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Shawn Martin

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    Washington DC
  1. 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.
  2. 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.
  3. Very sorry to hear this. I didn't know Denny but had corresponded with him via email. Almost ten years ago, I used the "contact" form on the Clairmont website to ask a rather (IMO) mundane question about a film they'd recently serviced. I was so surprised to get a response from none other than Denny himself. He was very, very nice about it, and so knowledgeable too. He also mentioned some other projects of the director's that he'd worked on. I really appreciated the fact that he took the time to reply (as he said he was at home, and about to head to Europe on business), and told him so. Just a wonderful guy. RIP.
  4. I've been home from work since the end of March. My office gym is closed, so I've gotten these out and moved them into the living room. I've also got approximately 120 books (hardcover, paperback and e) to chip away at. I've been going on very long walks - finally exploring the massive parks that are only 15 minutes away. And begun digging into Amazon shows I've passed over for far too long, like Bosch and Goliath.
  5. Rob Hahn has an interesting one with Frank Oz on "The Score".
  6. Some shots were digital, for "practical reasons" according to the Kodak InCamera article. I don't know what they used, probably Alexa though. They shot 35mm grain separately to layer over the digital to try and match it. There's also a DIT in the end credits.
  7. To start - 35mm, Kodak, Panavision anamorphic. Every single frame of the movie would be on 35mm, and with a front-element PV anamorphic (no cheating w/ digital and flat lenses for nighttime aerials). If Vision3 Expression existed, I'd use that for some, because I liked the look of 5284 and 5229. If not a photochemical finish, then a 4K or higher DI. 4K DCP release, along with some 35mm prints. The premiere (Hollywood of course) would be shown on film.
  8. Saw it on opening night. It's got that same old, flat gray/yellow/purple digital look. Eh. And the script was written on a napkin. I will say that the nighttime sequence with the explosions in the forest is phenomenal. There's a shot of one of the mercenaries running and being swallowed by the flames that looks absolutely real.
  9. There is an 18mm JDC Cooke Xtal Express lens.
  10. It's two shots blended together, one of the stuntman falling out of the window, then another of the house on fire and the stuntman running past the camera. From the August 2010 American Cinematographer: -------- A more outlandish sequence to film practically and piece together digitally was the burning of an old house, a scene that opens the film and plays an important role in the story. The initial challenge, of course, was finding a real house the production could burn. "The scene was in danger of getting cut from the schedule for weeks, but we sent loca- tion scouts far and wide looking for a place that would work," Boyd recalls. "We came across a long-abandoned house halfway through production; it was out along a two-lane highway that we could control at night. We put five or six cameras out there, including a couple of Eyemos, and one on a dolly track in the woods that I operated myself. Basically, we had one crack at it. We timed it at magic hour, with a small amount of skylight left when the house went up, and it was over in about 30 minutes." To complete the illusion, the filmmakers had to show a man bursting out of a second-story window, running across the roof, leaping to the ground and running into the woods. That requirement led the team to film the burning house in two rapid takes. Schneider explains, "We first had a controlled burn around the edges of the windows for when [the stuntman] bursts out and jumps off the roof. Then, we quickly reset before the sky went dark and hid a stuntman in a little heat shelter where he had left off in the previous take. We set the house fully ablaze, and when the fire reached the right level, we cued the stuntman to run across the field toward and past the camera. The intent was to blend the first shot of the controlled burn and stunt with the second shot of the man running away from a raging fire to make it look like one seamless shot. As a visual effect, the shot was composited by tiling different portions of the controlled-burn element with other tiles from the raging-fire element to create a mosaic of blended elements. For example, if a chunk of roof falls off four minutes into the burn, you can blend that with another piece of action from the first minute, such as the moment when a neighboring tree catches fire, and create your own custom inferno. Since the shot was locked off, it was almost like compositing a live-action shot with itself."
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