Testimonials

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

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

Yaron Orbach, Cinematographer

We shoot a lot of handheld on THE PATH, and Chris Konash at Panavision in New York designed a ‘hot swap box’ that sits on the camera allowing us to reduce cables and drop a battery. That little box is a huge help on a show where we shoot several cameras handheld. I’ve had a great relationship with Panavision. Whenever I have an issue, they solve it. The hot swap box solution in response to my specific demand to lighten our loads was truly invaluable.” – Yaron Orbach, Cinematographer

Seamus McGarvey

Seamus McGarvey ASC, BSC

Whatever the photographic direction of a project, Panavision is always there to support me in finding a distinct look for the film. They are collaborators in the image with me. That kind of service is unmatched in the industry.” – Seamus McGarvey ASC, BSC

Manuel Billeter

Manuel Billeter, Cinematographer

The choice of lenses – both old and new and everything in between – is impressive. I was able to find and adjust the right line of lenses for each of my shows, and Panavision’s support and expertise have proven to be an incredible asset, making the production process both liberating and creatively stimulating.” – Manuel Billeter (Jessica Jones, Luke Cage, and the upcoming Iron Fist)

Testimonials

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