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Shawn Martin

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  1. Was curious after re-reading this Clairmont ad from 1994. It lists a 22mm T2.4 anamorphic prime: I thought the widest Clairmont anamorphic was 32mm (40mm Kowa with an adapter). Keslow doesn't list a 22mm either. Anyone know anything about it?
  2. I was confused when I searched the Kodak article and couldn't find anything about a 14mm, so just as a heads up for anyone else, that quote is from a 2017 Indiewire article, about Phantom Thread: https://www.indiewire.com/2017/12/phantom-thread-paul-thomas-anderson-cinematography-1201909965/ It may just be another error on that author's part.
  3. Robert Richardson used the Super High Speeds for some of "Bringing Out the Dead". Greig Fraser used them on "Let Me In", "Snow White and the Huntsman" and "Killing Them Softly" (a custom 50mm was used for that crazy shot of Brad Pitt walking through the fireworks). Gary Kibbe used them on Carpenter's "They Live" and Jack Green did on "The Rookie" for Eastwood. Pfister also used them on a couple of Nolan's non-Batman movies, and on his own "Transcendence". I've read contradictory info (some from Panavision itself) about the ATZ and AWZ2 coming out in 2004, 2006 and 2007. The AC article for "I Heart Huckabees" (2004) mentions Peter Deming using a prototype of the AWZ2, which didn't have a name at the time IIRC.
  4. I saw it the Saturday after opening and did not notice any excessive anamorphic flares either.
  5. 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).
  6. 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.
  7. 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.
  8. 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?
  9. How's the shoot going so far, Greg? Curious to hear what lenses you ended up choosing to complete your set!
  10. Postel / The Bed (1998) - First to shoot with Hawk anamorphics (the first set, the C-Series). Shot in 1995.
  11. Inseminoid aka Horror Planet (1981) - First to shoot with Joe Dunton Co. anamorphics
  12. "Alex Cross", shot by Ricardo Della Rosa, was 2-perf as well. The grain on that one is actually pretty tight.
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