Brandon Cox, Cinematographer
Brandon Cox, Cinematographer
"Panavision has a prestigious history in the film business -- they are the gold standard for film cameras and especially anamorphic lenses.”
FERNANDO ARGÜELLES ASC, AEC
Fernando Argüelles, ASC, AEC
"Panavision T Series anamorphic is an excellent glass, providing high contrast without harsh digital sharpness. The show takes place mostly at night in swamps and forests, the pleasant fall-off in close focus produced remarkably stylish images. The expertise of Panavision’s Dan Sasaki was fundamental in fine-tuning the expanded anamorphic lenses, which we used to create a distinctive look for our 'Swamp Thing' adventure.” – Fernando Argüelles, ASC, AEC
Robert Elswit, ASC
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
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
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
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
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
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
