Panavision

Happy #TBT to this iconic camera test photo of Pedro Almodóvar that we found in the #Panavision archives! What's your favorite Pedro Almodóvar movie? 🎥🌈

"I’d compare the look of 'Blink Twice' to a massive bite of cake," says #cinematographer Adam Newport-Berra. "It’s rich, saturated, and indulgent. [We looked at] 'The Shining', 'Pulp Fiction', 'Boogie Nights', 'La Piscine', 'Apocalypse Now', 'Repulsion, and 'Knife in the Water' for inspiration. [The G Series lenses] are fast, compact, versatile, and have the right amount of character without being too distracting or mushy. Dan Sasaki also built us a couple of close focus lenses that we used for much of the film, and I loved using the anamorphic zooms from time to time. The superiority of Panavision’s anamorphic lenses, Dan Sasaki’s attention to detail and willingness to invent, and the service and support provided by Amanda Sasaki and the rest of the team brought us to Panavision for this project. Zoë [Kravitz] and I spent two weeks holed up together before hard prep began, it was a treasure to have this time together before the chaos of pre-production began. We broke down every scene and spent our days alternating between very specific shotlisting and storyboarding to very high level, conceptual conversations around why she was making the film. I did my best to understand the film Zoë was trying to make and why she was making it – and in doing so helped express her voice on the screen. We watched movies, we hung out and talked, we picked apart scenes in the screenplay and even reinvented some of them. It was a constant conversation, and we always challenged one another to come up with stronger, better, more interesting ways to shoot the movie. This is arguably the “brightest” film I’ve ever shot, the most saturated, and the most disturbing. We often shot with multiple cameras, something I avoid but in this case embraced to capture the ensemble cast. I love making movies and take incredible pride in working alongside my friends. There is just absolutely nothing like helping someone make their film, and since cinematography is something I take to naturally, it has always seemed the obvious route to being part of the process. People inspire me. I do it for my directors and for everyone who commits themselves to the process."

#Cinematographer Oona Menges BSC discusses making the series #RubySpeaking. “It’s like a local-hero story,” says cinematographer Menges who was behind the camera for the series. “It was about trying to emphasize the emotions of each scene.” Menges worked with Panavision London to source the production’s camera and lens package, and in this video, she brings viewers inside her approach to the show’s #cinematography. Click the link below to watch to the full interview! https://lnkd.in/eM8eA6Mf

Congratulations to all the nominees and winners of the 2024 #Emmys! #Panavision is proud to have supported the following winning #cinematographers: 🏆 #Hacks 🏆 - Winner for Outstanding Comedy Series - #cinematographer Adam Bricker ASC, serviced by Panavision Hollywood. 🏆 Baby Reindeer 🏆 - Winner for Outstanding Limited or Anthology Series - cinematographers Krzysztof Trojnar & Annika Summerson BSC, Gaffers: Alex Edyvean & Bernie Rostoski serviced by #Panalux London.

“Swing at the first good pitch you see,” is Ryan Stevens Harris' best advice. “The main idea is to not overthink things, trust your instincts and take a big swing.” Welcome back to Micheaux Mentality, an ongoing series designed to highlight exemplary figures in filmmaking who continue to honor the spirit and legend of Oscar Micheaux in modern-day life. We continue with #writer, #director, & #editor Ryan Stevens Harris as he shares his advice on how to let creativity and instincts drive the filmmaking process. “Filmmaking is where my passions collide. For as long as I can remember I made various forms of art. At first I drew comic panels and crafted stories. Then I picked up a brush and began working on canvas, creating textured paintings that seemed to be exhumed from the earth. As I grew older I started bouncing back and forth between my mother’s basement dark room and the computer... But it wasn’t until I discovered the medium of filmmaking when all these interests came together. Photography, illustration, writing, design, sound - I’ve always felt that the arts are all planets orbiting around the same sun, that singular burning creative spark. My latest feature, ‘Moon Garden’, was an example of that, where nearly every detail of the film was handcrafted - the #35mm #cinematography, the practical effects, the design, the sound bed - all of it was built from the ground up, a culmination of all these interests. This is ultimately what motivates me to make films. They are the embodiment of the arts. Living relics that can withstand time. I prefer a formalist way of filmmaking with every scene storyboarded. In my mind, having a plan allows for sudden surges of creativity. If something unexpected happens - the spark of an idea or a spontaneous performance choice - I’m able to deviate from the plan and know concretely what I’m gaining or losing.” His message to new filmmakers? “People sense momentum, so don’t wait for anyone. Start writing, shot-listing and building your film, beginning with the central idea or image that sparked it. Start pushing the boulder up the hill and have faith you’ll reach the summit and it’ll roll down the other side.”

Congratulations to all the 2024 #VMAs award winners! #Panavision is proud to have supported the following projects, artists and cinematographers: 🏆 "Fortnight" - Winner for Video of the Year #Cinematography by Rodrigo Prieto ASC AMC #Directed by #TaylorSwift Taylor Swift's "Fortnight" was shot with #VAPrimes, #Panavision zooms, and the Frazier Lens System, and serviced by Panavision Woodland Hills. 🏆 "We Can't Be Friends (Wait for Your Love)" - Winner for Best Cinematography #Cinematography by Anatol Trofimov #Directed by Christian Breslauer #ArianaGrande 's "We Can't Be Friends" was shot with #Panaspeed optics and serviced by Panavision Hollywood.

Happy Friday the 13th with a look #behindthescenes at #TimBurton's #BeetlejuiceBeetlejuice with #cinematographer Haris Zambarloukos BSC GSC. Well known for his longtime collaboration with director Kenneth Branagh on features such as Belfast and A Haunting in Venice, Zambarloukos teamed with Burton for the first time on the new feature Beetlejuice Beetlejuice, the long-anticipated sequel to the director’s 1988 classic Beetlejuice. Visiting Panavision London after principal photography wrapped, Zambarloukos sat down for this video, reflecting with gratitude on the creative partnership he and Burton shared. Zambarloukos’ primary lenses for the project were a combination of Ultra Panatar and Ultra Panatar II 1.3x anamorphic optics, which he paired with Panavised Venice 2 camera bodies. In this video, he also shares insights into the movie’s visual effects, working across continents in the U.K. and the U.S., and the inspiration he found in Thomas E. Ackerman ASC’s cinematography on the original Beetlejuice. Click the link below to watch the full interview! https://lnkd.in/ePb8Zgtd . . . . . . . . . . . . . . . #panavision #panavised #ultrapanatarII #UPII #anamorphic #panavisionanamorphic #cinematography #DOP #directorofphotography #beetlejuice #beetlejuicemovie #beetlejuicebeetlejuicebeetlejuice #fridaythe13th #filmmaking #filmmaker #bts #makingof

We are so proud to have supported @different_faces_film 💙 “The film looks at how we reckon with our dreams, and possibly find ourselves in the process," says #writer & #director Greg Randolph (@gregrandolphjr), a graduate from London Film School. Different Faces was made by a cast and crew from around the world, with #cinematography by Bethany Yang (@_bethanyyang_), produced by Stanley Mathews (@stanleyshaunmathews) and shot on #35mm film on #Panaflex #MillenniumXL cameras with #Primo 🎥🎞️

We went #behindthescenes with #director Sarah Friedland and #cinematographer Gabe C. Elder on their innovative film “FAMILIAR TOUCH” – supported by the #Panavision New Filmmaker Program. 🎥 Sarah told us: “FAMILIAR TOUCH reimagines the coming of age genre to illuminate the experience of one older woman, Ruth, as she transitions into assisted living. As a choreographer and dance-filmmaker, I visualize narrative through movement. FAMILIAR TOUCH is told through the quotidian choreography of Ruth and the physical language of caregiving, which is not unlike that of romance: of carefully calibrated touches, exchanged gestures, and covert glances. We wanted to find a language for the camera that attuned to Ruth’s body and her sensorium in this new environment. While we looked to film references, the work of still photographers anchored our conversations: Roy DeCarava and Jan Groover’s abstracted gestures, Rinko Kawauchi and Ron Jude’s tactile details, and the vibrant hues and architectural framing of Harry Grueyart’s public spaces.” “It was always important to Sarah and me that the camera remained anchored to the perspective of our protagonist, Ruth; not just her visual perspective but the full range and complexity of her sensory experience,” Gabe says. “At the same time, it was important that the camera stayed grounded in realism, faithfully rendering the nuances of transitioning into an assisted living community. During our lens tests, it was immediately clear that the #Primos had the resolution and contrast to handle the challenges of our real-world locations. More importantly, we loved their decisive yet gentle fall-off, especially in the wider lenses. It gives the Primos a singular ability to mimic human sight, which was immensely important for our film.” “We are so grateful to Panavision for their support of the film, especially Chris Bieler in NY, a constant champion of the project, and Aaron Saffa in LA, whose patience and expertise were invaluable.”

Congratulations to all the nominees and winners of the 2024 Creative Arts #Emmys! #Panavision is proud to have supported the following winning #cinematographers: 🏆 Robert Elswit ASC🏆 - Winner for Outstanding #Cinematography for a Limited or Anthology Series or Movie - #Ripley - “V Lucio," serviced by Panavision Woodland Hills. 🏆Andrew Wehde🏆 - Winner for Outstanding Cinematography For A Single-Camera Series (Half Hour) - #thebear - “Forks," serviced by Panavision Chicago. 🏆Gary Baum ASC🏆 - Winner for Outstanding Cinematography for a Multi-camera Series - #HIMYF - “Okay Fine, It’s a Hurricane," Serviced by Panavision Woodland Hills.