Not since the Sony FS5 have my pants been so on fire for an ND filter.
For his upcoming snowy western Tarantino unearthed special cameras and 1.25x anamorphic lenses at Panavision which hadn’t seen the light of day since 1965.
The film was shot on 65mm film and will get a ‘Roadshow’ release on Christmas day in amazing 70mm.
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.
In May last year I reported that Pavavision were working with NASA’s Jet Propulsion Laboratory on sensor technology for a possible digital cinema camera. In a surprise unveling at the International Film Festival of the Art of Cinematography (Camerimage 2012) in Poland they have indeed signalled their intention to join the market and have shown the first fruits of their labour with a new prototype.
Aimed at bettering the Arri, Sony and Red. It has a huge by cinema standards 70mm sensor (similar in size to full frame 35mm).
Ground control to Major Tom – Today Panavision unveiled a new Dynamax sensor for the TV and scientific industries, which does 12bit 2K and 1080p with a global shutter. It turns out this sensor contains NASA developed technology from the US state funded Jet Propulsion Laboratory.