Panavision

The June 'Behind the Lens' Optics workshop at #Panavision Melbourne was incredible! 🎥 Held in collaboration with St Kilda Film Festival, Women in Film & Television, Victoria, ACS Victoria, Australian Directors Guild, and JMC Academy Melbourne, our two sessions tailored for directors and cinematographers promoted positive connections and a greater understanding of how camera lenses and technology influence visual storytelling. The directors workshop explored optics essentials, empowering creatives to effectively communicate with cinematographers and allow them to translate scripts into visual objectives. The cinematography session highlighted the breakdown of optics including the areas of customization, detuning and the choices of creative freedom available today. From Nic Godoy, presenter and National Sales & Marketing Manager at Panavision Sydney: "A big thank you to all the filmmakers who attended the sessions, as well as co-presenter Australian Optics Manager Grant Hansford and #Panavision Melbourne prep staff Tengis and Chris for their immense help."

A gig is a gig is a gig, is a GIG. Happy #throwbackthursday to the set of Scott Pilgrim vs. the World, released this month in 2010. Directed by #EdgarWright and #cinematography by Bill Pope, #ScottPilgrimvstheWorld was shot on #35mm #kodakfilm, using #Panavision #Panaflex Millennium XL2 Cameras with #ESeries, #GSeries, and #primoprime #anamorphic lenses. 📷 credit: Kerry Hayes

#Director Saladin White II takes us #behindthescenes of the short film "whole·some", with #cinematography by Taj DeVore-Bey and supported by #Panavision's #NewFilmmakerProgram. 🎥 "whole·some is a hybrid narrative and documentary film that captures the soul of Black Love, both romantically and communally. Our backdrop is Philadelphia, and we wanted to express how the city shapes and cultivates that Love. So, visually, we arrived at the idea of using vibrant colors in our visual language and paired it with Panavision’s beautiful Primo lenses, which kept our look sharp but also left space for discovery in every frame. Our film would not have been possible without the support of Panavision’s New Filmmaker Program. Special love goes to Chris at Panavision, who championed our film and guided us at every step."

#DOP Markus Mentzer takes us #behindthescenes of #TheSecretArtOfHumanFlight. "I have worked with Panavision for years, and I can always trust them to help with whatever size project I have in mind. They had the right setup available for us, which was key to getting the camera in the right spot on our small sets. I can always rely on them to help us deal with tough camera setups on location. We also needed a set of primes that would offer us max large format resolution when we needed, but also retained some softness in our closeups. We wanted to minimize DOF at times, so a t/1.4 was critical. Our lens package consisted of a 17, 21, 29, 35, 50, and a 100mm, with one specialty shot requiring a FF Primo 11-1 Zoom for a day. With one set of lenses, we needed minimal accessories, which kept the setup small. My 1st AC Sam Lüsted kept our handheld setup small and tight, which saved me."

"Many of us spent over a year working in Italy and the U.S. on this show, but for Steve Zaillian, Ripley has been a five-year-long labor of love. It’s been wonderful to see it so well received." 2024 #Emmy nominated #cinematographer Robert Elswit ASC reflects on his collaboration with Emmy nominee writer-director Steven Zaillian to bring the #Netflix limited series to light. Based on Patricia Highsmith’s bestselling Tom Ripley novels, Netflix’s eight-episode limited series Ripley was written and directed by Steven Zaillian, who partnered with cinematographer Robert Elswit, ASC for all eight episodes. Elswit’s primary lenses for the production were Panavision VA primes, supplemented with select Primo 70 and Ultra Speed focal lengths as well as Primo 70 and prototype VA zooms. Here, in his own words, the cinematographer details the creative collaborations that brought Ripley to the screen. Robert Elswit ASC has been nominated for Outstanding Cinematography for a Limited or Anthology Series or Movie - “V Lucio" and #Ripley has been nominated for 13 Emmys, including Outstanding Limited or Anthology Series. Watch Ripley now on Netflix and click the link in bio to read the full interview!

We don't drop the BTS 'til Kirk Lazarus has done the DVD commentary. Happy #throwbackthursday to the set of comedy classic #TropicThunder, released this week in 2008. Directed by #BenStiller and #cinematography by John Toll ASC, Tropic Thunder was shot on #35mm #kodakfilm, with #Panavision #Panaflex Millennium XL & Panaflex Platinum Cameras and Primo Prime spherical lenses. Do you read the script, or does the script read you? Let us know in the comments 👇 👇 👇

Emmy nominated #cinematographer Adriano Goldman ASC BSC ABC and #gaffer Andy Lowe take viewers behind the scenes of #TheCrown. Over six seasons, the Emmy nominated Netflix series has enthralled viewers with its simultaneously intimate and epic portrait of Queen Elizabeth II and the royal family’s inner workings throughout the second half of the 20th century and into the early years of the 21st. #Panavision and #Panalux serviced the production throughout all six seasons, supplying cameras, optics and lighting equipment to lead #directorofphotography Adriano Goldman ASC BSC ABC; cinematographers Ole Bratt Birkeland BSC; Stuart Howell BSC; Fabian Wagner ASC BSC; Frank Lamm; Ben Wilson; Rasmus Videbæk; and Sophia Olsson, and their crews. In this video, Goldman and gaffer Andy Lowe welcome viewers on set and reflect on the evolution of the series’ camerawork and lighting. Sophia Olsson has been nominated for Outstanding Cinematography for a Series (One Hour) - “Ritz,” and Adriano Goldman ASC BSC ABC has been nominated for Outstanding Cinematography for a Series (One Hour) - “Sleep, Dearie Sleep." #TheCrown has also been nominated for 18 Emmys, including Outstanding Drama Series. Watch The Crown, Seasons 1-6, now on #Netflix and click the link below to watch the full interview! https://lnkd.in/e3gMf-_t

#Cinematographer David Gregan takes us #behindthescenes of The Getaway, a short horror film serviced by #Panavision Sydney. "The Getaway is a short horror film directed by Adam Jenkins about a young man who, after losing his mother, returns to the country, but in doing so encounters a spiritual protector out for revenge. The film was funded by the South Australian Film Corporation as part of the 'First Nations Short Film Program' giving First Nations people a chance to make a film with a higher budget. The program was also generously supported by Panavision Australia. Nic Godoy was instrumental in helping me to pick a camera and lens package for the film. My visual references included the horror film 'The Witch' for its use of cooler tones, and the way it uses moonlight in the night exterior scenes. I also referenced the Australian film 'The Stranger' for it’s use of darkness and a brooding atmosphere. The lenses had a lovely flare to them which was the Panavision C-Series Anamorphics. I purposely underexposed the image so when we brought up the exposure in post there would be some texture in the images. Adam and I thought the anamorphic look would suit this film, but having used other brands of anamorphic in the past that I felt were too heavy a look I was a bit concerned of using something too 'funky,' to use a technical term. The lenses had a great look to them. The contrast and sharpness were excellent, but still maintained some fall off on the edges to give some character to the image, proving to be that perfect balance of having a slightly vintage look but still being very workable. The film had it’s world premiere at Adelaide Film Festival, and also screened at SXSW Sydney."

With credits that include American Honey, The Favourite, C’mon C’mon and Kinds of Kindness, #cinematographer Robbie Ryan BSC ISC has made a career of choosing projects that are ripe for visual experimentation. “It’s all about trying to make the right decisions for the film,” he says, stressing the importance of being adaptable in facilitating the director’s vision and serving the story being told. To watch the full interview click the link below: https://lnkd.in/eKBYTh3C

Happy #Emmys season and #Throwbackthursday! Today we're throwing it back to the set of #TheUpshaws with Emmy nominated #cinematographer Chuck Ozeas. Chuck has been nominated for Outstanding Cinematography For A Multi-Camera Series (Half-Hour) - "Forbidden Fruit," shot with Primo zooms and proudly serviced by #Panavision Woodland Hills.