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Shawn Martin

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  1. I saw it the Saturday after opening and did not notice any excessive anamorphic flares either.
  2. That particular "bloom" from the Panavision anamorphics has always been a favorite of mine. You can see it in Die Hard, Sudden Death, The Relic, and a lot of other films I'm forgetting at the moment. The Cooke Anamorphic/i lenses can exhibit it as well (e.g. Jon Fauer's test footage from 2014).
  3. Trailer dropped this morning. Looks like this time around, Neo is playing Keanu Reeves. Shot by John Toll (!!!) and Daniele Massaccesi on Reds. The same old shit - blown-out, blurry, smeary digital. (On-the-nose music choices are always great too) So cheap. Absolutely horrible. I can't believe it.
  4. They were Panavision. In this behind-the-scenes featurette from the Blu-ray you can see the Gold II, the Millennium, the Millennium XL2 on steadicam, Arri 435 for highspeed, and the lenses are spherical Primos. One of the stocks was Kodak 5218 per the mag label at 1:57. American Cinematographer covered Philadelphia (1993) and Signs (2002). I don't remember if they covered any others at the moment.
  5. That's a ton of lenses! Thanks a lot for that info. Are there any there besides the new Technovision ones that you haven't used before?
  6. How's the shoot going so far, Greg? Curious to hear what lenses you ended up choosing to complete your set!
  7. Postel / The Bed (1998) - First to shoot with Hawk anamorphics (the first set, the C-Series). Shot in 1995.
  8. Inseminoid aka Horror Planet (1981) - First to shoot with Joe Dunton Co. anamorphics
  9. "Alex Cross", shot by Ricardo Della Rosa, was 2-perf as well. The grain on that one is actually pretty tight.
  10. I saw it on Monday in digital. Noticed that it was shown at 2.20:1 letterboxed within 1.85:1. Apparently the regular digital release of Dunkirk (which I had only seen in IMAX Laser) was shown this way as well. This movie is nuts. And beautiful. So many intense and wonderfully staged sequences, running forwards and backwards at the same time, that must have been such a bitch to shoot. One thing that stuck out near the end is a very clever shot of a collapsed (miniature) building rising from its bottom half in reverse, followed by the top half being blown up in regular time.
  11. There's an interesting article in the December 2018 AC about this being done, on a short called "Last Taxi Dance". The DP, Chapin Hall, used Franscopes on an Alexa Mini that was rotated 90 degrees, so that he could get the 1.78 ratio that the director wanted while still shooting anamorphic and not having to crop the sides in post.
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