Delorme Jean-Marie

thx tebbe for your comment. the money aspect is very important but also the quality. if you'r back in the 35mm world you avoid the S16 such a grain and dust. processing S16 is harder than 35. it funny to say so but for certain production such as low budget comercials or comercial for the web 2 perf 35 is a serious alternativ. but tebbe shows an important point the rental price of the camera boddy. on this tight competition between 35 2perf, S16 and HD this rental price can be the lock or the key tto the choice. an aaton understood it i heard for rental prices close to the S16 budget i recently shot a comercial in the dersert 55°C in SR3 whith 35 primos for a smaller budget than HD. every electronical on set died because of the heat i was glad to shoot Fuji 250D stock to hold the heat and the 4 and a half stops of contrast ratio.

they are the specialists : http://www.flying-cam.com/

they process for the same price but you save 25% in 3 perf and 50% in 2 perf on your processing budget and film stock!!!!!

hi all i'll attend october 8th a presentation of the new penelop 35mm camera from aaton. it's conference is organized by the CST (technical superior comition) of the french film industry as well as panavision. jean pierre beauvialla will be there. i'll try to report my best to the forum . if any one of you want to put questions to ask this day let me know i strongly believe this can be the come back of the 35mm on smaler productions let me know your questions

http://onirisproductions.com/afcinema/V3/L...n-Penelope.html in french

well we spent two days in tuscany somewhere in a soccer field like usual with helicopter gigs. working with reed was great experience we also had booby adams as a key grip and doug lavender as first AC all top level techniciens and great people to travel with. thx all for your support i ll let you know about the coming projects so far 1 comercial in algeria, 6 in maroco 2 documentary not to bad for a beguining i shot in hd a documentary about french gastronomy last we i could taste all the fun of dping on a verry small crew and the catering was not too bad ,] i m now in odessa ukrain to shhoot some helicopter stuff for transporter 3 the new luc besson production movie ....

if you don't film a reference : a grey chart in you reference light then the colorist will time the roll the way HE thinks it's the best. if he likes it a bit cool he will time it cool even if, in the scenario that's the romantic kiss in the sunset, he doesn't know what you tried to achieve. if you worked hard to light a night sequence 3 stops under with a touch of green in the blacks he will time it at 0 stops under and white maybe with a touch of yellow because he thinks it looks good! a grey chart is a comunication tool between the dop and the timer in case they can't talk with reference pictures or on the phone if you light everything flat and white yes a agree you don't need a grey chart my 2 cents

sometime you even have a sketche on the camera door itself in case you forgot as sometime you forget.....

yes i agree John! we miss you a shame they don't have internet up there

thx max you got it 100% those ten years where fantastic anyway even if sometime unloading and loading those dam trucks was exhausting. and a big THANK YOU for cinematography.com and this great spirit of sharing the same passion. this web site helped me learning ten time more than the dp's i worked With in my career I know it's only a new start, the begining of a life long experience and i'm fine with that thank you alll

if Reed is a smooth operator Smoot is defintly his name sorry for my bad spelling

a total of 4 perfs dameged for a 1000 ft roll and some marks of a wrong pitch adjust on the first time laps.... maybe it helps to understand

there are time in life for changings ! i'm happy to share this moment with you i'm starting this sunday my last film as a camera assistant it's an imax film about ferraris with asc DP Reed Smooth. (3 weeks in Italy) i started 10 years ago with an other imax film "patrouille de france" (french blue angels). well that said :)

hi all i was filming recently an IMAX documentary about van gogh and we had a strange trouble shooting a roll shot in 3 diferent locations shows the same problem : a light leek coming from the inside of the perforation ang going sometime in the direction of the edge and sometime in the direction of the frame. and from both edges but not on every perf. i beleive it's not a camera problem as in between we shot other rolls and we shot time laps as well as 24fps. for me it could come from the perforetion machine at kodak. it'c can't come from the lab as it was processed with other rolls the same day. note that we had other cans with the same roll number stock was 5205 finaly we had to reshoot thoses takes as anyone had a similar problem

hi all for a short we shot 1 year ago, and after winning some prizes and money in festivals we are able to go to a print. the film was shot in the scope ratio 2:35 we planed to shoot on an arri lazer with an anamorphose. so the final print will be in the real 2:35 ratio for projection : scope what is your opinion, have you done it before? max any idea? i'm quite confident with this route and the people doing it : post house is Mikros image in Paris and the lab is the great Arane lab in Paris (imagecare) thx all let me know

"The Diving Bell and the Butterfly" just that! or "into the wild" recently gautier and kaminski

the sooner you pay your fixers the less youhave problems yen you don't master them. simple law of production!

hi eric to see for the length of the files waiting for juno in front of the movie theaters here in Paris, i really want to rush in. then i remembered this post, and the fact you dp'd the movie. i like your style from th first reels you posted here (the tampax comercial...) so i'v got to see the movie. congrats again.

hi 8/70 and 15/70 cams run a various frame rate you can plug a norris intervalometer an go time laps. you can run an imax cam at 24/ 30 upt 48fps depend on the electronic board yous asked for imax MKII and IW5 run at thos rates if you want to run hi speed rent an IW8 that will go up to 60fps remember those cameras are more or les prototypes so aske for what you need and they'll do it for you (imax) hope it helps

hi all i'm looking for the best way to make a 35 print from an HD master. as far as i understand there are 2 way to do it : - apropriate grading for the print then arri lazer on the neg and regular workflow. or - film with a neg the hd image projected on a tube, then regular workflow. what is the name of this method? do i need a special grading with this route? could someone explain a bit more those tow workflows. due to strong euro vrs dollar it may be interesting to have this done on the east coast for us europeens. who is able to do this. what would be the average price for a 17' film ? thanks in advance

hi HDcam SR is the best tape format : it's HD. with the F23 you can record HD on tape or 2K on data. with red you have an output on HD or 2K or 4K so you are comparing oranges and apples. red already have a 35mm sensor so you don't need the pro35 tool Yes use a waveform on both cases so you keep your signal between total darkness and clipped highlights. if dont do side by side key light teste on a lady's face and a MC beth color chart i'll be glad to hear your observations

Hi mr Murphy great colors you have there i recently saw a film "le deuxieme soufle" from alain corneau dp yves angelo with strong colors in your style. it was shot on genesis thow. i worked recently with a dp who is used to take stills on set with a nikon D70 and printing them every days to send them to the lab with the neg, he is carrying a small printer from location to hotels to avoid the problem you had. he is doing grey scales to.

thanks thats what i was looking for : Subtitling The standard font is a "Helvetica lookalike" (edged, off-white)

every boss should love it's union because a union should be an organized representation of the workers. in france the film worker's union is so little and so sold to the producers that nobody listen to them and that's why we had a spontaneus massive stricke when enought was enought. every union was negotiating it's little corporation benefits and when they asked workers to go back to work nobody will listen to them. now the social situation is close to chaos and as a matter of result the general quality of productions in france is sincking. salarys, healthcare everything is going down.

for travellers some info on french rate to compare : second AC is at :1 071,69 ? wich is 150$ for 5 days 8 hours + 1 free houre prep and 1 free hour packing. on this rate production will be charged a good 40% more fore taxes you'll be charges 20% of taxes first AC : 1 151,68 ? is 1612,35$ at same conditions operator is at 1 485,67 ? 2080$ a week and dp at 2 366,09 ? 3312 a week euro is high so we are more expensive than ever on the global market! this is the rate agreed by unions on long features and tv films my tow cents of euro (0,028$)