Delorme Jean-Marie

and yes a forgot.. a steadycamer in belgium has a demo where he hangs himself from construction crane.... i saw an impressiv shot where he was craned down then released a mor classic steadycam movement...

hi we did it once for the movie "amelie", we didn't use aflight head but a construction crane from a crane tuck! it was a tilted down only shot. but we used 2 KS 12 gyro stabilizer to prevent the rig to swing. we had also a dedicated barel manifactured by the special effect team to move the cable smoothly. what you can do to simplfly your power cable problem is to "fly" a batery over the head and mabe the operator himself is you don't have remote control unit. i think it can work the flight head and a construction crane but there is a need for the "in between" the head and the cable. i hope it helps

a reel for an ac ?? come on! for a short film!!! but a reel of what??? you can't be serious talking one minute on the phone can tells you if an assistant knows the job or is telling bulshit. What kind of reel do you expect? a racking focus reel?????? take no offense but a short film should make it possible for techniciens to learn new techniques and a camera assistant should'nt be asked to show a reel prior to work. saying that i wish you good luck for you coming film.

i just receive a new salary paper work and i know i'm competitiv' nowhere on earth. my work was billed 3003 ? i had a chek of 1613 ? at the end of the year i'll be charged 35% of thoses 1613 and with what's left i'll pay my VAT of 20,6% AND they privatize every public services NO WAY!!

this music vieo relly deserve something the work is amazing! hypnotik Kasper Tuxen, Dave Gahan: http://www.rokkit.tv/?section=musicvideos&...amp;film=film_3

hi as a cinematographer you technicaly achieve what ,you understood, is in the dirctor's head. it means you can also help the director to understand himself what's in his mind by asking precize questions and then give ideas to push in his way. if i don't understand a director or i don't agree with his ideas or he constantly say no to my propositions, i prefer to turn down the film. filming will be a nightmare for me and him and the movie will be bad or not as gould as i could be

hi all it's very interesting to see this add and compare it with the way RED push theire new concept, a still cam that does motion picture in one hand and a motion picture cam that does stills as well. lets say the sensor is good for motion pictures AND stills, just like FILM it's also interesting to see the "conflict of generation" it's creating. youth is a country where everything is possible, ok lets make a "film" or a "video" with a dslr who cares! if the project is crap it will die by itself and if people are interested it will be succesfull. The relatively cheap "sensor" technology made it possible for newbies to get a start. great! everybody learn by making mistakes it's better to make those mistakes with a dslr rather than a millenium. not everybody had the chance to have a father dop or producer and to grow up on a film set. also when you are for a certain time in the industry and you experienced the tricks of the trade you ask yourself what the hell could i use this dslr cam for! there are alredy so many differents formats to acheive the job and the camera is such a small part of making a film!

hi i do 15perf but from my point of view if the format is big, the industry is small - 2 labs in the world (CFI and Arane) - maybe 20 cameras worldwide and let's say 30 techniciens from camera assistants to director of photography and on the forum may 5 people who worked with the format. this format is more extreme tne main stream so i'm not sure it deserve a specific forum the 5perf, 8perf and 10perf are even less used. let's say it's verry hard to make money with large format and there are more storys of bankcrup than sucess

yes verry good reel, you shouldn't have much problems to work with a reel like that or directors are crazy people! good luck

doyle style is verry interesting and much of us are caught by the images why? the main stream of the industry "hollywood" to name it make images sharp and clean, classy that became a standard on feature films, music video or commercials. and what is a classy image in 2008? it's low contrast, desaturated, snap with solid compositions and clean mouvements and sharp focus. now what does doyle do : high contrast, saturated, blured, hand held, extrem lens and POV : the anti main stream look also the storys he is telling talk about people out of "hollywood" doyle is just offering choice, variety (he used to love the agfa stock to) and we love it because we need to see different looks.

Imax biggest issue as always been 40minutes long documentarys for museums in 2 formats Domes the omnimax format and flat screen They also designed other formats for fun fairs or internatianal expos such as : the solido : 3D omnimax the 3D flat and the "magic carpet" 2 thaters only (france and japan) wich is 2 flat screens one under the seets and one in front of the audience and they link the 2 screens! some theaters are destination ones some belong to museum very few are for motion picture when imax wanted to sell projectors for the big industry they create the DMR wich is a small imax

this film was shot in S16 with an sr III stock was fuji 250D i rated normaly we used 35mm lens primo ; 17,5, 35 and 75 T1,9 and an X2 extender i didn't used any projector on this film due to a technical problem!

let me know what you think :) http://fr.youtube.com/watch?v=HdrVLNMMF9Y

thanks gentlemen sometime it's better asking yourself simple questions rather than staying in the dark

hello mr mullen i can understand reason 2 and 3 but there won't be more density on the neg unless if you scan the print. did i misunderstood something? interesting point mr Borowski.

Hi all i just red the artical about E. Lubezki on the Cohen brother movie. he is explaining he he rating his 5229 stock at 400 asa wich is slightly overexposing. It's something DP usualy do to add density on the positive when bringing the printing lights back. but when you'r grading in DI what's the point theorically and in real life. thx for your imputs i'm curious

jane campion's "piano lessons"

but there was a difference in 1:85/1

about no diferences that could motivate to film in 3 perfs.

hi i like the last one woman ext day, verry natural soft.... the good old arri bl4 such a good camera!

well, verry nice evening yesterday for the presentation of the aaton penelope, this presentation was in the middle of a bigger presentation about the 2 perf in general. - price wise the penelope will be between the millenium and the aricam ST for rental. - there is about 20 2perfs camera mouvements nowadays for all europe half in panavision, half in arri. we could see projected from an SR tape, jpeg 2000, and 35mm material some test ran by panavision and DOP josé Gérel , some verry interesting comparative test between S16, 35 2perf, 35 3 perfs in 1 :78 with the 5217 , 5219 and 5201 another test in 1/85 and a last one in 2/35 with also a comparision with anamorphic 4 perf. the US production for TV are already verry used to the 3 perf but here in europe we are not at this point. material was digitalised at 2K and timed on a colorus at eclair laboratory in Paris the point was also to present the worflow. as a coclusion we could see the improvement of quality jumping from a S16 to a 2perf 1/78 to a 3 perf 178 then from S16 to a 2 perf 1/85 to a 3 perf 1/85 and from 2perf 2/35 spherical to a 3 perf 2/35 spherical to scope 4 perf anamorphic and 2 perf 2/35 in digital projection and in release print projection. hope i was clear enougth

i tried it in HD with a 750 and partialy missed the trick why i didn't trust on under exposing knowing i could do it in post : big mistake. few things that don't work : - direct sun on white or clear objects never let anything to clip in the image. underexpose a good 3 stops and then fine tune in post. things that works : desaturate your image in post the moon light don't render colors. i'm not a fan of blue nights experiment with the color grading i did a green one desaturated that was interesting i hope it helps

your main problem will be the depth of field as you film with wide lens to be close choose CF ones "close focus" the you will have a verry small depth of field and possibly the shadow of the lens. choose a verry high stop like 16 or 22 light with a strong and focused projector something like a jocker with an optical nose so you can cut the light easely on your lens. it's gonna be hot on your model ;)

don't forget there are many 65mm format. motion picture industry will use the 65 5 perf vertical (765 arri and 65 HR panavision cameras) another industry will use the 65 8 perf vertical mostly for destnation theatres (iwerks cameras) japanese industry will use the 65 10 perf vertical wich is a square format for destination theatres as well an the you have the bigest format called 15/70 wich is 65 mm 15 perf horizontal called IMAX (image maximum) it will be imax cameras or the fries camera 70 mil is the size of the positive stock to include the sound track, useless now as the sound is provided on a separate tool, often the sonics sound system in Imax, an 8 tracs sound device. hope it helps

lets say if you look for technical difficulties go for the tronchet system his zoom has a diferent spot per focal length .... theoricaly it works but you need a good suport from your rental house and lab to achieve your goals. if you want to shoot film and in the 2/40 aspec ration i'll strongly recomend you to film strait in scope. if you have a low budget production that can't afford 35 2/40 you wont afford S16 scope either so why not thinking of filming 2/40 in HD and in post if you raise money go for an anomorphical scan en 35 print. and if you'r attached to film just film in 1,66 in S16 sometime simplifiing the chain isn't bad on short budgets think about it