Robert Elswit, ASC
I used Panavision’s Super Speed Z Series lenses because Velvet Buzzsaw was a 1.85 spherical show. That choice was my attempt to soften the digital gloss a little bit … and capture the look of the film that (director) Dan Gilroy and I discussed.”
Brandon Trost, Cinematographer
It was great to rent the camera from Panavision and do the DI with Light Iron because they supported us in concert from the beginning. We were able to design and control our look, from the technical adjustments, to the optics, to the color design and finish. Having the support of Panavision and Light Iron was key to the final result of our film.
Jacques Jouffret, Cinematographer
I prefer to be on set, where everything is at, rather than in the DIT tent. It’s a great feeling to be able to look through the eyepiece and know that what I’m seeing is exactly what my DIT is seeing in the tent. I can make all my decisions without leaving the set, which is how we used to work when shooting on film. The DXL OLED eyepiece let me do that.
Gregg Heschong, Cinematographer
"Panavision is a constantly evolving company. They are always developing new camera systems, and I’ve been particularly excited about going back into the vault to pull out lenses originally used with film cameras and bring them to current productions. The company has a huge knowledge base and experienced people around the world. There is no better feeling than knowing I’ve got the backup of folks in Hollywood when I’m shooting in a different country. It’s a global industry, and Panavision, with their international presence, has always been collaborative and supportive.”
Lyle Vincent, Cinematographer
"Part of the look for Thoroughbreds was heightened realism as well as classic cinema language. The Panavision Primo anamorphic lenses were the perfect fit as they were very clean yet had a very small depth of field when shot close to wide open.
Judd Overton, Cinematographer
"Filmmaking went through a ‘fastest/sharpest’ phase, but now with high-definition, everyone is looking under the desk for the vintage character look. To me, the Panavision Primo lenses provide the perfect optics for digital, combining the precision of modern lenses with the warmth and character of classic cinema glass. They were the perfect choice for shooting THE LETDOWN.”
– Judd Overton, Cinematographer
Paul Cameron, ASC
"The Primo V primes, like the Primos, are absolutely gorgeous glass. Classic beautiful lenses that render faces gracefully. Consistent color. An elegant, creamy quality overall. The falloff of focus delicate and divine. Plus the Primo Vs and Primo Zooms play well together. The Panavision lenses are unique and opulent. Now that they offer customized coatings and lens detuning features, we can spin unique looks on timeless optics.”
– Paul Cameron, ASC
Darius Khondji, ASC, AFC
"(On Okja) I tested Primo 70s and System 65s and chose the Primos for their modernity. We also had access to great and knowledgeable people: Panavision's Dan Sasaki was able to fine-tune these T2 lenses for us so there wasn't that too-hard, contrasty, digital sharpness. We liked having a nice falloff on the close-focus lenses, which let me shoot close-ups with wider angles but without image deformation.” – Darius Khondji, ASC, AFC
