Panavision Hollywood

The feud continues in Tom & Jerry Lenses: #Primo70 #PrimoArtiste Cinematographer: Alan Stewart Serviced by #Panavision London and #Grips https://pvlink.net/3r6MaNr

"Lee Daniels & I wanted to create a feeling, of being within Billie Holiday's time, space and, of course, head. She was a lost soul, but through her voice she was able to impart & share with us her life's experiences and her huge talent, baring her soul. The look had to be subjective and to be there with her - not looking back - inviting our audience in. We chose to shoot on film with tweaked anamorphic lenses for texture as these main ingredients allow us to savour the depth... inherently. Orchestrating the camera movements, plus lack of them, with lighting tones, colours, densities and shadows: this fabulous combo gave us the look! Going on this journey using Panavision was a given. They have the hugest range of choices plus the personnel to back it up. Shooting in Montréal I could call on the worldwide Panavision family to support us and the genius of Dan Sasaki to make the adjustments to our optics, to alter the curve, to make them come alive. We came to the choice of anamorphic #Cseries as they have the unique quality of taking us back through time and planting us firmly in that time, within the story, with the characters, and Billie." Cinematographer Andrew Dunn BSC elaborates on his work on the highly anticipated The United States vs Billie Holiday which premieres today.

Everybody's Talking About Jamie! Serviced by #Panavision Manchester, Panavision Grips, and @panaluxworld. Cinematographer: Christopher Ross BSC Gaffer: Joe MacDonald https://pvlink.net/3opUMNn

"Aaarrgh aaarr aaagh" - the undead are up in arms over the next instalment of The Walking Dead: World Beyond. Shot by Ross Riege & Matt Garrett on #Gseries lenses.

"I really like the look of anamorphic. Some of my favorite films are shot on those lenses so it felt right for me to shoot my first film on them. Panavision is legendary. They make incredible equipment and have been for years." Director Finn Wolfhard on choosing #Panavision anamorphic for his debut short, #NightShifts. "Finn and I wanted to capture the essence of a 24h convenience store, with a slightly heightened, cinematic feel. It couldn’t be too moody, but also couldn’t b...e apple store bright. After reading Finn’s script and checking out the location, anamorphic seemed like the obvious choice. The E Series are insane. I've used them a lot and knew they’d sing in the convenience store, especially to have T2 available as we thought it’d be nice to see a little light in the sky in that opening wide shot." Cinematographer Cole Graham details capturing the essence of a 24-hour convenience store with #ESeries optics.

The God of Mischief is up to his tricks again in the trailer for #Loki. Shot by cinematographer Autumn Durald Arckapaw with #TSeries optics. Serviced by #Panavision Atlanta. https://pvlink.net/3newRAB

Watch this intimate performance of "Another Year" by FINNEAS on The Tonight Show. Shot by cinematographer Drew Daniels. Serviced by #Panavision Hollywood. https://pvlink.net/381oWAh

Cast thine eyes on Part 4 of The Chilling Adventures of Sabrina. Shot on #DXL2 with #GSeries optics, serviced by #Panavision Vancouver. Photo credit: Netflix

Take a listen to director Robert Connolly and actor-producer Eric Bana discuss shooting large format on #Panavision #DXL2 for #TheDry on the Screen Australia Podcast. Shot by cinematographer Stefan Duscio ACS. In Australian cinemas January 1.

There's nothing like marking up a mag on set. Photo by: Kate Eccarius