Panavision

#Director William Eubank (@superswift) takes us #behindthescenes of his illustrious career & filmmaking process. "During pre-production, I always try to work from the top down to define the visual style for a project. I’ve been fortunate to work across a few different genres, and I think I always begin with the camera language for that particular project. I like to start there because it defines a lot of how I’m going to create my blocking or eventually the actual edit. On 'Underwater', we shot large format and used the Panavision 65 lenses mixed with a few smaller anamorphics on Alexa Mini for shots that needed a smaller camera. On 'Land of Bad', we dropped a camera into a river deep in a jungle in Australia… and Panavision had us a replacement in less than an hour. When you have all these big elements on the line, the service and expertise of Panavision is just unmatched, and I will be forever grateful for everything they’ve given me over the years. I worked at Panavision for many, many years during and after college. It really was my film school. I was fortunate to be working there during the pivotal digital transition years. I was playing around with early AJA cards and Blackmagic capture cards, making home-brewed SATA disk drives to capture and play full HD from my home computer connected to a digital deck… this was crazy back then… I think at Panavision at the time we all knew things were changing. What I saw while working at Panavision was, at the end of the day, the lenses, the service, the expertise of Panavision was more important than ever. I always knew I wanted to be a filmmaker. It was either fly jets in the Navy or direct movies. I was terrible at math and I needed to wear glasses, so flying jets was out. I grew up loving all kinds of movies and stories, and as a kid, I loved how filmmaking brought so many creatives together. It has always felt to me like the medium where all forms of art collide. I have a couple of little ones (kids) now, and it will be fun to see how the medium changes over time. Until then, I hope to keep exploring different genres and telling all kinds of stories the best I know how!"

Panavision & Light Iron are so proud to honor this year's talented winners at the 2024 Emerging Cinematographer Awards (ECA)! Congratulations to Allen Ho, Adam Carboni, Nick Mahar, Andrew Trost, Jessica Hershatter, Dylan Trivette, Matthew Halla, Dominic Bartolone, and Rodrigo Prieto, ASC, AMC 🎥

All this from a slice of #gabagool? Happy #gabagoolday 🤌 with a look #behindthescenes of the legendary series #TheSopranos, shot by #cinematographers Alik Sakharov, and Phil Abraham, shot on #Panaflex Cameras, and serviced by #Panavision New York.

With #cinematographer Eily Sprungman and #director Dionne Copland, 'Riding Shotgun' will take its audience on a wild ride – at gunpoint. Shot on #PrimoPrimes and #16mm film, serviced by #Panavision Vancouver 🎥 #behindthescenes photo credit to David Astorga. Writer/Director @amityville1992 Producer @weardjupiter Executive producer @_heatherbuckley DP @amityville1992 1st AC Robin Rigualt ICG669 Camera Operator @blakedavey Key Grip @elijah_zimmerman Gaffer @phoenix.simon

Happy #waybackwednesday to #OurFlagMeansDeath and insight on #finalcolor from #LightIron Los Angeles supervising #colorist Corinne Bogdanowicz. "The look of the show is very filmic, with a softer contrast and warm undertones. There is a lot of sky and water visible, so we took care to make sure the blues were not too vibrant or distracting. Much of the series takes place on pirate ships, so we had fun making each scene feel a little unique while maintaining an overall vibe for the show. I worked with the DPs ahead of the shoot while they were doing testing with LED walls. We made sure to view the test footage in 4K HDR so we would be able to see any issues or artifacts that might come up. Their DIT made an SDR LUT to use while shooting, and I made a corresponding HDR LUT to use for HDR review of the footage. The main grade was done in HDR with DP Mike Berlucchi supervising. We worked to integrate the footage with the LED walls with the VFX that were being done. We had some fun with parts of the show that could fall away from reality a bit. Some of my favorites were the flashbacks that differed with saturation, a very red nightmare scene, and a green fog. The show is a brilliantly shot collaboration, with a beautiful look that enhances the characters and locations." Dailies & final color supported by #LightIron Los Angeles. #Cinematography by Mike Berlucchi and Cynthia Pusheck. Showrunner: David Jenkins. 🏳️🏴☠️

Caught red-handed with another phenomenal music video from cinematographer Ian Hurdle & Paramore 🎥🎶 "The look of ‘Thick Skull’ was informed by the previous video we did for Paramore called ‘This is Why’," says Ian. "Our director Brendan Yates and the band wanted 'Thick Skull' to look and feel like a continuation from the last. We maintained our S16mm format with Ultra 16s and Canon zooms. Our camera (Arri 416) was mostly locked off and primarily generated movement through use of the zooms. We kept a soft and natural color palate courtesy of our Kodak 250D 7207 film stock and our legendary colorist Kaitlyn Battistelli. With 'Thick Skull', one of the biggest changes we made from 'This is Why' was shooting almost entirely in high speed. Nearly the whole video was captured somewhere between 48FPS and 60FPS. Brendan and I wanted to be grounded in the same visual ballpark as ‘This is Why’, but we were also looking for opportunities to give 'Thick Skull' its own identity. We spent a good amount of time at the locations ahead of time experimenting and brainstorming ideas. We wanted to include thoughtful call backs to the last video, while also expanding into new spaces and themes. It was definitely a challenge finding new and interesting perspectives in tight spaces such as the trailer. Dreaming and boarding out the video on location is one of the ways we went about finding a voice and direction for this video. Panavision has been supporting me since day one. I’ve yet to run into a project or challenge that Panavision has not been able to help me navigate and make real. I view Panavision as a key and essential collaborator on every project. They are fully committed to the vision and intent, and are always in the trenches helping me find solutions and introducing me to new possibilities. Big love to Rik DeLisle and the team in Hollywood and Marni Zimmerman and everyone in New York!"

Today we're going #behindthescenes of #ItEndsWithUsMovie. Shot by #cinematographer Barry Peterson, the film was produced by #WayfarerStudios and serviced by #Panavision New York.

"It’s raw, and free of any preconception" says #DOP Chayse Irvin ASC CSC (@chayseirvin) as he takes us #behindthescenes of the @travisscott music video “Mo City Flexologist." "[Director] Kahlil called me Friday afternoon and said he was thinking of shooting Travis. By Sunday, I was already in Houston with him. We spent Monday with Travis, hanging out. He took us through Mo City, showed us his corner of it, the weight of years hanging in the air, and described memories and the people he admired as a teenager. Tuesday, we were filming. There’s no plan when we do this. There never is. No script in the traditional sense. No storyboards. We have a character (the artist and his community or family), and a script (the feeling, meaning, core idea of the music, or the sentiment based on our observations). We arrive at the character's habitat and assimilate into their community, and study the culture. Like ghosts, moving through their streets, their homes. A photojournalistic eye. The structure and approach is that of an essayist. The culture shows itself, or it doesn’t. You capture it, or it slips through your fingers. Luck plays a part in [shooting on film using the Millennium XL2 camera], or fate, or something in between. Dave told me about the XL2, how with a few clicks you could throw the shutter out of phase, make it strange, disjointed. I told him to do it. And that’s when it clicked. Everything started to fall into place. We had great glass--Primos (XL2). I’d shot with them plenty before, and the choice is based on a trusted history. Kahlil isn’t like other directors. Everything captured is raw, a product of intuition and whatever happens in front of the lens. It’s spontaneous. The camera moves, the world shifts. You catch it or you don’t. The chance that governs it, that’s where the truth lies. Nothing controlled, nothing forced. Just the moments that offer themselves to you, and the ones you let slip by."

“As a whole, DP Cristina Dunlap wanted to grade the film in a natural & elegant way, keeping it relatable to the audience. The film is an emotional journey of self-discovery and where Dakota's character is along that journey informs the tone of the scene. The more romantic scenes are warmer and cozy, inviting. By contrast, other scenes are intentionally graded more cold to highlight her loneliness. I was so proud to work on this film because of the way it deals with themes of sexual identity and self-discovery with humor and care; it will really speak to audiences.” #LightIron Colorist Katie Jordan on collaborating with #DOP Cristina Dunlap to track the lead character's emotions through the grade in #AmIOk, serviced by #LightIron Los Angeles and #Panavision Woodland Hills.

Watch out! 📣 Turn up the volume and let this sweet jam get stuck in your head, so that next time you're #onset, you head right to our website to use the easy-peasy Data Rate Calculator. Lemon squeezy!