Panavision

🎥 What's your favorite film shot on #Panaspeed lenses? 🕵 The Thursday Murder Club (DOP Don Burgess ASC) 🟩 A Minecraft Movie (DOP Enrique Chediak ASC) 🔥 The Fire Inside (DOP Rina Yang BSC) ⚔️ Gladiator II (DOP John Mathieson BSC) 🥂 Megalopolis (DOP Mihai Malaimare Jr. ASC) 🕸️ Spider-Man: No Way Home (DOP Mauro Fiore ASC) 🌲 Beau Is Afraid (DOP Pawel Pogorzelski) 🚗 Ferrari (DOP Erik Messerschmidt) Used by cinematographers across countless genres, our Panaspeed lenses are multi-format capable with native large-format coverage, have a 113mm front diameter and are super fast at T1.4 (180mm = T1.9), and come in 12 focal lengths (from 17mm to 180mm) – making them the perfect hero lens. 🦸

“Long Story Short has a simple, graphic quality that makes it feel approachable. Even though the content is distinctly adult, the visual style is almost childlike. Grading the show was a continual reminder that there’s real sophistication in the simplicity of a graphic image that reads well.” Light Iron senior colorist Charles Bunnag welcomes viewers inside the grading suite for Long Story Short, the Netflix animated series from BoJack Horseman creator Raphael Bob-Waksberg. “Grading animation is essentially the same as live action. In the end, it’s all about whatever looks good and tells the story. For me, this philosophy goes back to my art-school training, where I learned to see, and break down, every image in terms of its fundamental elements. Those fundamentals apply as much to animation as they do to live action. I also want to credit my fellow colorist Pat Fitzgerald for his help on the show. The simple, direct style of Long Story Short pushed us to simplify our approaches to the grade and the specific tools we employed. In animation, as in live action, I’m not trying to impart my own vision onto the project. I have my own sensibilities, but I’m only going to use them to help the creatives tell their story. Once you build that trust and a relationship with the creative team, it gives them a sense of security knowing that, if and when they need to, they can take things further in the color grade.”

From the magic of the Wicked series, to the gritty chaos of Thunderbolts, to every story in between, Ultra Panatar II lenses have helped the next generation of cinematic icons craft their worlds. “The Ultra Panatar IIs produce a look that feels reminiscent of Panavision’s legacy anamorphic series, with a warmer flare that’s more amber and violet rather than blue," says Panavision's SVP of Optical Engineering & Lens Strategy Dan Sasaki. "The 1.3x squeeze still gives you the optical qualities you expect from anamorphic, but these lenses are more amenable for visual effects and even LED volumes. That squeeze ratio also hits a sweet spot for maximizing resolution for a variety of release aspect ratios when working with modern digital sensors. Plus, the UPIIs cover the 65mm frame and are compatible with our System 65 film cameras.” Swipe to see the cinematography genius of: Yasu Tanida Alice Brooks ASC Adrian Peng Correia Haris Zambarloukos BSC GSC Jess Hall ASC BSC Andrew Droz Palermo ASC

"What I believe, sir, is that good things come to those who work their asses off." Happy #Halloween with this look back at the set of #Nightcrawler. Released today in 2014 and shot by legendary #cinematographer Robert Elswit ASC, the cult thriller was shot on #35mm #kodak film using #MillenniumXL2 cameras with #SuperSpeeds, #UltraSpeeds, and #Primo lenses and proudly serviced by #Panavision Woodland Hills. 📸 BTS Photo credit: Chuck Zlotnick

Halloween doesn't feel like Halloween this year without What We Do in the Shadows 🧛😭 We chatted with season 6 lead cinematographer Bevan Crothers about his work on the show’s final season and his collaboration with Light Iron senior colorist Ethan Schwartz, who’s worked on the show since season 1. “The show’s got two edges to it,” says Crothers. “The vampire world is dark, colorful and slightly theatrical with its lighting, color and the costumes — lit by candles and moonlight, it’s beautiful, and the mansion is old and Victorian. The human world is boring, stark and quite mundane.” “I’d heard about Ethan before coming to the show, and everybody raved about him. I rang him up during my prep — he’s a total resource for a DP coming into a series like this and understands the look and the feel of the show. On set, we tended to run the white balance at 4300K and then light everything either colder or warmer from that point. Sometimes the candles become too warm. For me, it’s always about never feeling it’s too lit. It’s a colorful show that has that slight theatrical feel in the mansion, without feeling like it’s gone over the top. This was a big thing to protect in the final grade. In a mockumentary, consistently getting light in the actors’ eyes is one of the hardest things to achieve. Ethan was a huge help in that area with his ability to lift and enhance the vampires’ eyes. Nadja has a long dark fringe, so her eyes would go dark quickly. It’s great to dig into the shadow detail and pull them back up into a good place. This was a massive opportunity for me, and I went in going, ‘I’m going to punch up as high as I can.’ Being that the feature film originated in New Zealand and is so iconic there, I felt honored, as a New Zealander, to have finished the show with such an amazing team. And as far as endings go, I think episode 11 pays off so well and is so respectful to the audience, the story and the characters. I’m blown away to have shot the final episode, but at the same time, I wish this was just a hiatus and we were coming back for more!”

"Didn't I tell you this mother$#@%&$ would come up with a NON-ELECTRICAL CAMERA?" Happy #waybackwednesday to the set of #nopemovie ☁️ , a #monkeypawproductions film. Directed by the genius himself, #JordanPeele, and #cinematography by legendary #DOP Hoyte van Hoytema ASC FSF NSC, the film was shot using Panaflex #65mm and IMAX cameras with Panavision IMAX lenses, Sphero 65s, Modified #Panaspeeds, System 65 optics, and several focal lengths of custom-matched, large-format, close-focus lenses. #Nopemovie was proudly serviced by Panavision Woodland Hills 🎥 🤠 🐎 🪁 👁️ 🛸 Can you name the film OJ Haywood's orange #Panavision crew hoodie was from? Hints in the comments! 📸 BTS Photo credit: Glen Wilson

"I knew the only place I wanted to collaborate with for this movie was Panavision. They’ve always been my go-to choice, and over thirty years of working together have solidified our partnership. Given the tight and short schedule, and having had no time to test cameras or lenses, I knew Panavision was the perfect fit. I was well-versed in their Primo Primes and the Primo 11-1 zoom lens. I knew those were the lenses I wanted to use. Since we needed to move quickly, I primarily used a handheld camera. On the days we had a second camera, the 11-1 zoom was great for getting coverage and capturing any additional shots we could. I couldn’t have completed this film without their invaluable help." #Cinematographer Rebecca Baehler on the making of #forworsemovie, directed by Amy Landecker. Shot with #PrimoPrime lenses and serviced by #Panavision Woodland Hills, For Worse recently won Best Comedy Film #SDFilmFestival. 📸 BTS Photo credits: Sasha Dylan Bell and Kim Preston

#DOP Christopher Ripley takes us #behindthescenes of Fontaines D.C. music video, 'Starburster." "[Director] Aube [Perrie] and I wanted to play with the concept of reality in a music video. He created an incredible treatment in which the reality of the music video bleeds over into the parallel realities of several other videos coming out for different artists, so the story of 'Starburster' exists beyond the bounds of a single music video. Because of the fractured reality of the story, we wanted the cinematography to subvert the idea of how 'reality' is signified in cinema. We start the video off in a traditionally 'realist' style—grainy, drab, functionalist, and printed to Super16 film before switching formats into clean, colorful, high frame-rate, and digital. We wanted the bulk of the music video to have a kind of classic, brutally functionalist, Alan Clarke, 'kitchen sink' look. We avoided super stylized color—instead, we wanted the piece to have the simple honesty of a documentary crew shooting on 16mm and making a photochemical release print. What’s funny is that we used a complex process to get there. We actually shot digitally, with a Super35 extraction on Alexa Mini LF, using #UltraSpeeds. We then printed to 50D 16mm film using Cinelab’s DFD process. The end result feels quite unique since we are taking something shot on a Super35 digital format and printing to 16mm. The depth of field feels more like 35mm, but the overall grain, acutance, gate weave, and resolving power feels like Super16. It becomes something a little uncanny, which I think works really nicely for the story. I loved the idea of using American-made lenses for a UK project, referencing a UK director, for an incredible Irish band. This video is full of subversions, twists, and tricks—even our Super16 documentary aesthetic was actually shot in digital Super35 format! Panavision has always taken such great care of me—from larger commercials to tiny, inventive videos like this one. They’ve been incredibly supportive to me in the US, UK, and even on a feature I recently shot in the desert, in South Africa."

"You ever feel the prickly things on the back of your neck?" Happy #fallbackfriday to the set of The Sixth Sense 👻 , released in 1999. Directed by M. Night Shyamalan and shot by #cinematographer Tak Fujimoto ASC, this haunting classic was shot on #35mm #kodak film using #Panaflex #Millennium cameras with Primo Prime #spherical lenses. 📸 BTS Photo credit: Ron Phillips

What's your favorite scary movie? 👻 With spooky movies like Blair Witch Project and Paranormal Activity on our screens, we've got handheld camera builds on the mind. This build features just a fraction of Panavision's worldwide inventory of filmmaking gear, including compact transmitters and monitors from Teradek & SmallHD, as well as the lightweight jack-of-all-trades lens, the Panaspeed. If you were shooting a scary movie, what would you use in your handheld camera build? 🎥🫣