“I’m a big fan of Panavision and the anamorphic format.” “The C Series lenses are very textured and vintage, and that’s another layer that renders a more filmic image for me.” “I gravitate towards a moodier, underexposed image, and often accentuate the flares. The C Series lenses are flare-y and dreamy when shot wide open.” […]
It was great to rent the camera from Panavision and do the DI with Light Iron because they supported us in concert from the beginning. We were able to design and control our look, from the technical adjustments, to the optics, to the color design and finish. Having the support of Panavision and Light Iron […]
I prefer to be on set, where everything is at, rather than in the DIT tent. It’s a great feeling to be able to look through the eyepiece and know that what I’m seeing is exactly what my DIT is seeing in the tent. I can make all my decisions without leaving the set, which […]
Panavision is a constantly evolving company. They are always developing new camera systems, and I’ve been particularly excited about going back into the vault to pull out lenses originally used with film cameras and bring them to current productions. The company has a huge knowledge base and experienced people around the world. There is no […]
“What a FANTASTIC time we had working at Light Iron. From the moment we walked in you could feel the specialness of the vibe. As a first-time feature director, I so easily could have felt out of my depth. Instead, Corinne, and Emily, and all the other people at Light Iron, were right there to […]
Part of the look for Thoroughbreds was heightened realism as well as classic cinema language. The Panavision Primo anamorphic lenses were the perfect fit as they were very clean yet had a very small depth of field when shot-close to wide open.Sal Giarratano at Panavison New York was extremely helpful in securing us a few […]
Filmmaking went through a ‘fastest/sharpest’ phase, but now with high-definition, everyone is looking under the desk for the vintage character look. To me, the Panavision Primo lenses provide the perfect optics for digital, combining the precision of modern lenses with the warmth and character of classic cinema glass. They were the perfect choice for shooting […]
(On Okja)I tested Primo 70s and System 65s and chose the Primos for their modernity. We also had access to great and knowledgeable people: Panavision’s Dan Sasaki was able to fine-tune these T2 lenses for us so there wasn’t that too-hard, contrasty, digital sharpness. We liked having a nice falloff on the close-focus lenses, which […]
The Primo V primes, like the Primos, are absolutely gorgeous glass. Classic beautiful lenses that render faces gracefully. Consistent color. An elegant, creamy quality overall. The falloff of focus delicate and divine. Plus the Primo Vs and Primo Zooms play well together. The Panavision lenses are unique and opulent. Now that they offer customized coatings […]
We shoot a lot of handheld on THE PATH, and Chris Konash at Panavision in New York designed a ‘hot swap box’ that sits on the camera allowing us to reduce cables and drop a battery. That little box is a huge help on a show where we shoot several cameras handheld. I’ve had a […]
Panavision is an icon to us. Just saying we were shooting on Panavision made us (director Jeff Nichols) grin and tremble in fear all at the same time. We knew we had to bring our ‘A-Game’ to Mud, because we were about to shoot on some hallowed equipment. – Adam Stone, Cinematographer
The choice of lenses – both old and new and everything in between – is impressive. I was able to find and adjust the right line of lenses for each of my shows, and Panavision’s support and expertise have proven to be an incredible asset, making the production process both liberating and creatively stimulating.
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