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Found 62 results

  1. Panavision Ireland http://www.panavision.ie Panavision Ireland Ardmore Studios Herbert Road Bray County Wicklow Ireland Phone number: + 353-1286-0811 Open from Monday to Friday - 10am to 5pm They are absolutely amazing. Obviously they are Panavision so they have all the lenses and cameras available from Panavision.
  2. Some stock tests that might be of interest for yet another short film I'm shooting. I shot Kodak 5230 and 5219, with G and B series Anamorphics with both flashing and pull processing. http://stephenmurphydop.blogspot.co.uk/2014/02/abdullah-stock-tests.html
  3. hey all, posibility of traveling to Haiti with small crew by the end of the month to do some doc style/ live music filming. Was wondering if anyone had done any work or had speant any amount of time in haiti or filming in a similar country. Any crew support? security & health concerns, things in general to watch out for.... anything will help Thanks in advance!!
  4. Hello everyone, I am new to the forum and was hoping that someone on here would be able to assist me in my quest to apply for Panavision's College Internship Program. I have tried contacting Stephanie Lyons at their Hollywood location, however, my attempts have be fruitless. I am currently a Senior at the University of California Irvine and want to learn about their cameras, as well as 35mm film cameras as a whole, preferably from the grunt-work up. I would like to have an old fashioned mentorship-styled environment where a master of the craft can show me the ropes cleaning and lugging around different pieces of equipment, however, I'm not sure how realistic my hopes are. If you have any information about the program or know anyone who does, I will be eternally grateful.
  5. Hello Everyone, My name is Alex Mitchell and I am an aspiring camera-assistant hoping to hit the ground running after I graduate from my film school (FSU Film) in December. I've spent over 3,000 hours on set working both ATL and BTL jobs on professional and film school sets. I chose to specialize in camera-assisting because it combines my best qualities into one job: a deep passion and knowledge of cameras and lenses, appreciation for capturing beautiful moments (in focus!), and endurance. I read the blogs on this site and I love all the knowledge you all share, and I was hoping if you could share with me some of your knowledge. I plan on moving out to L.A around January 2014 after I graduate and start working as a freelance camera assistant. I already have some connections through my film school but I would like to work someplace where I can connect with other professionals too. I would like to land an internship/job working at Panavision or any other camera rental house. I know they don't just hand out those jobs, but I'm determined to get one. If you have any type of advice for someone like me please let me know. I have a couple of months before I move out there, so I am just gathering information that will help me down the road. My resume is on my website if you'd like to check it out and I'll attach it onto this thread too for your convenience. Thank you for you time and I look forward to your responses. alexmitchellfilm.wix.com/apictureisworth Film Resume.pdf
  6. I recently shot a teaser/pilot for an independent feature I'm attached to called "Fortune Cookies. Shot over a couple of days primarily in a single interior set build, along with a small amount of location work in a supermarket. The script is set predominantly at day time, but to keep things visually interesting I tried to vary the time of day a little bit so that it stared out as morning, moved to midday, early afternoon and finally late evening. I cant show any of the finished footage yet but I've included some frame grabs below to give an indication of the results. The script is both a comedy and a family drama so it was a challenge to balance both genres into something cohesive and visually interesting. I made the decision to shoot on Panavision's Genesis camera primarily because our budget was very tight so we couldn't afford to shoot on an Alexa. With both dolly work and handheld shots planned I didn't want to end up shooting on a smaller camera like the F3 - I wanted the form factor and convienience of a 35mm style camera with a reasonably good viewfinder, rather then a flip out monitor. Shooting to tape wasnt an option and the Genesis SSR deck was too expensive for our budget so Panavision suggested I record to a Ki Pro in Prores 422 using an external recorder tethered by a single BNC, a system Haskel Wexler used recently on a shoot in the US. I shot tests and projected them in Panavision's screening room and thought they looked great so off we went. I also tested recording to a variety of other recorders but ultimately we settled on the Ki Pro. I knew the cast would be predominantly Asian and I knew the set would be predominantly white walled, so to help harmonise the skintones and highlights I used a combination of Double Fogs and Corals throughout most of the shoot. The general lighting plan was to use a mix of large soft sources mixed with ocasional splashes of harder hot light, with the levels dimming and warming towards the end of the day, ultimately arriving at a mix of cold and warm color temperatures for the final evening scene (not pictured). The studio we could afford wasn't ideal size wise so I struggled to get the large sources as far back as i liked and we couldn't afford a translite or a backdrop so i had to blow out the windows, which i tend to like anyway, but in the final grade ill pull a little bit more curtain info out of the highlights. My main sources were a series of Maxibrutes and fresnels, pushed through two layers of Gridcloth, and then coming through the windows which were double netted. I'd use a pair of 5K's with Chimeras coming up and over the set to push soft backlight/Soft fill deeper into the set and then id add some harder sources, like a 10K fresnel or a Source 4 (or VNSP Parcan) to bring in splashes of sunlight. I used a variety of warm gels, mostly CTS, on the backlights for the afternoon scenes to help warm things up a little bit. For some scenes I'd push the Maxi's directly through the gridcloth and for others I'd turn them around and bounce them off the studio cyc for an even softer feel. I'd try to use large negative fill blacks on the camera side of the set, usually flying walls to faciliate, to help model the light a little bit. I had a large 20 by muslin bounce flying over the set but i found there was so much ambient fill from the set walls i rarely needed it so i kept it pretty high. Depending on which direction i was shooting in I could knock down the maxibrutes to keep the fill side pretty low key, while the combination of the 5K Chimeras and MaxiBrute/Gridcloth worked as a large soft wrapping backlight. Over the camera I'd keep a Jemball, wrapped in a second layer of diffusion as an eye light and I'd occasionally use a second Jem ball as a soft wrapping key light. I rated the camera at approx 400asa with zero gain and a 180degree shutter and was able to keep my stop at T4 by using ND on the lens. The Genesis recorded in Panalog so the images below are straight from the camera with a very basic LUT to correct the image density - other then that they are ungraded. I was surprised at how much highlight detail the Genesis captured so in the DI I'll use power windows to help flag some of the walls in the background and to pull a touch more highlight detail. Overall I found the camera and recorder combo worked really well. Without the SR deck the genesis sits comfortably on the shoulder and felt great during the handheld work as well as on set in a traditional dolly mode. Because we ombined quite a lot of zooming and tracking i shot mostly with the Primo 4:1 zoom, which is a FANTASTIC zoom lens, and then supplemented with primes when needed.
  7. https://vimeo.com/70679379 The majority of this music promo was shot on an Arri Alexa 4:3 in 2K ProRes using Panavisions C-series and G-series Anamorphic primes with some additional photography shot on a RED MX with Panavisions Xtal Express Anamorphic primes. The main visual references the director and I discussed were photographer Gregory Crewdson's work and the films of Wes Anderson (shot by Robert Yeoman) so we were trying to achieve a surreal atmosphere with a vibrant colour palette. For the main location I used Lee Medium Blue Green gel on most of my background sources (a combination of daylight balanced kinoflos and smaller HMI cinepars) while keeping the keylight neutral (usually a combination of tungsten jemballs warmed slightly on the dimmer). I kept the camera at 3200K and 800asa and the stop was usually a T4. I hung 2 x jemballs w/500w bulbs above the table and skirted them to contain the spill. Opposite camera there was a Kinoflo Flathead hanging just above the frame that worked as a backlight for the lead actress, and this was supplemented with additional Flatheads on the floor as 3/4 backlight where necessary. Depending on our angle of view I'd use smaller Cinepars and 4x4 kinos bounced into the ceiling to add some colour to the background. For a flicker effect I had 2 x redheads running through a a flicker box and pushing through a frame of Muslin and for the sweeping spotlight I used a source 4. For the shot of the girl looking at herself in her bedroom mirror at night I used a single 4ft x 4tube kino just outside the window to key her and used a 575w HMI Cinepar with a spot bulb sitting on the floor just outside the window to add a slash of moonlight across the floor. A handheld HMI pocket par sat just out of frame right to flare the lens. For the warmer coloured scenes inside the dance rehearsal studio at night I used the Xtal express lenses for a softer, more dreamlike feeling and kept the shooting stop at T2.8 which enhanced the softer aberrations of the lenses and made a nice contrast between the C&G series. A pair of 2k's and another pair of VNSP parcans, all gelled with CTS, pushed through the window to work as a backlight and I used the ambience from the room as fill. For close ups I supplemented the light with some smaller Kinos again with tungsten tubes and CTS. There's a couple of lighting plots below (designed in the Lighting Designer App - can't recommend this highly enough!) and a few BTS photos from the unit stills that give you a sense of the lighting rig in the main location. Theres also a brief clip showing the Dolly/Lighting Rig we used for one of the shots here https://vimeo.com/71200843
  8. 6 year old Angenieux Optimo 15-40mm T2.6 Zoom Lens in perfect condition. This is my lens, privately owned, not parked at a rental house. In Los Angeles. $39,995. contact me at lkarman5@verizon.net if interested.
  9. I saw this rather intriguing post on REDUSER.net and I thought someone who posts here more regularly might have heard similar murmurings. http://www.reduser.n...531#post1123531 I've added a screencap for posterity.
  10. coming to houston for a music video shoot coming up on the 26th and 27th of this month (may). looking for a 2nd AC to help me out as im by myself as of now. looking like a clapper/loader situation. coming out of LA. shooting red Epic, panavision package, c-series anamorphics. Let me know!!! also could use a camera cart... stevetw103@gmail.com
  11. Hello everyone, Do you have any info on the Panavision Primo Classic "soft effect" mode? I know it is an optical, variable diffusion effect, but I have yet to see the effect on an image. Any links or screenshots? This function is only available on the 24, 30, 65, 85 and 125mm, and I wonder if it cuts well with the other Primo lenses without the effect. Best,
  12. Guest

    "COWARD" online

    That 28 minute "short" film I shot almost a year ago this week has gone online in full. Fuji Eterna 500T pulled one stop with some Fuji Vivid 160T mixed in. Panavision HS and E series anamorphics. Lots of Mud. Comments or criticisms welcome.
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