Creative Inspiration
“Tales from the Loop:” Making These Fantasies a Reality
“We didn’t know at the end of all of this whether or not there would be a place that would embrace the kind of...
Panavision
How To
Lost in Time: How the Cinematography of “The Lighthouse” Evokes the 19th Century
Shot on outdated 35mm film stock using the Panavision Millennium XL2, augmented with vintage Baltar lenses, cinematographer Jarin Blaschke crafts a moody, jagged black-and-white...
How To
OK, So… How Exactly Do You Make an “Instant Movie”?
This “instant movie” was all about demonstrating technologies now available to moviemakers—including the use of cloud storage and playout—that make it possible to greatly...
Creative Inspiration
Hope is the Thing With Feathers: The Inspired Visuals of “Dickinson”
“The choice to make a period show was a way of writing a stylized version of the present.”
Creative Inspiration
Editor Jennifer Lame on Managing the Many Layers of “Marriage Story”
As Noah Baumbach’s longtime editor, Jennifer Lame started working on the Netflix feature well before principal photography, spending hours with the director breaking down...
PR Wire
Experience Panavision’s End-to-End Ecosystem at 2019 Camerimage
Panavision and its family of companies return to the EnergaCamerimage International Film Festival from November 9-16 in Torun, Poland, with an immersive, end-to-end experience...
PR Wire
Michael Cioni Joins Frame.io as Global SVP of Innovation
Frame.io recruits Michael Cioni to help lead the next wave of film-tech innovation, starting with the development of breakthrough camera-to-cutting room technology.
PR Wire
Renowned Industry Colorist Scott Klein Joins Light Iron
Light Iron, a Panavision company, is excited to announce that award-winning colorist Scott Klein is joining the company. As supervising colorist of numerous groundbreaking...
PR Wire
Cine Gear 2019 to Feature Panavision’s Camera-to-Finish Imaging Ecosystem
Panavision, the world-class provider of end-to-end solutions, will return to Cine Gear Expo (May 31-June 1) at The Studios at Paramount to showcase the...
PR Wire
Light Iron Enlisted for Post Services by Award Contenders
Light Iron, a Panavision company specializing in post production services, is again playing an important collaborative role with notable episodic series this season.
PR Wire
Colorist Jeremy Sawyer Heads to Light Iron
Light Iron, a Panavision company, has announced Jeremy Sawyer is returning to its Los Angeles facility as a senior colorist.
PR Wire
Panavision Showcases Complete Imaging Ecosystem at BSC Expo 2019
Panavision, the world-class provider of end-to-end solutions that power the creative vision of filmmakers, will return to BSC Expo (Feb. 1-2) with a demonstration...
PR Wire
Sundance Filmmakers Turn to Panavision for Production and Post Services
As entertainment industry luminaries prepare to swarm Park City for the Sundance Film Festival, Panavision and Light Iron (Panavision’s post production subsidiary) are proud...
PR Wire
Panavision to Showcase Advances in Optics at 2018 Camerimage
Panavision, a world-class provider of state-of-the art optics, camera systems, lighting, filters, and post production services, will showcase an array of advancements in optics...
PR Wire
Zoe Iltsopoulos Borys Appointed Vice President and General Manager of Panavision Atlanta
Panavision, the entertainment industry’s leading designer, manufacturer and rental provider of high-precision optics and camera systems, has named Zoe Iltsopoulos Borys to lead the...
PR Wire
Explore the Beauty of 8K Large Format at Panavision Panel at SXSW
Panavision, a global leader in optics and camera systems, will explore the beauty of 8K large format in an eye-opening presentation at SXSW on...
News
Southern Gothic: Philippe Le Sourd’s Beautiful, Menacing ‘Beguiled’
"I wanted to change the usual perception of background, looking for something that was more textured, closer to paintings," says director of photography Philippe...
2017
Night and the City: Combining New Camera Technology and Vintage Lenses for HBO’s ‘The Deuce’
DP Vanja Černjul, ASC, had intended to take a break following a stretch of projects, but after seeing the pilot of HBO's "The Deuce,"...
2017
Managing Visual Styles, Storylines and Superpowers on the Netflix Series ‘Marvel’s The Defenders’
The newest Marvel-Netflix iteration, 'Marvel's The Defenders,' brings Daredevil, Jessica Jones, Luke Cage and Iron Fist together to fight an evil greater than they've...
2017
Crime Scenes: ‘Manhunt: UNABOMBER’ Recounts the FBI Investigation
Discovery's 'Manhunt: UNABOMBER' tells the true story of the FBI's hunt for Ted Kaczynski, the deadliest serial bomber in United States history.
2017
Tone and Tension on ‘Top of the Lake: China Girl’
"Top of the Lake" was the first program produced under the auspices of the UK/Australian company See-Saw Films, which re-teamed with BBC Two for...
2017
Panavision Lenses Reveal Humor and Melancholy in ‘Crashing’
The semi-autobiographical HBO series "Crashing" follows stand-up comedian Pete Holmes as he struggles to make it in New York City.
2017
Cut to the Chase: Editing the Action on Set for ‘Baby Driver’
An in-depth discussion with editor Paul Machliss, ACE, about his work on director Edgar Wright's 'Baby Driver.'
2016
Panavision’s Anamorphic Look Invades Television
Anamorphic lenses, long loved for their cinematic look, have become a predominant choice for television production. AMC’s Fear the Walking Dead is one of...
News
Antique Panavision Lenses Allow for a 360-Degree Experience on ‘The Hateful Eight’
Shot in 70mm and in the widest possible aspect ratio (2.76 to 1), Quentin Tarantino’s The Hateful Eight owes a lot of its unique...
News
Looks, Luts and Picture Profiles, Oh My!: A Technical Look at Key Imaging Terms
NewsShooter technical editor Matt Allard offers an indepth look at everything you ever wanted to know about image science but were afraid to ask....
News
Cinematographer Nigel Bluck Chooses Anamorphic Lenses to Capture Noir Look of ‘True Detective’
Not only does season two of HBO’s hit noir series True Detective switch to a completely different storyline, but the production went from shooting...
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