Panavision

Has anyone else not stopped thinking about ‘We Live In Time’ since they watched it? 🙋 Come #behindthescenes with us and #cinematographer Stuart Bentley BSC (@stuubentley) on the brilliantly heartwrenching film. “We wanted to create a naturalistic look for 'We Live in Time' - #cinematography that could support and enhance the story without being too loud or flashy,” says Stuart. “We knew the performances would be incredibly strong so I just tried my very best to support that. We wanted to respond to the atmosphere of each scene as if the camera was a character in its own right - energized and fast moving at times - static and observational at others. I was always aiming for naturalism and authenticity in the camerawork and lighting. I love working with all sorts of lenses and always use the script and conversations with the director as a starting point for what equipment might be suitable for each new project. I wanted something slightly soft and vintage but without too much personality. We tested a whole range of lenses before landing on the #PVintage – they’re gorgeous lenses and delivered the kind of naturalism we wanted whilst also retaining a little bit of that magic. I liked the comprehensive range and they were both small and fast - we did a lot of handheld so I needed something that would work well for that. I think my favourite setup is the scene where Florence and Andrew have an argument in the kitchen at night. It’s one of the most simple lighting setups – a few practicals and a single #Jemball. The performances are just so incredible – it was amazing being so close to them in the room feeling that energy. By keeping the floor clear and the lighting simple it hopefully allowed them the space and atmosphere to concentrate on their work without getting caught up in any technicalities. I’ve done hundreds of projects with @panaluxworld over the years and have always loved their help and support - they looked after me when I first started out shooting music videos so it felt like a great fit for this project!”

#LightIron, a #Panavision company, is excited to announce that Andrew Geary has joined the company as a Senior #Colorist. Based out of Light Iron’s New York facility, Geary’s addition further strengthens the company’s world-class team of final colorists. Click here to read more: https://pvlink.net/48PsqVq

Anna Smoroňová ASK shares her take on #filmmaking and how she stays inspired. Click the link below to watch the full interview! https://lnkd.in/eVCcnyNU

****COLLAB WITH @kaiblamey_**** Come #behindthescenes with us and #cinematographer Kai Blamey Nguyen (@kaiblamey_) on his work on 'iwoyi: Within The Echo" – a dreamy & surrealist installation on Afro-Futurism and Black British music at the British Library in London. "We shot some #16mm, for its obvious grainy, textured image. The physicality of 16mm not only lends the film a sense of nostalgia but also grounds its futuristic and speculative themes in a more tangible form. In prep we spoke about the exploration of memory and identity and how the medium on which it is captured can reinforce the themes of cultural heritage and the passage of time. I pushed for the #Panavision B Series #anamorphic glass; signature lens flares, slightly softened focus, and unique distortion. They really lend the film a dreamlike, impressionistic quality. I knew the anamorphic format would add a sense of scale and grandeur, while shot wide open also softening the image enough to create a hazy, almost ethereal effect. We needed a counterpoint to the anamorphic softness and paired them with some spherical #PrimoPrimes for more intimate moments. I love the interplay between the two types of lenses, I find it adds a nuanced depth to the visual narrative. It highlights the tension between the real and the surreal, between the personal and the cosmic, further deepening the film’s thematic exploration of Afro-Futurism. Much of what we wanted to achieve was influenced by surrealism but also documentary photographs by artists like Simon Wheatley or Alex Webb - it’s intimate; where moments of stillness are charged with significance. A look that could be both somewhat haunting and beautiful at the same time." #Directed by @rohanayinde @tayo.rap, #produced by @peachyellz @noir.productions, and #cinematography by @kaiblamey_ 🎥🎞️

"A cinematographer is always looking at how each shot can speak and inform the rest of the film." Beautifully put by legendary #cinematographer Shelly Johnson ASC. Click the link in below to see the full interview! https://lnkd.in/e9eZTnCZ

#GiovanniRibisi reflects on his relationship with #cinematography, both as an actor and as a #directorofphotography. Click the link in bio to watch the full interview!

#Cinematographer Andrew Dunn BSC (@andrewdunn.dp) takes us #behindthescenes of KILLER HEAT, a thrilling mystery adapted from Jo Nesbø’s modern Greek tragedy novella ‘Jealousy Man’ – streaming now on @primevideo 🎥 “When I was invited to come on board the film to join director Philippe Lacôte, I found this mix irresistible! We rapidly agreed this was to be a modern day film noir. With references to the classics such as Chinatown and Body Heat (the later & earlier versions), which have rich colors with deep, intriguing shadows. We wanted to create and live in these harsh, unforgiving landscapes of Crete. Everywhere in Greece has this incredible ancientness all around us. Making films, it’s essential to feel the textures of this world, the tragedies of this family, the characters, and watching this recurring ancient and all-too-modern tale unfold. Our cast, and our crew, our film-making family were truly international, from all over Europe, Africa and the US. The choice of #Panavision was clear, to have their international support, incredible expertise, massive range of cameras & lenses, they are like an extended family to me – giving me an immense amount of confidence wherever I shoot around the world! We shot on the Sony Venice camera, and the lenses we chose for this film were mainly Panavision #Primos. There is a massive range of focal lengths available with an extraordinary edge to them and depth of field to relish, providing the look we were seeking, plus the capability of attaching rear (net) filters too. It was a terrific bonus & just gorgeous! They are able to create liquidly intriguing shadows interwoven within the Greek heat, and the inherent characteristics of these lenses encourage us, and therefore the audience, to delve into these characters' souls, discovering too the lack of them! We share this story with the worldwide audience through our film-making expertise, the talents gathered around us each day on set, the choice of medium – the cameras and lenses are of paramount importance, I know we chose well with Panavision!”

"I'm not afraid of death, but I am afraid of time." Happy #throwbackthursday and 10 year anniversary of #Interstellar 👨🚀. Directed by #ChristopherNolan and with #cinematography by the legendary Hoyte van Hoytema FSF NSC ASC, Interstellar was shot on #Panaflex Millennium XL2 Cameras with #CSeries, #DSeries, & #ESeries #anamorphic and Super High Speed Lenses. ✨ 📸 BTS Photos by Melinda Sue Gordon SMPSP

Presented by the Hollywood Professional Association, the HPA Awards recognize creative achievement, outstanding artistry and engineering excellence throughout the post-production industry. The Panavision group is proud to announce that #LightIron senior #colorist Elodie Ichter has been nominated in the category of Outstanding Color Grading – Live Action Episode or Non-Theatrical Feature, for her work on the Shōgun episode “Anjin,” photographed by Christopher Ross, BSC. “I spent a lot of time with the directors, DPs and other key collaborators getting into the details of what we wanted for the show in general,” says Ichter, who graded the first four episodes. She worked on the series while at post house The Mill, just before joining Light Iron. “The series is set in the 17th century, so the palette is muted, but it was important to have differentiation within those tones. The first episode, ‘Anjin,’ required the most attention because it sets the look for the entire series. We spent a lot of time getting it right. It was a full-on creation, and I felt truly valued.”

As winter starts to sneak in, we can’t help but ring in this season with @boniver ’s new EP ‘SABLE’. Come behind the scenes with director Erinn Springer and cinematographer Andrew Price on the three videos created to embody the sound of this EP. Erinn told us, “We shot ‘SABLE’ at home in Wisconsin where Justin and I both grew up. Our photographic collaboration came together very naturally and led to the idea of creating 3 videos for the 3 songs of the EP. We talked about how the best table cakes are made with very simple ingredients and approached this shoot in the same way: a small team, a tripod (mostly), and natural light. Andrew and I looked at all the Panavision large format lenses and we landed on the H series for their character that, with added filtration, conveyed the same ethereal quality as the photographs." "I suggested the H series to Erinn initially because her own photography references were large format film photos,” says Andrew. “The H Series have a vintage look and feel that softens the digital edge of the image, which I felt achieves the look of her photography. We also liked how the lenses bloom the highlights and reduce contrast; we wanted our black and white footage to feel more charcoal and low contrast. The H Series lenses were a key part to achieving the look of the films.” Erinn continued, “We experimented with a lot of things prior to the actual shoot, and one of the biggest questions was how to achieve the moving car shots in Things Behind Things Behind Things. I wanted it to feel energized but retain its stillness and composure. I had spent weeks scouting for the perfect picture frame window and just days before the shoot, I found an old F350 a few miles down the road. Andrew suggested a hostess tray mount for the camera to the outside of the truck, and as soon as the camera was up, it was better than I imagined… The sun beaming through the trees, the corn flying by our windows, and gusts of wind through the cab. It’s a scene we’ve all experienced countless times, but seeing it through the camera gave it new significance. These films and the memories of making them in a place we love was so incredibly special.”