Panavision

We checked in with #keygrip Emmet Cahill on his work with the #Panavision Grip & Remote Team on #perrieedwards' vibrant music video 'Tears'. "Panavision Grips is usually my first stop for equipment, it’s very well maintained, I know the team there well and nothing is ever a problem. I ordered the the Hustler 5 and 120ft of Track for day 1 and 2 and 30ft Techno Plus with a Scorpio Stab 5. The treatment for the shoot included a long tracking shot on day one and various pushes in and out and also some top shots on day two. Generally they always have everything I’m looking for. Special thanks to Crane Grip Kirk Thornton, Crane/Head Techs Harry Elvin & Arron Douglas, and Grip Trainee George A Johnson."

"When selecting lenses, high contrast was what I was looking for," says cinematographer Eliot Grigo on 'The Rite of Spring', supported by the Panavision New Filmmaker Program and shot on Primo Primes. "Panavision has so many beautiful vintage looks, and here, I was looking for something sharp, realistic, and a pleasing fall off into deeper blacks. I found moving through the Primo-L focal lengths to be immersive and consistent – so that we could play with proximity more freely. I never ‘shied away’ from a focal length because of how it 'might perform' – I felt liberated as a storyteller to put the camera exactly where we wanted it without compromising. I’ve never loved a wide focal length more in my life as an image maker, truly. Our director Nick Nocera and I shared an appreciation for the master photographer, Gregory Crewdson, an image called, ‘Father and Son’ from the series ‘Cathedral of the Pines’. It echoed the story so well–this coexisting tenderness and eeriness. During principle, gaffer Hunter Stark and I played with reinventing that reference by having an overarching chroma contrast for the film – and lighting warmer and heavenly at the end (I won’t spoil anything). Finally I fell in love with Emmanuel Lubezki’s work in ‘Burn After Reading’, which even though it's a comedy, is also odd and creepy – that clicked. The look is eerie and naturalistic, formed by leaning mainly into depth cues, pattern, and high tonal contrast. This came from our shared stylistic tendencies as a team, our references, and the tone reel that Nick put together. We wanted to create this eerie world and almost ‘trap’ in the house, that also felt very real – that was important to us, to make the audience feel constant unease. So, we played with progressing proximity; how we start objective, and slowly more subjective, closer to the characters, and tighter to eyelines. At the beginning, we were on a 75mm watching from afar, cautiously observing, and towards the end, we’re inches from the front of the protagonist’s face on a 21mm."

"Filming is an intense experience," says #cinematographer Robbie Ryan BSC ISC, and we couldn't agree more! Click the link below to watch the full interview. https://lnkd.in/eKBYTh3C

“Rescue: HI Surf was shot very much like a documentary. The intention was to create an authentic feel, blending into the environment rather than controlling it,” says the dramatic & visually stunning new show’s cinematographer Anka Malatynska. “It was crucial for our camera to be free to follow the story, creating wide shots that would transition seamlessly into coverage and vice versa. The series predominantly lived in a 35 & 50mm focal length, though we employed other lenses as well; that range formed the core of our visual language: the Grounded Human point of view. We shot a TV series like an indie film. Our camera was right there with the actors, creating an immersive experience for the audience. We were nimble and fast, often inventing solutions on the fly in response to ever-changing weather conditions. Sometimes we had to relocate because an endangered turtle or monk seal settled where we were shooting. Every day was unpredictable and a blessing, making this unlike any other television set I’ve been on. I also had the opportunity to work with my personal hero, Don King, the legendary surf and water cameraman who led our water unit. I grew up admiring him, and this time he was my partner in cinematography. It was like Dogma 95’ filmmaking but for a major US network. I’ve been working with Panavision for years. It’s such a solid and supportive relationship that it’s hard to go anywhere else. Panavision also has a system for servicing Hawaii and shipping cameras here, which is incredibly helpful given our salty, rainy, hot and generally corrosive environment for electronics. Going into the project, I knew I would be dancing with the light rather than controlling it. After testing the VAs, they proved to be perfect. They made the world pop with beauty, creating a creamy look without a heavy warm or cool shift. They were ideal for a show where I wasn’t lighting the actors but still wanted them to look good. I’ve always seen the camera as a ticket to explore the world. I’ve traveled extensively, but there’s still so much to see and do. It’s that endless possibility that keeps me inspired!”

It's pronounced Fronken-steen! 🌩️🧠🧟♂️ Happy #throwbackthursday, #Halloween edition, with this #behindthescenes look at the #kookyspooky classic, #YoungFrankenstein. #Directed by #MelBrooks and shot by #cinematographer Gerald Hirschfeld ASC using the #Panavision PSR R-200 camera with Panavision Standard Prime Lenses, the film was released 50 years ago in 1974! Happy 50 years to Young Frankenstein and #HappyHalloween from all of us film nerds here at Panavision 🤓 👻 🎃! 📷 BTS photo credit: John Monte

#Halloween is just a day away! Today we're celebrating with this #behindthescenes look at #director Robert Eggers #TheWitch, shot by #cinematographer Jarin Blaschke and serviced by #Panavision Toronto.

"Every new scene in any film presents its own challenge,” Dick Pope BSC said in American Cinematographer May 2019 issue. "We’re always looking for the essence of the scene. What’s behind it? What do we want to say?" The Panavision family remembers and celebrates the incredible work of Mr. Pope, who met the challenge of every scene in his illustrious career behind the camera and passed away on October 22. Pope’s long-running collaboration with director Mike Leigh — on features such as Naked, Mr. Turner and Peterloo — was recognized with a “Best Duo” award from Camerimage, where Pope also earned Golden Frogs for his work Secrets & Lies and Vera Drake, a silver frog for The Illusionist, and numerous nominations. He also received a British Society of #Cinematographers Award for Best #cinematography in a Theatrical Feature for his work on Mr. Turner. Pope’s credits also included The Way of The Gun, Me and Orson Welles and Legend.

"My ongoing collaboration with #Panavision has profoundly shaped my cinematic approach, particularly in the exploration of lens pairings," says #director Jacques Naudé (@_jacquesnaude) on his approach to the stunning & reflective music video for 'Maybe I'm A Queen' by The Tasty Kings with Blondie Chaplin (@officialblondiechaplin). "I found a genuine synergetic connection working with #cinematographer Jake Magee — his eye for composition is exceptional. We selected a range of #Primo lenses, including close-focus and slant-focus lenses to capture the intimacy I aimed to evoke. Blondie Chaplin is an iconic presence in the rock world, and I wanted to ground his performance for the viewer, allowing you to truly feel his presence and his words." "The #Primo have a wonderful balance of clarity and character," says Jake Magee (@jake_carl_magee). "I really appreciated their consistent contrast and sharpness across the range, especially when shooting on film in a variety of somewhat uncontrolled lighting conditions. Their falloff is truly beautiful, and they exhibit a subtle softness when wide open, which gives portraits a wonderful quality." Produced by @lucascarpenter__ @mikaylagambino @byt.nyc Director @_jacquesnaude Director of Photography @jake_carl_magee First Assistant Camera @heavy_glass Second Assistant Camera & Loaders @boxoftstops & @jjltrinity Lighting Director & Still Photography @hectornyc Editor @alvaro.delval @cabinedit Colorist @mikolour @raremedium.tv Film Processing & Scans @fotokem_la Graphic Design @janneman.co.za Casting by @actrealnatural Shot on @kodak_shootfilm 35mm - 500T & 5222 B&W with the ArriFlex 435 / 4Perf

#Cinematographer Haris Zambarloukos BSC GSC welcomes viewers into his collaboration with director #TimBurton on #beetlejuicemovie. Click the link below to watch the full interview! https://lnkd.in/ePb8Zgtd

Happy #fallbackfriday with this fun #behindthescenes look at #AnnabelleComesHome, shot by #cinematographer Michael Burgess with #primoprime lenses and serviced by #Panavision Woodland Hills. 📸 BTS photo credit & special thanks to Justin Lubin SMPSP