Panavision

#Cinematographer Allen E. Ho gives us insight into IRON LUNG, which was recently awarded the International Cinematographer’s Guild (ICG)'s 2024 Emerging Cinematographer Award! "IRON LUNG is a dramatic survival thriller that explores the caretaker and disabled patient dynamic. Set after a severe storm knocks out the power to her iron lung, a polio survivor and her caretaker sister find themselves in a race against time to find a new way for her to breathe. I knew after reading the script that I wanted to shoot this with Panavision glass - as a company they are synonymous with the theatrical viewing experience so we were ecstatic when they offered their support through the New Filmmaker Grant Program. The Primos are my favorite spherical lens set - really sharp wide open with amazing contrast. Director Andrew Reid (@reidthestory) and I shared a similar vision that we wanted to make bold choices with the look of the film - not shying away from darkness with the intent of the finished film being best viewed in a dark theater. Aaron Saffa and the staff at Panavision Woodland Hills were extremely accommodating and have been supportive of the film from start to finish. Providing us with a #Panavised Alexa Mini camera package with Primo lenses, they helped to elevate and bring this important story that highlights the disabled community to life.”

Check check check...is this thing on? What's better than a #catalinawinemixer 🚁 ? Perhaps the celebration of #StepBrothers' sweet 16, released on this day in 2008! Directed by Adam McKay and #cinematography by Oliver Wood BSC, the comedy classic was shot on #35mm #kodakfilm using #Panavision #Panaflex Platinum cameras with #Primo lenses. 🌏 #PrestigeWorldWide investors, possibly you--with so much room for activities, please make yourselves known in the comments with your favorite Step Brothers quotes! ⛵ 📷 BTS photo credit: Gemma LaMana SMPSP

“There’s inspiration everywhere, sometimes in the least expected moments.” #cinematographer Rodrigo Prieto ASC AMC discusses the making #Barbiethemovie. Click here to watch the full interview! https://lnkd.in/ericrv38

#DOP Dan Mindel ASC BSC SASC takes us #behindthescenes of #twisters, in theaters now and shot on #Panaflex film cameras with Primo Anamorphic close focus, T Series, and Retro Panatar lenses on #35mm #kodak film. "I really love to work with Anamorphic lenses, and [director] Isaac was completely on board with the idea that when you're shooting on location, you want to have that widescreen aspect to show off the countryside – it's massive. Dan [Sasaki] is the foremost lens master on the planet and does magical things with glass, but I actively wanted the looks of the Anamorphic lenses as they had been originally made, with all of their individual flaws, circles of confusion, soft and distorted edges, to underscore that Time Life authenticity in the filmed image. There's nothing wrong with using lenses and optics the way they were designed in the first place, and then flexing your skills as the cinematographer to make them function in a non-invasive way so that it doesn't interfere with the storytelling but actually enhances it. As the lenses were all mapped prior to production, I knew these image artifacts would not pose a problem to the VFX team down the line. With this being an all-out action-adventure, I wanted the camera to have kinetic energy, and we designed shots that ended with some kind of punctuation that would allow Isaac to edit to the next take or camera angle. We used everything at our disposal – drones, helicopters, cranes, pursuit cars, biscuit rigs, dollies on tracks, Steadicam and handheld – with movement in mind. That said, my team were all too aware of the precision needed to keep the horizon line still when shooting wides and landscapes in Anamorphic, as it can become quite unpleasantly unsettling for the audience when the picture seesaws around. My camera teams on Twisters are forces of nature, founts of knowledge and wisdom, real aces. I love the collaborative process of filmmaking, and I knew I could give them the autonomy and trust to execute shots with Isaac, which would free me up to work on the lighting and the logistics of what we were doing, and that we would always be ready to move to the next set-up." 📷 BTS Photos by Melinda Sue Gordon SMPSP / Courtesy of Kodak

(3/3) Congratulations to all the 2024 #Emmys nominees! The #Panavision group is proud to have supported a number of the nominated series and artists. Among the incredible works are the following projects and #cinematographers: 🍌 #Unfrosted - Serviced by Woodland Hills ✨ Outstanding Television Movie, cinematography by Bill Pope 😎 #Sugar - Serviced by Panavision Woodland Hills ✨ Outstanding Cinematography for a single-camera series (half hour), "Starry Eyed," cinematography by Richard Rutkowski ASC 🍺 #BabyReindeer - Serviced by #Panalux London ✨ Outstanding Limited or Anthology Series, cinematography by Krzysztof Trojnar & Annika Summerson. Gaffers: Alex Edyvean & Bernie Rostoski 👬 #RedWhiteandRoyalBlue - Serviced by #Panalux London & Panavision London ✨ Outstanding Television Movie, cinematography by Stephen Goldblatt ASC BSC, Gaffer: Martin Cox 🎥 #Scoop - Serviced by Panavision London ✨ Outstanding Television Movie, cinematography by Nanu Segal BSC 🧛♀️ #WhatWeDointheShadows - Serviced by #LightIron Los Angeles ✨ Outstanding Comedy Series - #cinematography by D.J. Stipsen. ✨ Outstanding Picture Editing for a Comedy Series 🎨 Final color by #lightiron Los Angeles senior #colorist Ethan Schwartz. 👩🔬 #LessonsinChemistry - Serviced by #Light Iron Los Angeles ✨ Outstanding Cinematography for a Limited or Anthology Series or Movie - "Little Miss Hastings," #cinematography by Zachary Galler. ✨ Outstanding Picture Editing for a Comedy Series 🎨 Final color by #lightiron Los Angeles supervising #colorist Ian Vertovec 🌴 #PalmRoyale - Serviced by Panavision Woodland Hills ✨ Outstanding Comedy Series - #cinematography by David Lanzenberg and Todd McMullen

(2/3) Congratulations to all the 2024 #Emmys nominees! The #Panavision group is proud to have supported a number of the nominated series and artists. Among the incredible works are the following projects and #cinematographers: 🏋️♀️ #Physical - Serviced by Panavision Woodland Hills ✨ Outstanding Cinematography for a Single-camera Series (half hour), "Like a Rocket," cinematography by Jimmy Lindsey ASC 🐴 #ReservationDogs - Serviced by #LightIron Los Angeles & Panavision Dallas ✨ Outstanding Cinematography for a Single-camera Series (half hour), "Deer Lady," #cinematography by Mark Schwartzbard. ✨ Outstanding Comedy Series 🎨 Final color by #lightiron supervising #colorist Corinne Bogdanowicz ✨ Outstanding Picture Editing for a Comedy Series 🔍 Slow Horses - Serviced by #Panalux Manchester & Panavision London ✨ Outstanding Drama Series, cinematography by Danny Cohen BSC & David Chizallet. Gaffer: Paul McGeachan 🎩 #Gildedagehbo - Serviced by Panavision New York ✨ Outstanding Drama Series, cinematography by Manuel Billeter SCS & Lula Carvalho ASC ABC ❤️ #BobHeartsAbishola - Serviced by Panavision Woodland Hills ✨ Outstanding Cinematography for a Multi-camera Series, "These Giants Are Flexible," cinematography by Patti Lee ASC 🏙️ #Frasier - Serviced by Panavision Woodland Hills ✨ Outstanding Cinematography for a Multi-camera Series, "Reindeer Games," cinematography by Gary Baum ASC 👱♀️#himyf - Serviced by Panavision Woodland Hills ✨ Outstanding Cinematography for a Multi-camera Series, "Okay Fine, It's a Hurricane" cinematography by Gary Baum ASC 👔 #NightCourt - Serviced by Panavision Woodland Hills ✨ Outstanding Cinematography for a Multi-camera Series, "A Night Court Before Christmas," cinematography by Wayne Kennan 👪 #TheConners - Serviced by Panavision Woodland Hills ✨ Outstanding Cinematography for a Multi-camera Series, "Fire and Vice," cinematography by Donald A. Morgan ASC

#DOP Simon Chaudoir takes us #behindthescenes of this gorgeous Biotherm spot. "It was a hell of a shoot--we had one day on two stages at [Island] Studios Cape Town with four sets in all. The next day we started on the beach before sunrise, then battled with the incoming tide for the end shot of the story and wrapped just before a huge wall of fog enveloped us all. As always with projects that have more ambition than time, a lot of energy was expended planning just how to achieve it all, but I’m delighted with the result. Who knew a skincare advert could be so epic? The pre-dawn shots were hoovered up in no-time by Jo Oosthuizen with his Trinity--let’s face it, normally the sun has bleached out whatever magic there was in the air before everyone’s happy with the shots--but he was a laser-guided missile. My special thanks to Director: Jonas Vahl & PHANTASM DIT: Rusty Ruthven Trinity operator: Jo Oosthuizen Focus: Frank Gardner Gaffer: Toby Smuts Grip: Craig Bekker"

#Cinematographer Pedro Luque SCU on #cinematography. Click the link below to watch the full interview! https://lnkd.in/eFxP3iAn

#Cinematographer Pedro Luque SCU discusses best advice. Click the link below to watch the full interview! https://lnkd.in/eFxP3iAn

“We shot with close-focus Primo Anamorphic lenses, which bring great dynamics to the shots. We had lots of dolly, movements that stylize comedy whenever the story allows it. The idea was to borrow from the visual grammar of American comedy while remaining faithful to the auteur comedy to which we are very attached.” #Cinematographer Lucie Baudinaud AFC discusses her longstanding relationship with director Émilie Noblet and how they crafted the look of the French-language comedy Bis Repetita. “I have known Emilie since our student years at Fémis. I have since accompanied her on all her projects; we have filmed several series together, including The 7 Lives of Léa, filmed in the south of France with Panavision as the camera-service provider. The close focus of these Primos is a rare optical quality in anamorphic, and it’s important in what it allows in staging. Also, the aberrations are quite subtle, and the faces are rendered very faithfully. The quality of the anamorphic bokeh is also very beautiful and brings an aesthetic to each shot. I remember always wanting to do be a cinematographer, even at a time when I didn't know what it really was! I was first attracted by the frame. It was at the beginning of my studies that I became aware of the work of light and, little by little, its emotional power.”