The 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...
Panavision
The 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...
The 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.
The 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.
The 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...
The 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...
The 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...
The 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...
The 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 and Features
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...
News
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,"...
News and Features
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...
News and Features
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.
News and Features
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...
News and Features
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.
News and Features
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.'
News
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 and Features
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 and Features
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 and Features
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...