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Shawn Martin

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Everything posted by Shawn Martin

  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.
  12. 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.
  13. 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.
  14. Rob Hahn has an interesting one with Frank Oz on "The Score".
  15. 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.
  16. 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.
  17. 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.
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