Panavision

We went #behindthescenes of this hopeful #adidas piece 'Hey Jude' with #cinematographer Edouard le Grelle and #director Greg Hackett. ⚽️🎥 "I've always been fascinated by storytelling," Edouard comments, "and the way filmmaking combines so many art forms excites me. What I love most is the ability to create emotions and communicate them to others; I think that's beautiful, and we achieved that in this film. I draw inspiration from daily life, observing people and what’s happening around them. We chose Panavision for this project and shot with three cameras for different eras. For the modern scenes in London, we used an Arricam LT with Primo Classic lenses. To capture the look of the '90s and early 2000s, we opted for an Arri 416 Super 16 camera paired with Ultra Primes. Panavision's flexibility and responsiveness were crucial in meeting our needs within a tight timeframe, making them an invaluable partner on this project. Primos are gorgeous lenses, especially paired with analog cameras. In my opinion, they strike the perfect balance of sharpness and contrast, which help us achieve our vision." “My earliest football memory is watching Euro '96 with my dad," Greg says. "There's a lot of emotion when I think of what it means to be an England fan. We wanted to channel that in this film, showing that with Jude and the rest of this brilliant young England team, there is something to be hopeful for, something to be proud of. We were searching for something truly authentic and believable about the experience of being a football fan, and specifically an England football fan. It’s been a rollercoaster of emotions over the years, and we wanted that to come across on screen and through the edit. ”

In honour of last week's Nelson Mandela Day in South Africa, #Panavision Cape Town sat aside 60 min to make a couple hundred sandwiches, all of which were distributed to a local orphanage and homeless shelter.

#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