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1 - 50 of 54 Results for "dxl2"

ARTICLE

DXL2 Receives “Filmed In Imax” Certification

DXL2 Receives “Filmed In Imax” Certification, -end, best-in-class digital cameras, including Panavision’s Millennium DXL2, to work in the IMAX, platform,” says Megan Colligan, President of IMAX Entertainment. Panavision’s Millennium DXL2 large, and lenses. Additionally, the DXL2’s 600-nit Primo HDR viewfinder incorporates customized Panavision optics and displays a 1,000,000:1 contrast ratio. In addition to the DXL2, the new program certifies, . Learn more about the DXL2 ecosystem here

https://www.panavision.com/highlights/highlights-detail/dxl2-receives-filmed-in-imax-certification
ARTICLE

New Panavision Millennium DXL2 Camera Debuts At BSC Expo

New Panavision Millennium DXL2 Camera Debuts At BSC Expo, LONDON (February 1, 2018) – Panavision (Stand 502) is introducing the new Millennium DXL2 8K, color2 science (LiColor2). The DXL2 builds on the success of the Millennium DXL and benefits from, and input are manifested in the DXL2’s many significant advances. “The Millennium DXL2 8K camera system, Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, -sample it, it only gets better. It’s absolutely beautiful to look at. For me, the Millennium DXL2

https://www.panavision.com/highlights/highlights-detail/new-panavision-millennium-dxl2-camera-debuts-at-bsc-expo
ARTICLE

Panavision Highlights the Continuing Expansion of the Millennium DXL2 Ecosystem at Cine Gear Expo

Panavision Highlights the Continuing Expansion of the Millennium DXL2 Ecosystem at Cine Gear Expo, WOODLAND HILLS, CA (May 30, 2018) – Panavision’s Millennium DXL2 8K camera makes its Cine Gear, cameras, and a preview of custom advancements in filter technology. “Millennium DXL2 is the cornerstone, that is only available within DXL’s ecosystem.” DXL2 incorporates technological advancements based, , and 12-bit ProRes XQ up to 120fps. New to the DXL2 is version 1.0 of a directly editable (D2E, -generated proxy files for instant and render-free dailies. DXL2, which is available to rent

https://www.panavision.com/highlights/highlights-detail/panavision-highlights-the-continuing-expansion-of-the-millennium-dxl2-ecosystem-at-cine-gear-expo
ARTICLE

Commercial Spotlight: Alexis Zabé, ASC, AMC

format with the Millennium DXL2 camera. How did you come to that decision? Zabé: I’ve been using the DXL2 for a few years now. You get such a nice, filmic look with it. The color technology’s really, a 1.3 squeeze, so you’re using the DXL2’s whole sensor [to achieve a final 2.39:1 aspect ratio, -off. Covid has definitely created new limits and made us adjust the way we work. How does the DXL2’s

https://www.panavision.com/highlights/highlights-detail/commercial-spotlight-alexis-zabé-asc-amc
ARTICLE

Playing Tricks With the Mind

with the Millennium DXL2,” Shelton explains. “We wanted to shoot with a large sensor and shallow depth of field. The Light Iron color science in the DXL2 maximizes these attributes to create beautiful images, where the camera has a very probing quality to it.” Shelton mounted the DXL2 on an Oculus gimbal head, , we employ tighter, more frenetic handheld shots in the later episodes. “DXL2 just suits the way I

https://www.panavision.com/highlights/highlights-detail/playing-tricks-with-the-mind
ARTICLE

Polly Morgan Launches Lucy in the Sky

. The creative team chose Panavision’s DXL2 camera and optics to bring this astronaut’s disintegrating, widescreen without losing detail in the image. “We tested a number of large format cameras but DXL2, very organic. Everything just pointed to using the DXL2.” In order for Morgan’s choice of G Series

https://www.panavision.com/highlights/highlights-detail/polly-morgan-launches-lucy-in-the-sky-with-support-from-panavision
ARTICLE

The Color Of Paradise

Millennium DXL2 camera, capturing 5K with a 2:1 anamorphic squeeze. “We looked at and tested a lot of different cameras, but the DXL2 felt like the right way to go,” Pehrsson notes. “It’s built, never have time for when you shoot single camera.” The production also took advantage of the DXL2’s native 1600 ISO. “I was excited that the DXL2 had that extra light sensitivity,” the cinematographer, . And they were great. I really enjoyed the post process.” On set, the crew monitored the DXL2 footage

https://www.panavision.com/highlights/highlights-detail/the-color-of-paradise
ARTICLE

The Camera Behind Just Mercy

Cinematographer Brett Pawlak and Light Iron Supervising Colorist Ian Vertovec discuss the technical and artistic choices that went into bringing Just Mercy to life through the Panavision and Light Iron ecosystem. Pawlak paired Panavision’s Millennium DXL2 camera with Primo Artiste and H Series large-format optics

https://www.panavision.com/highlights/highlights-detail/the-camera-behind-just-mercy
ARTICLE

A Different Type of Western

-standing relationship. The cinematographer is also a self-confessed fan of Panavision’s Millennium DXL2, appreciates how DXL2 holds highlights. “You know that you have at least three stops where you have, , and everybody would look great.” For 2018's The Hate U Give, Mălaimare had shot on DXL2 with a set of Auto, the cinematographer to capture 5604x4320 images with DXL2, as compared to 5184x4320 when 2x, more of the DXL2’s large-format sensor and capture at nearly 8K resolution — 7976x4320, to be precise

https://www.panavision.com/highlights/highlights-detail/a-different-type-of-western
ARTICLE

Commercial Spotlight: Cinematographer Bron Moyi

’s Millennium DXL2 camera system. Panavision: You wanted to work in the film industry at a young, image, but not clinically clean. They have some warmth. What led you to work with DXL2, lens sets. I’d never worked with the DXL2, but when I was talking to Steve about the project, he, , when we did the lens test, we had a DXL2 with us. The image we saw on the monitor was beautiful. I

https://www.panavision.com/highlights/highlights-detail/commercial-spotlight-cinematographer-bron-moyi
ARTICLE

Calculated Moves

and elected to work with Millennium DXL2 cameras and Primo optics. “I’ve always been a Panavision guy, this year, I wanted to go to Panavision for a number of reasons. I really like the DXL2 with its, .” Cinematographer Jack Donnelly (left) and camera operator Sandy Hays. DXL2’s large-format 8K sensor can, in Episode 8. There, the crew worked with the DXL2s at 96 fps, the maximum frame rate at 5K. Regardless of the sensor area they used, the filmmakers could take advantage of DXL2’s 16 stops of dynamic

https://www.panavision.com/highlights/highlights-detail/calculated-moves
ARTICLE

The Big Picture

shot it in large format on the DXL2 camera with these beautiful Panavision lenses,” says director, , Connolly will be working in large format with Panavision’s Millennium DXL2. “I absolutely love, for the past and 35mm for the present, and I realized the DXL2 would be really sympathetic to that because, complicated, but on the DXL2, it was simple. We also worked with LiveGrain to simulate a 16mm grain, for the past, a LUT for the present, and we occasionally used the DXL2’s built-in Light Iron Color 2

https://www.panavision.com/highlights/highlights-detail/the-big-picture
ARTICLE

Happy Hauntings

, Tierney elected to capture large-format 8K with Panavision’s Millennium DXL2 camera system. “I knew the DXL2 was the way to go because of all the visual effects we were going to have — I wanted to give, with DXL2, and “it was great,” he says, emphasizing details like the internal FIZ control module, ratio, the cinematographer paired the DXL2 camera with Panavision Primo 70 lenses. “I love them,” he, . It’s like you can reach into the screen and touch it. The Primo 70s coupled with the DXL2 worked

https://www.panavision.com/highlights/highlights-detail/happy-hauntings
ARTICLE

Celebrating Community

Millennium DXL2 camera on Home Before Dark, Brooks elected to use the camera again to shoot, and understood how the colors were going to render,” the cinematographer explains. “The DXL2, of the reasons that I picked the DXL2 for this project was the way it renders flares.” The combination of DXL2’s, that instinctually felt right. The combination of the G Series lenses with the DXL2 gave the flares the shape, box off the camera as much as possible.” Brooks worked at DXL2’s native 1600 ISO to make the most

https://www.panavision.com/highlights/highlights-detail/celebrating-community
ARTICLE

Golden-Hour Sci-Fi

, Cronenweth chose to employ the Millennium DXL2 camera with large-format Panaspeed and Primo 70 primes. “I had used the DXL2 on different jobs in the past, and I was a fan of it already — it’s my go, to match that to a close-up with the Primo 70s.” For his show LUT, Cronenweth opted to employ the DXL2

https://www.panavision.com/highlights/highlights-detail/golden-hour-sci-fi
ARTICLE

Lighting a Day-Interior Café With LEE Filters

In this video, cinematographer Simon Rowling welcomes viewers behind the scenes as he lights a daytime-interior scene inside a coffee shop. Shooting on Panavision’s Millennium DXL2 camera with a set of Primo spherical prime lenses, Rowling employs a variety of LEE Filters gels and diffusions to maintain precise control over his lighting inside the location

https://www.panavision.com/highlights/highlights-detail/lighting-a-day-interior-café-with-lee-filters
ARTICLE

Christian Sprenger Turns To Panavision To Create Super Spots

Panavision’s DXL2 for the TurboTax Live “RoboChild” spot? Sprenger: The director was very insistent, and paint-outs. I felt like Panavision's Millennium DXL2 was the best option for shooting a visual-effects-heavy, anamorphic project. I hadn't done a DXL2-anamorphic job yet, and I thought this would, with the DXL2? Guy McVicker [Manager, Technical Marketing & Optics] at Panavision Hollywood suggested, . The dynamic range of the DXL2 paired effortlessly with the anamorphic optics, resulting

https://www.panavision.com/highlights/highlights-detail/christian-sprenger-turns-to-panavision-to-create-super-spots
ARTICLE

A Fight to Remember

and Budapest. With up to 70 setups a day, Jouffret typically rolled with two handheld DXL2s, one DXL2, with Panavision’s Millennium DXL2. It’s a camera, he says, that closely approximates the experience, are referring instead to a DIT and a monitor. The DXL2 is amazing for me because I can finally put my eye, .” For Bloodshot, Jouffret paired the DXL2 with a set of T Series anamorphic lenses, which are tuned

https://www.panavision.com/highlights/highlights-detail/a-fight-to-remember
ARTICLE

The Making of tick, tick... BOOM!

Alice Brooks, ASC was behind the camera for Lin-Manuel Miranda's feature directorial debut, tick, tick... BOOM! For the production, the filmmakers chose to pair Panavision's Millennium DXL2 camera with G Series and T Series anamorphic optics. Here, Brooks discusses the creative approach she and Miranda shared to establish movie's look

https://www.panavision.com/highlights/highlights-detail/the-making-of-tick-tick-boom
ARTICLE

The Making of The New Boy

and C Series anamorphic lenses paired with the Millennium DXL2 camera. In this video, he discusses his

https://www.panavision.com/highlights/highlights-detail/the-making-of-the-new-boy
ARTICLE

Streamlined

Formats + Coverage Discover how DXL2 enables filmmakers to choose lenses and change formats to suit their creative visions. Download the one-sheet. Lens Mounts / Adapters See how DXL2’s field-swappable lens-mount adapters enable filmmakers to easily change lens formats without changing cameras. Download the one-sheet . F.I.Z. Control Learn how DXL2’s F.I.Z. modules allow crews to control, the dailies pipeline. Download the one-sheet. Wireless Timecode Learn about the benefits of DXL2’s built

https://www.panavision.com/highlights/highlights-detail/streamlined
ARTICLE

A Mouse’s Tale

on here?’” The cinematographer elected to work with Panavision’s Millennium DXL2 as his primary camera, comfortable rolling it into The Witches.” In addition to two DXL2s, the production carried a pair of Red Weapon 8K VV bodies, which feature the same Monstro sensor as the DXL2. In front of all, lit between an 8 and an 11 on set, it gave us the depth of field that I wanted. With the DXL2’s ISO, to monitor and match the footage from the DXL2s and Weapons. “There are all kinds of reasons why you

https://www.panavision.com/highlights/highlights-detail/a-mouse-s-tale
ARTICLE

Panavision Showcases Complete Imaging Ecosystem at BSC Expo 2019

were among the first in the world to get up close and personal with the DXL2 in 2018, and this year, . New to the DXL2 this year is an integrated C-Motion F.I.Z. module to allow the use of Arri WC4, the DXL2 ecosystem for the European market. D2E version 1.0 gave DITs the ability to wirelessly control the LUT and CDL directly in the DXL2 camera. New to the DXL2 ecosystem being shown at BSC Expo, and CDL from D2E 1.0, DXL2 now has the ability to receive audio feeds from the sound mixer via

https://www.panavision.com/highlights/highlights-detail/panavision-showcases-complete-imaging-ecosystem-at-bsc-expo-2019
ARTICLE

Shots That Speak Volumes

cinematography, employing Panavision’s 1.6x-squeeze Ultra Vista anamorphic optics and Millennium DXL2 camera, all, thinking regarding optics is unmatched anywhere else. What drew you to the DXL2 camera and Ultra Vista, and their native de-squeezed ratio of 2.76:1 on the DXL2. This aspect ratio allowed us to intimately unite

https://www.panavision.com/highlights/highlights-detail/shots-that-speak-volumes
ARTICLE

The Making of The School for Good and Evil

to Panavision London for his camera and lens package, which included Millennium DXL2 cameras and H Series

https://www.panavision.com/highlights/highlights-detail/the-making-of-the-school-for-good-and-evil
ARTICLE

Royal Trimmings

of progress. The filmmakers chose to frame the story in large format with Panavision’s Millennium DXL2, rolled at least two DXL2s simultaneously. “We had scenes with four or five comedians — not just actors, on the musical performances.” The cinematographer mostly worked with the DXL2 at its native 1600 ISO, -format optics to potentially pair with the DXL2. “I just did portrait shots looking at the subject’s, with the 35mm-format Primos, Williams cropped the DXL2’s large-format Monstro sensor to capture

https://www.panavision.com/highlights/highlights-detail/royal-trimmings
ARTICLE

Make Taste, Not Waste

the Millennium DXL2 camera system and Panaspeed large-format optics. “Panavision is always my go-to for cameras and lenses, and for the last two years I’ve been using the DXL2 and Panaspeeds a lot

https://www.panavision.com/highlights/highlights-detail/make-taste-not-waste
ARTICLE

Personal Histories

Millennium DXL2 camera, which she paired with G Series anamorphic optics supplemented by select T, references. What led you to shoot on DXL2? Brooks: The first time I used the DXL2 was on the Apple series Home Before Dark. I tested tons of cameras for that project and landed on the DXL2. Then when we did In the Heights, I again did lots of testing, and I again landed on the DXL2. On tick, tick, for him, and we ended up shooting on the DXL2 again. I love the large format

https://www.panavision.com/highlights/highlights-detail/personal-histories
ARTICLE

Gavin Kelly Gives AHS: 1984 a Retro Horror Look

relied on Panavision New York for another series, where he used the Millennium DXL2 and vintage-look H, their ‘imperfections,’ which was just perfect for AHS: 1984. In combination with the DXL2, period flashbacks throughout the season.” Kelly noted that the large-format sensor of the DXL2, providing more than enough shadow detail to work with in post. “The DXL2 handily captured scenes with maximum flexibility for us to massage the image later,” he says. Though the DXL2 can record in 8K raw

https://www.panavision.com/highlights/highlights-detail/gavin-kelly-gives-ahs-1984-a-retro-horror-look
ARTICLE

Hyper-Natural Force

The BBC drama series Blue Lights tells the story of three rookie cops on the police force in Northern Ireland’s capital, Belfast. Directed by Gilles Bannier, the six-episode first season was shot by cinematographers Stephen Murphy, BSC, ISC and Angus Mitchell, who used DXL2 and DXL-M cameras, excellent cameras, but on this I wanted to try something different. I had used the DXL2, work. The DXL2 and DXL-M fit that perfectly. What made Primos the right match for this story? Murphy

https://www.panavision.com/highlights/highlights-detail/hyper-natural-force
ARTICLE

Fred Murphy, ASC Finds the Right Color and Contrast for CBS’ Evil

to shoot with the DXL2 camera because it has a terrific range from light to dark,” says Murphy, . With the DXL2, it’s more like film – you don’t have to put lights everywhere, and everything seems to fall off slowly and gradually.” On the shoot, Murphy pairs the DXL2 at 5K resolution with T2 Leica, . But with the DXL2, you can read all the way, deep into the background, underneath the trestle, and into the trees

https://www.panavision.com/highlights/highlights-detail/fred-murphy-asc-finds-the-right-color-and-contrast-for-cbs-evil
ARTICLE

Holiday Adventure

to work with Panavision’s Primo 70 large-format lenses and Millennium DXL2 8K camera system, which he, , was “a big visual-effects movie, and the DXL2 and Primo 70s worked great for that.” Burgess

https://www.panavision.com/highlights/highlights-detail/holiday-adventure
ARTICLE

Guiding Principles

Millennium DXL2 camera and Panaspeed and H Series large-format optics. The cinematographer, , and paired with the DXL2, they provided an image quality that Julian and I both responded to. We shot

https://www.panavision.com/highlights/highlights-detail/guiding-principles
ARTICLE

Commercial Spotlight: Cinematographer Simona Susnea

her experiences capturing the project in large format with the Millennium DXL2 camera system. Cinematographer Simona Susnea, captured on DXL2 with a prism in front of a 50mm Primo 70 prime. When did, they have the best kit and the best glass. What led to the decision to shoot 'Unseen Kingdoms' with DXL2, with the DXL2, so it was a bit of serendipity. We went through different lenses, shooting with ambient light, the DXL2 on location in London. (Photo by Benjy Kirkman.) With the lower light levels, did you tend

https://www.panavision.com/highlights/highlights-detail/commercial-spotlight-cinematographer-simona-susnea
ARTICLE

Experience Panavision’s End-to-End Ecosystem at 2019 Camerimage

, and remote systems. Visitors will be able to fully control and monitor an 8K Millennium DXL2, the opportunity to experiment and craft unique looks using the DXL2 camera and the more compact DXL-M

https://www.panavision.com/highlights/highlights-detail/experience-panavision-s-end-to-end-ecosystem-at-2019-camerimage
ARTICLE

New Visions

their vision.” Phillip Jackson operates the DXL2 on the set of No Vows, No Cows. Jackson, along with Van de Velde and Nikonova, selected Panavision’s Millennium DXL2 as the primary camera, of the DXL2 sensor and Super Speed ‘Z’ prime lenses was able to toe the line in softening the image, ,” she continues. “Also, the DXL2 is an incredible tool for a DP and is designed to optimize, lighting,” she says. “That’s why we went with the DXL2 camera, which has a native ASA of 1600. Paired

https://www.panavision.com/highlights/highlights-detail/new-visions
ARTICLE

Commercial Spotlight: Cinematographer Kai Saul

for composition and lighting continuity. What led you to choose the Millennium DXL2 camera? Saul: One, , but I prefer the color science and the look of the DXL2. It’s great in low light and has, pitched the DXL2, and he liked the idea. We shot 8K RAW, which gave Seth all the flexibility he needed for post. While pitching the idea of the DXL2, I was also thinking ahead to the optics. The client, of times on commercials before this — including with the DXL2 on a Samsung spot [‘Galaxy S10

https://www.panavision.com/highlights/highlights-detail/commercial-spotlight-cinematographer-kai-saul
ARTICLE

Mystery Down Under

camera, Perkins chose Panavision’s Millennium DXL2. “We wanted to harness the wide field of view that the DXL2 sensor provides,” the cinematographer notes. “This was not only to capture the wide vistas

https://www.panavision.com/highlights/highlights-detail/mystery-down-under
ARTICLE

Success Is Counted Sweetest

, who chose to shoot on the Panavision Millennium DXL2. Light Iron, whose color science, cameras that meet Apple’s requirement for 4K origination. “I was really struck by the way the DXL2

https://www.panavision.com/highlights/highlights-detail/success-is-counted-sweetest-tim-orr-on-shooting-dickinson-for-apple-
ARTICLE

Inspired Choices

DXL2. What inspired you to become a cinematographer — and what keeps you inspired today

https://www.panavision.com/highlights/highlights-detail/inspired-choices
ARTICLE

Filmmaker Conversations

of Panavision’s Millennium DXL2 for the feature Just Mercy.Watch the video. Finding the Truth in the Look

https://www.panavision.com/highlights/highlights-detail/filmmaker-conversations
ARTICLE

James Chressanthis, ASC, GSC Embeds Subtle Iconography Into Greenleaf

with HELIUM sensor, that extends the DXL2 ecosystem into the smaller form factor – and paired it with Panavision special optics. “It’s a slimmer version of the DXL2, very light, with terrific balance when, into play occasionally, but our secret sauce was the DXL2 Film for HELIUM LUT, which I tweaked

https://www.panavision.com/highlights/highlights-detail/james-chressanthis-asc-gsc-selects-special-optics-to-embed-subtle-iconographic-imagery-into-greenleaf
ARTICLE

Panavision’s Camera-to-Finish Imaging Ecosystem Featured at Cine Gear 2019

in mind.” &amp;nbsp; Panavision’s Millennium DXL2 and DXL-M camera systems will also, developments, the DXL2’s 6G 4K SDI outputs, which allow direct connection to a Teradek Bolt 4K with a single SDI cable, can now be fully utilized. The latest enhancements to the DXL2 also include

https://www.panavision.com/highlights/highlights-detail/panavision-s-camera-to-finish-imaging-ecosystem-featured-at-cine-gear-2019
ARTICLE

Through the Years

Millennium DXL2 camera to shoot the series, sourcing the camera and lens package from Panavision Vancouver for both seasons. “I think the DXL2 is a wonderfully built camera,” he says. “The ergonomics, season, De Paula windowed the DXL2’s sensor for Super 35-size capture with Cooke S4 lenses

https://www.panavision.com/highlights/highlights-detail/through-the-years
ARTICLE

Panavision companies showcase product portfolio at BSC Expo 2022

at the stand with multiple cameras, including the Panavision Millennium DXL2, and a selection

https://www.panavision.com/highlights/highlights-detail/panavision-companies-showcase-product-portfolio-at-bsc-expo-2022
ARTICLE

Panalux unveils new lighting, power solutions complementing Panavision brands’ product portfolio at BSC Expo 2020

will reach the sensor of Panavision’s Millennium DXL2 8K camera system, which will be joined at the stand

https://www.panavision.com/highlights/highlights-detail/panalux-unveils-new-lighting-power-solutions-complementing-panavision-brands-product-portfolio-at-bsc-expo-2020
ARTICLE

Framing the Future

of Millennium DXL2 large-format digital cameras, with which they offered an overview of a camera prep

https://www.panavision.com/highlights/highlights-detail/framing-the-future
ARTICLE

Funny Business

camera and lens package, opting for Panavision’s Millennium DXL2 on Season 1 and Panavised Red V, Grobet, ASC, AMC. He shot the first season on a DXL2 and had worked with Guy McVicker [who now serves

https://www.panavision.com/highlights/highlights-detail/funny-business
ARTICLE

Filmmaker Focus: Todd Banhazl

in The Strange Ones; and they outfitted our film Hustlers with DXL2’s and customized large format lenses, for cues on how to shoot strippers like athletes. We chose the DXL2 with customized Panaspeeds

https://www.panavision.com/highlights/highlights-detail/filmmaker-focus-todd-banhazl
ARTICLE

Given to Fly

with Panavision Woodland Hills, Messerschmidt selected Panavision’s Millennium DXL2 as his primary, airplanes. In front of the DXL2, Messerschmidt opted for large-format Panaspeed spherical primes, of the integration with Panavision and the DXL2, it felt obvious to work with Light Iron,” says, in there together. You can let Ian run, and he does great work on his own.” Capturing at 7K with the DXL2 for a 4K

https://www.panavision.com/highlights/highlights-detail/given-to-fly

Search for: dxl2

DXL2 Receives “Filmed In Imax” Certification

New Panavision Millennium DXL2 Camera Debuts At BSC Expo

Panavision Highlights the Continuing Expansion of the Millennium DXL2 Ecosystem at Cine Gear Expo

Commercial Spotlight: Alexis Zabé, ASC, AMC

Playing Tricks With the Mind

Polly Morgan Launches Lucy in the Sky

The Color Of Paradise

The Camera Behind Just Mercy

A Different Type of Western

Commercial Spotlight: Cinematographer Bron Moyi

Calculated Moves

The Big Picture

Happy Hauntings

Celebrating Community

Golden-Hour Sci-Fi

Lighting a Day-Interior Café With LEE Filters

Christian Sprenger Turns To Panavision To Create Super Spots

A Fight to Remember

The Making of tick, tick... BOOM!

The Making of The New Boy

Streamlined

A Mouse’s Tale

Panavision Showcases Complete Imaging Ecosystem at BSC Expo 2019

Shots That Speak Volumes

The Making of The School for Good and Evil

Royal Trimmings

Make Taste, Not Waste

Personal Histories

Gavin Kelly Gives AHS: 1984 a Retro Horror Look

Hyper-Natural Force

Fred Murphy, ASC Finds the Right Color and Contrast for CBS’ Evil

Holiday Adventure

Guiding Principles

Commercial Spotlight: Cinematographer Simona Susnea

Experience Panavision’s End-to-End Ecosystem at 2019 Camerimage

New Visions

Commercial Spotlight: Cinematographer Kai Saul

Mystery Down Under

Success Is Counted Sweetest

Inspired Choices

Filmmaker Conversations

James Chressanthis, ASC, GSC Embeds Subtle Iconography Into Greenleaf

Panavision’s Camera-to-Finish Imaging Ecosystem Featured at Cine Gear 2019

Through the Years

Panavision companies showcase product portfolio at BSC Expo 2022

Panalux unveils new lighting, power solutions complementing Panavision brands’ product portfolio at BSC Expo 2020

Framing the Future

Funny Business

Filmmaker Focus: Todd Banhazl

Given to Fly

Supporting storytellers around the world.