delli colli "the good the bad and the ugly" did it really good. but maybe "Fear and Loathing in Las Vegas" will be your main reference?

hi it really depends on what you call a DP nowadays i see many kids in their 20's introducing themselves as DP. with the introduction of vidéo cameras a lot of people had the oportunity to do short films, documentarys music videos..... and they learned theire tools the best they could. does it make them DP's? yes certainly but what are we talking about. each industry has it's own tools, tricks, rules, network and experience. so one can be an HDV music video excellent DP or director but can he market himself as a DP Being a DP is a life long experience so ones should always be verry honest with directors, producers and crews on what level DP they are. I always introduce myself as a beguiner DP as i never shot any long feature film, but i still have a solid 12 years of experience on majors and smaller productions in the camera department as well as over ten shorts as DP. i takes a while to learn dping and it's true that it's not when you'r first AC that you'r going to learn much on lighting and flaging as well as lab work. but as a second AC you have more time for that. and i would have been mortified to dp a film and not knowing how to load the camera. and again theire are no rules as long as ones makes good films.

hi textures, lighting and framing looks good some problems are still anoying : in the first part the tv set blinking catches the eye, the smoke machine is too much looks like something is burning under the desk. the suit case looks super empty... in the second part the storm effect isn't really there it's a little like a still camera flashing outdoor. is it a school essay? to avoid the fliker on the tv set you need synchro box to sync the opturation with electricity, not shure you can do it with a BL3 the smoke, wait a little and break the "clouds" with a black flag or the slate the storm effect you need a moonlight on the wall behind the talent to shoow a little more off the room and the striking light have to tuch the walls if not it looks fake keep filming hang on

hi i already did in the some tests with kodak stock from short ends 35 in my old pentax still cam and had them processed with regular camera tests. motion picture film run as good horizontaly in still camera as verticaly in motion picture ones.. in still cam you'r not concerned with steadyness issues

it's a good question forget the dslr first and stick to still 35 cameras and motion picture camera. the size of the film strip is the same, you can run motion picture film in your still camera, the chemicals are different but it's not the point. sorry i'm explaining in the metric system your frame size with aspect ratio is : in still camera : 24mmX36m in 1.33 : 18mmX24mm in 1.37 : 16mmX22mm in 1.66 : 13,25mmX22mm in 1.85 : 11,89mmX22mm in S35 : 18,66mmX24,89mm it's including the sound track in 3 perf : 13,87mmX27,89mm and vistavision 1.5 : 25,2mmX37,7mm as you can see the image of the 50mm lens of your still camera will fit in any of the images of the motion picture one, it will be slitly croped depending on the format on the horizontal. but, in vertical it will be more croped in letter box ratios. now if your frame is like in 16mm lets say 10,22mmX7,42mm as the image is centered you'll only have the center part of the 50mm image, it's like if you where zooming in. that's what happen if you use a 35mm lens on a S16mm camera or a still camera lens on a DSLR camera with a 2/3" chip then you 50mm will have the field of view of an 85mm and opticaly it's still a 50mm with the depth of sielf of a 50mm i hope it was clear

also the choice of the lens will have an imput on the choice of the camera. if your dp wants to film with arri lens you won't be able to make them fit on a pany anyway. also with S16 there is a totally different set of primes available it economically make totaly sens to film in 35 for a print in 35 with a regular photochemical classic laboratory work. also if you have many sets you'll save money on the lighting as well.