Panavision

#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.”

We checked in with #keygrip Emmet Cahill on his work with the #Panavision Grip & Remote Team on #perrieedwards' vibrant music video 'Tears'. "Panavision Grips is usually my first stop for equipment, it’s very well maintained, I know the team there well and nothing is ever a problem. I ordered the the Hustler 5 and 120ft of Track for day 1 and 2 and 30ft Techno Plus with a Scorpio Stab 5. The treatment for the shoot included a long tracking shot on day one and various pushes in and out and also some top shots on day two. Generally they always have everything I’m looking for. Special thanks to Crane Grip Kirk Thornton, Crane/Head Techs Harry Elvin & Arron Douglas, and Grip Trainee George A Johnson."

"When selecting lenses, high contrast was what I was looking for," says cinematographer Eliot Grigo on 'The Rite of Spring', supported by the Panavision New Filmmaker Program and shot on Primo Primes. "Panavision has so many beautiful vintage looks, and here, I was looking for something sharp, realistic, and a pleasing fall off into deeper blacks. I found moving through the Primo-L focal lengths to be immersive and consistent – so that we could play with proximity more freely. I never ‘shied away’ from a focal length because of how it 'might perform' – I felt liberated as a storyteller to put the camera exactly where we wanted it without compromising. I’ve never loved a wide focal length more in my life as an image maker, truly. Our director Nick Nocera and I shared an appreciation for the master photographer, Gregory Crewdson, an image called, ‘Father and Son’ from the series ‘Cathedral of the Pines’. It echoed the story so well–this coexisting tenderness and eeriness. During principle, gaffer Hunter Stark and I played with reinventing that reference by having an overarching chroma contrast for the film – and lighting warmer and heavenly at the end (I won’t spoil anything). Finally I fell in love with Emmanuel Lubezki’s work in ‘Burn After Reading’, which even though it's a comedy, is also odd and creepy – that clicked. The look is eerie and naturalistic, formed by leaning mainly into depth cues, pattern, and high tonal contrast. This came from our shared stylistic tendencies as a team, our references, and the tone reel that Nick put together. We wanted to create this eerie world and almost ‘trap’ in the house, that also felt very real – that was important to us, to make the audience feel constant unease. So, we played with progressing proximity; how we start objective, and slowly more subjective, closer to the characters, and tighter to eyelines. At the beginning, we were on a 75mm watching from afar, cautiously observing, and towards the end, we’re inches from the front of the protagonist’s face on a 21mm."

"Filming is an intense experience," says #cinematographer Robbie Ryan BSC ISC, and we couldn't agree more! Click the link below to watch the full interview. https://lnkd.in/eKBYTh3C

“Rescue: HI Surf was shot very much like a documentary. The intention was to create an authentic feel, blending into the environment rather than controlling it,” says the dramatic & visually stunning new show’s cinematographer Anka Malatynska. “It was crucial for our camera to be free to follow the story, creating wide shots that would transition seamlessly into coverage and vice versa. The series predominantly lived in a 35 & 50mm focal length, though we employed other lenses as well; that range formed the core of our visual language: the Grounded Human point of view. We shot a TV series like an indie film. Our camera was right there with the actors, creating an immersive experience for the audience. We were nimble and fast, often inventing solutions on the fly in response to ever-changing weather conditions. Sometimes we had to relocate because an endangered turtle or monk seal settled where we were shooting. Every day was unpredictable and a blessing, making this unlike any other television set I’ve been on. I also had the opportunity to work with my personal hero, Don King, the legendary surf and water cameraman who led our water unit. I grew up admiring him, and this time he was my partner in cinematography. It was like Dogma 95’ filmmaking but for a major US network. I’ve been working with Panavision for years. It’s such a solid and supportive relationship that it’s hard to go anywhere else. Panavision also has a system for servicing Hawaii and shipping cameras here, which is incredibly helpful given our salty, rainy, hot and generally corrosive environment for electronics. Going into the project, I knew I would be dancing with the light rather than controlling it. After testing the VAs, they proved to be perfect. They made the world pop with beauty, creating a creamy look without a heavy warm or cool shift. They were ideal for a show where I wasn’t lighting the actors but still wanted them to look good. I’ve always seen the camera as a ticket to explore the world. I’ve traveled extensively, but there’s still so much to see and do. It’s that endless possibility that keeps me inspired!”

It's pronounced Fronken-steen! 🌩️🧠🧟♂️ Happy #throwbackthursday, #Halloween edition, with this #behindthescenes look at the #kookyspooky classic, #YoungFrankenstein. #Directed by #MelBrooks and shot by #cinematographer Gerald Hirschfeld ASC using the #Panavision PSR R-200 camera with Panavision Standard Prime Lenses, the film was released 50 years ago in 1974! Happy 50 years to Young Frankenstein and #HappyHalloween from all of us film nerds here at Panavision 🤓 👻 🎃! 📷 BTS photo credit: John Monte

#Halloween is just a day away! Today we're celebrating with this #behindthescenes look at #director Robert Eggers #TheWitch, shot by #cinematographer Jarin Blaschke and serviced by #Panavision Toronto.