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Shawn Martin

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Posts posted by Shawn Martin

  1. Looks like I am not remembering everything right -

    Pecorini's website (https://www.nicolapecorini.com/features/rules-of-engagement.html) does say he shot Technovision, and the clip implies it was at least some of the embassy stuff.

    The documentary on the DVD (https://www.youtube.com/watch?v=V3am96v8Itk), which I've seen before but forgot about, has Wolski (according to the slate) filming the embassy stuff, and it looks like that's Panavision too.

    Reshoots?

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  2. There are a few '70s Nipponscope sets from Japan available out there to rent, as well as some Fujivision ones. I don't know when the latter were made. Shiga anamorphics with various spherical glass.

    Keslow has a set of three Canon K-35 anamorphics: https://www.keslowcamera.com/gear/lenses/anamorphic-lenses/anamorphic-primes/canon-k-35-anamorphic-primes/. (The K on them is the Keslow logo, which is kinda neat.) But from the look of them, and the K-35 base, I'm pretty sure they're rehoused Cineovisions.

  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 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.

  5. 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.

  6. 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.

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