Delorme Jean-Marie

- Eric Gauthier - Edouardo Serra - Mark Lee - Barry Ackroyd - Marcel zynskid - Robby Muller

hi daylight film is 5600K with 5600k light it will be white. tungsten film is 3600K with 3600K light it will be white if you want to achieve a white light with a tungsten projector you have 2 solutions : - you gel yours projecyors with a full blue to cool the light from 3600°k to 5600°k - or you cool the entire picture with a blue filter in the front of the lens on both case the light will be white. blue or orange are not colors in this case but temperature of color in °k which is different and rect diferent than mixing of colors hope it helps

adam position your meter where the light hit the talent, half way don't interest you, you want to know the light level where the actor and as it's moving actors where he is gonna be. metering the back light will tell you the cotrast of your image between high lights and shadows.

as whole it deserves the palm. the mood is there the actresses are great they play it really soft and the subject is super heavy. there is no speak when it's not needed. it reminded a turkish movie "uzak" for the mood. it's a masterpiece also because it looks verry simple but everything is at it's place you'r not incomfortable watching it. it's a verry good film, verry honnest it could be real life it's note a fake story

i certainly missed something but to me it could even had been shot in 1/66

hi we has in Paris panivision absorbing technovision last year. there is now a lot more choice of lens at panavision, not only scope lens, also a vistavision camera and a lot of accessories homemade by techno.

what you need to do is called "time laps" there is maybe a time laps setting built in the cam. the point is to film 1 image every 2 second for exemple for 5 minutes this will gives you : 60s x 5 = 300 seconds of footage and 150 images screened at 25fps that will be 150/25 = 6 seconds of images like your picture with a long pose try different settings to get the effect you need. and don't tuch or move the cam it'll affect the footage. you can pan and tilt wile doing time laps but it's another story. i hope it helps

hi rely on the stock borow a DSLR and scout with it expose at 500 and 1000 at T1.4 and T2 see how the street light pops up nicely. you may need litlle lighting espacialy for wide shots, put the talent close to a shop enlighted at night. if your key is to high (T4 or 2.8) it will shut down the city lights. if you aren't rich enought to have a kiker for the wide shot forget the kiker. if you are a poor dop, you still have tow goog weapons : 500T stock and choose your street verry well. street lights are mostly sodium vapors (redish/orange) with a lot of green inside. gel a tungsten light with orange and pllus green and put your light on a piece of foam core and compare by eye to match the color. but you may prefer not to choose this kind of light as you key source.... ethernal.... was shot in fuji if i remember well and was verry grainy, if you push your 500 by one or tow stops you'll have a grainy result in S16 for sure the best thing would be to make tests with a DSLR and your lights and gels and filters...... I hope it helps

hi i don't get your point a camera isn't a toy to play around with. if you are curious about exposing, take a reflex camera and shoot stills with the manual device. same with a DSLR. rental houses are company working in an industry imagine someone comming in a plane factory and asking to practice on one of the equipment! why? because i have not donne any training before i'm a total newbe but i'm cutious on how it works!!!! i'm not sure you'll be welcomed. but if you have a film project, you admit you are a newbe and you ask how to shoot with film and who could help you to do that without compromising the camera and the image itself, the rental house may introduce you to a yong dp they support to mentor you with your project. or buy a cam on ebay, buy film, roll it, process it, print it, screen it, you will have the same result with a still but you'll be broke! practice moving picture is a lot more easy on video my tow cents

hi i'v just seen the movie released this wek in France. after a few second i heard a little voice telling me :"wait a second it's scope!" this movie is mostly handheld, it's a cold winter in roumania under the caucescu regime, tow girls are in deep poop, everything is sadness, intimistic. what does justify cinemascope to you, for this kind of story? i don't say i didn't like it, i juster wonder why this choice of scope.

yes i recomand devid's book as well. it's one thing to have the chance to get on a set it's an other thing to deserve it and to give people the feeling they just have to call you to have the job done properly. you have to know wat your aredoing prior to sell yourself. and never lie on your knowledge people will know within 2 sentences if you are what you are. camera assistant is a technical work so learn the technicks and the theorie, you mentor on the set will teach you "the set" have fun

i agree waiting can become the wosrt part of ou jobs it could be good topic : what do you do wile you wate as when you work you have time for nothingelse?

your links replyed already thanks

well thanks yes i'm verry interested. as long as i don't have my printing lights, copie zero i can't ask anything correct? will the color timer be able to make the first print from what he see on the neg or from the tc or will he do a one light best light print?

thanks for your response but the film is shot for e year know and i know the look i want to acheive. what i don't know is how to formulate it in the timer language : points, % or whatever i need to know the scales, the ranges

hi i saw the movie last night they went very far in the underexposure and the image was verry different from what i used ti see on yorick le saux 's work. it looked like fuji 500D verry grainy but i saw on the credits kodak stock was used. anyone saw the film at cannes maybe what is your feeling about the film. i'm a big fan of assayas. Michael Madsen performance was great also asia argento was fantastic one of here best movie to me so far

hi i'll soon have to time photochemicaly a short i filmed in 35mm . i was wondering what is the range of corrections : points? how many ?over, under? and in what direction : primary colors? darker? clearer? what else? thank you to enlight my candel on this point so i don't feel dumb at the lab. it will be done at Dejong colors in brussels, that i know to be a lab of good reputation. also dirk dejong is posting in this forum thanks all

excuse me, you are 29 and you directed and photographed this film!!!!!!!!!!!!!!!!!!!!!!!! triple congrat you may be the next kusturica? i'm verry impressed

WELL looks great! hot, snappy and serious. i'm not a fan of this genre film but i could pay my ticket for this one. the cast looks verry good as well as the photography. the trailer is good congratulation ! i think it's the apropriate word for this work best of luck for the take off

i agree that resolution doesn't guaranty artistic images : degas or pissaro has a lot less resolution than bay watch but i don't agree for color an saturation. they are tools and you need to tools to achieve your "artistic creation" you will be surprised on how picasso new everything about "figurative" drawing prior to do what was called "child painting" even resolution was used as a tool by dop's : storaro in "kundun" opposed 35 mm for human vision an 70mm for buddah's vision eric gautier did the same in "diarios motocycleta" cemedy is shot in S16 and landscape in 35mm to enhance the buty of the nature and so on

i'm curious on how the other do some talk about over exposing to give a hot effect.... an so one my point is to talk about something that look realy simple "ext day" i'm not talking in this post about the quality of light but about the metering of the sun.

Let's say it's a suny day if the sun is in your back how much over the key do you put it? when the subject is back lit how much under do you rate him? and for what style of image? (genre)

just put the marks you are confotable with this metric imperial is not a problem compare to all the differences due to the 50hz vs 60hz watchout they drive to the right lane, and the flush will go clockwise ;) my tow cents (of euro)

welcome on the forum you have a great look, style

you forget because he is out of any classifications, lists or whatever he is "cinema" not only asian cinema just my taste i'm not a big fan of M. Bay ;)