Jump to content

Photo
- - - - -

All aboard the Juice Train, an anamorphic train journey from Florida to New York


  • Please log in to reply
5 replies to this topic

#1 EOSHD

EOSHD

    Andrew Reid - British Filmmaker - Editor EOSHD

  • Administrators
  • 3,734 posts

Posted 26 January 2013 - 12:51 AM



Check out more of Andrew Wonder's work here

Here director, cinematographer and DSLR user Andrew Wonder talks to EOSHD about his latest anamorphic spot for G.E.

The technology behind the shoot is rather interesting. Two Sony F3 cameras mounted on the front of the train, remotely controlled and recording to e-sata drives in the control carriage, kitted out with Joe Dunton / Panavision anamorphic lenses from London.

Joe Dunton is a British Bafta winning camera equipment guy who has always held a great fascination with anamorphic lenses, and was one of Stanley Kubrick's closest collaborators after A Clockwork Orange in the 70's and provided Kubrick with his lenses on Eyes Wide Shut.
 


  • Sean Cunningham and Julian like this

#2 HurtinMinorKey

HurtinMinorKey

    Advanced Member

  • Members
  • PipPipPip
  • 764 posts
  • LocationCambridge MA, USA

Posted 26 January 2013 - 05:28 AM

I'm not sure what I just watched, but i know it's rad.



#3 richg101

richg101

    Advanced Member

  • Moderators
  • 990 posts
  • LocationBristol. UK

Posted 26 January 2013 - 11:23 AM

lovely stuff there.  



#4 Julian

Julian

    Advanced Member

  • Members
  • PipPipPip
  • 1,214 posts
  • LocationNetherlands

Posted 26 January 2013 - 12:08 PM

Great video. Anamorphics are cool. Stitching two anamorphic feeds together is awesome! Really worked out well. Thanks for the article.

#5 Xiong

Xiong

    Advanced Member

  • Members
  • PipPipPip
  • 140 posts

Posted 27 January 2013 - 04:32 AM

Really like these guest posts from other experienced film makers, very inspirational.



#6 zaz

zaz

    Advanced Member

  • Members
  • PipPipPip
  • 65 posts

Posted 27 January 2013 - 05:28 AM

I've never understood this project. Wonder says that he wanted to use a scale not available to the everyday shooter and thusly chose anamorphic lenses on f3's, yet this "scale " is all but completely destroyed by an overly complicated graphical overlay, and time-mapping done in way that made it feel like a cheap gimmick. It's mentioned that a goal of the piece was to show the scale of this iconic train, yet the blurbs displayed are of such a cursory and superficial nature - they are also next to impossible to read amid the visual clutter.




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users