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Why not make it a John Wick Night? See both JOHN WICK 1 & 2 for one sweeeet price! Single Film Tickets $10.50 advance HERE | $12.50 at the door “ John Wick: Chapter 2 delivers plenty more of what fans want, while fleshing out the property’s mythology and lore in fascinating ways.” ( Screen Rant) If that sounds like high praise to you, too, then you will absolutely dig Keanu Reeves’ gratuitously crunchy ode to choreographed ultraviolence via the bullet, the bare knuckle, and the everyday No. “The biggest compliment I can think to pay JOHN WICK: CHAPTER 2 is that I lost track of the body count within the first 15 minutes. JOHN WICK: CHAPTER 2 is the real deal in action-movie fireworks – it’s pure cinema, an adrenaline rocket of image and sound that explodes on contact.” ( Rolling Stone) “Remember how the original JOHN WICK snuck up and wowed us in 2014? Now he’s back and better than ever. Also starring John Leguizamo, Bridget Moynahan, Thomas Sadoski, Ian McShane, Lance Reddick and Laurence Fishburne. Ordered by Winston, kingpin of secret assassin society The Continental, to respect the orga nization’s ancient code, Wick reluctantly accepts the assignment to travel to Rome to take out D’Antonio’s sister, the ruthless capo atop the Italian Camorra crime syndicate. Of course with anamorphics and the high-quality ALEXA sensor you have to get the focus right, but we had the best focus pullers in the world and everything came off very well – it was great.Retired super-assassin John Wick‘s ( Keanu Reeves, in a role that was clearly tailor-made for him) plans to resume a quiet civilian life are cut short when Italian gangster Santino D’Antonio shows up on his doorstep with a gold marker, compelling him to repay past favors. It helps that the lenses are all the same size.
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We were able to move fast, shooting handheld when it was required, or on a Steadicam or crane. Were the lenses easy to work with on set? I shot the movie exactly as if I were shooting with Master Primes, with no worries about limitations or needing more light.
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As I said, we shot a lot of tests to find the right lenses, and I have no doubt that we made the right choice. We wanted a slick, high-contrast look for the movie, and that old-style anamorphic softness would not have worked. I’m not a big fan of anamorphic fall-off, especially not for this film. What was your overall impression of the optical performance? One of the reasons I chose the Master Anamorphics was because they are so sharp from corner to corner, and from bottom to top as well. We shot wide open with the Master Anamorphics for some high-speed stuff in Rome, where we had a lot of action, and their performance at T1.9 is amazing. Of course now and then you have to shoot wide open and in those situations it is very useful to have faster lenses. Was the speed of the Master Anamorphics helpful on this shoot? In general I’m not a wide-open DP, I prefer to shoot between T2.8 and T4. Sometimes with flaring you get the blacks milking out, but we were able to keep them black and keep the incredible sharpness of the Master Anamorphics, while creating exactly the right amount of flare for different situations. For me they were preferable to using uncoated lenses because I had total control.
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The whole movie was shot with these flare filters. I was very happy with the effect, and Chad loved it too, because you got nice flares off the highlights but the image was still extremely sharp. These could be thin wires for night scenes or thicker nylon for day scenes, and they could be combined with NDs. They came up with the idea of specially adapted internal filters for the ALEXA XT, with varying numbers of horizontal lines, or baffles. What was the solution? We were talking with them about the film days, when you would put nylon stockings behind lenses, and whether we could do something similar.