Don Burgess Aligns with Light Iron and Panavision for Allied
Don Burgess, ASC trusts Light Iron. His last seven films can attest, so Burgess chose Light Iron to support him again with digital dailies and post finishing services on Allied.
Large Format Lenses Right Choice for Visual Scope of Doctor Strange
Ben Davis, BSC has become an old hand in the Marvel universe. Doctor Strange marks his third Marvel film as director of photography, preceded by the global hits Avengers: Age of Ultron and Guardians of the Galaxy.
Updating an Icon: The Magnificent Seven
The Magnificent Seven is a classic of American cinema. John Sturges’ 1960 Western, itself a reimagining of Akira Kurosawa’s 1954 film Seven Samurai, was photographed by Charles B. Lang, Jr., ASC in the 35mm anamorphic format using Panavision lenses.
Panavision Salutes Emmy-Nominated Television
The 68th Primetime Emmy® Awards will be held this month in Los Angeles. It is the industry’s opportunity to celebrate extraordinary achievements in the television art form, which continues to be elevated by the storytellers and artists working in the genre.
Gary Ross and Benoît Delhomme Conceive an Organic Look for Free State of Jones
Based on a true story, Free State of Jones depicts the Civil War-era struggle of farmer-turned-Confederate deserter Newton Knight leading an armed rebellion of local farmers and freed slaves to secede Jones County, Mississippi, from the Confederacy.
Matthew Libatique, ASC Frames Money Monster in Anamorphic
Jodie Foster directs George Clooney and Julia Roberts in Money Monster, in which a glib TV financial advisor is taken hostage on the air by an irate investor. Foster tapped Matthew Libatique, ASC to bring her vision to the screen.
Dan Sasaki, Panavision VP of Optical Engineering
This article appeared in the April 2016 issue of Film & Digital Times magazine
McDonough Brings Anamorphic Look to Fear the Walking Dead
In Fear the Walking Dead, AMC’s spinoff to the hit series The Walking Dead, the zombie apocalypse has just begun to affect Los Angeles. In the six-episode first season, L.A. residents try to survive as the military loses containment and the power grid goes down. Leading up to the pilot, cinematographer Michael McDonough, ASC, BSC saw an opportunity to employ the anamorphic format for a series.
