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  1. Adding Workflow Innovator Significantly Expands Trusted Brand's Service Offerings LOS ANGELES and NEW YORK - Panavision has reached an agreement to acquire post production technology innovator Light Iron. The acquisition leverages the strengths of the entertainment industry's most respected designer, manufacturer and rental provider of high precision camera systems with the leader in digital workflow solutions, to offer turnkey technology solutions from pre-production through delivery. With facilities in Los Angeles and New York City, Light Iron will operate as a wholly owned subsidiary of Panavision, maintaining its executive leadership and talent. Light Iron's popular OUTPOST Mobile Post Systems will be available at Panavision rental facilities worldwide. "This acquisition is an opportunity to leverage the strength and innovation of the Panavision brand with the entrepreneurial spirit of Light Iron," says Kim Snyder, CEO and President of Panavision. "By joining forces, we can better serve our clients, providing a full portfolio of creative choices and an efficient, seamless experience." Michael Cioni, CEO of Light Iron, remarks that Panavision is an ideal partner to extend Light Iron's international reach. "A long-standing commitment to quality and client service has made Panavision one of the most trusted brands in the world. The fusion of our two companies, and the creation of new optimized tools, will mark the beginning of a new era in digital acquisition and delivery on a global scale." Light Iron was founded in Los Angeles in 2009 by brothers Michael Cioni and Peter Cioni, along with a core team of experts. Embracing emerging digital tools for content creation from its very beginning, the company has grown into a leading provider of mobile dailies, archival services, offline editorial rental, finishing and delivery. Through both their suite of OUTPOST systems and premium DI services, Light Iron supports high-resolution 6K acquisition formats and UHD delivery. "Panavision and Light Iron are dedicated to providing clients the innovation they need to succeed at the intersection of art and science," adds Snyder. "Together, we are poised to offer creative clients a deeper and more progressive level of support and services across all market segments. This union uniquely positions us both to serve the industry through collaboration, advanced engineering and optimized services - all over the world."
  2. BYDGOSZCZ, POLAND (November 13, 2014) - Panavision, the company behind the world's best cinema lenses for 60 years, is showcasing their new line of Primo 70 lenses optimized to work with today's larger sensor digital cameras. The lenses are being exhibited here at the 22nd edition of the Camerimage International Film Festival, a premier event for directors of photography. "Panavision Primo lenses have set the standard for excellence in motion picture production for 25 years," says Kim Snyder, Panavision's president and CEO. "Now, filmmakers can combine that essential Primo character with the larger sensors found in the latest digital cameras." Panavision Primo 70s are the most advanced cinema lenses ever developed, and specifically designed to work with today's larger sensors. The result is more consistency from edge to edge and sharper corners. The organic flavor, pleasing bokeh, and gradual focus roll-off that DPs depend on have been carefully maintained in the Primo 70 series. Large format sensors are the natural next step for filmmakers looking to create powerful, affecting imagery, and Primo 70 lenses maximize their aesthetic potential. Together, large sensors and Primo 70 lenses deliver unprecedented visual impact. Panavision Primo 70 prime lenses are available in eleven focal lengths: 27mm, 35mm, 40mm, 50mm, 65mm, 80mm, 100mm, 125mm, 150mm, 200mm and 250mm. Super 70 zoom lenses are also available in three sizes: 28-80mm, 70-185mm and 200-400mm. The Primo 70 series are equivalent in size and weight to standard Primos, a feature driven by the need for portability and maneuverability on today's film sets. Primo 70 lenses have already been tested in the field under real-world production scenarios, including two feature films and several commercials. "The 70mm Primos are beautiful - just amazing," says Peter Menzies Jr., ACS about his experience using them on a feature film. "I have never seen lenses that hold their sharpness and contrast across the entire frame. ... They are also light, fast and the lens sizes in the kit are perfect. The two zooms we used are excellent -- incredibly close to the primes." "The Panavision 70mm lenses have a grand look," notes Greig Fraser, ASC, ACS who relied on the Primo 70s for a commercial shoot. "Their visual language is significantly different than 35mm. The focus falls off quickly and beautifully. As a cinematographer, this allows me to tell a different story. ... For decades, Panavision has given filmmakers exciting new tools that can open up our imagination. These lenses promise really outstanding new possibilities." Panavision's Dan Sasaki, VP of Optical Engineering, adds, "The cinematographers who have used these lenses reported that they were very happy that we didn't create something that is synthetic or too scientifically sharp. Cinematographers tell us that the character of the lens is even more important with digital cinematography. We maintained the artistry, and preserved the dimensionality that was originally designed for the Primos back in the 1990s. The Primo 70 lenses definitely share the Primo family resemblance." Panavision Primo 70 lenses are the product of state-of-the-art design and manufacturing techniques and materials, and they incorporate feedback from industry pros. Primo 70 lenses are not compatible with film cameras, as they are specifically designed to work with digital cameras. The internal mechanics retain a familiar Primo feel. Floating internal elements control breathing and allow the lens to maintain extremely high performance from infinity to close focus. Currently, Panavision has made Primo 70 mounts for the Sony F55, RED DRAGON, ARRI Alexa (standard and Open Gate), Phantom Flex4K and Phantom 65, with other cameras being assessed for compatibility. "Panavision's unparalleled experience in optical design and lens construction, and our deep and longstanding relationships with filmmakers, have all been brought to bear on these superlative lenses," adds Snyder. "Filmmakers have expressed a need for lenses that work with larger sensors in an array of cameras. We're focused on providing the tools cinematographers need to tell their stories and express their creativity." The Primo 70 series of lenses are available to rent from Panavision worldwide.
  3. Hello. I can 't seem to find enough information on the net to understand the way Panavision's single blade focal plane shutter design works. Doesn't a single blade have to move in reverse in order to shut? If so, how does it shut without creating uneven exposure? Just how fast can that blade open/close? Is it instantaneous enough that reverse shutting would't matter? I can't imagine this to be the case. When adjusting "angle" does this alter the speed at which the blade moves in any way? Or is that instead constant, with the difference being a change in how long the blade stays in it 's "open" position? Perhaps I'm totally misguided and single blade means something other than what I'm thinking? Thanks.
  4. BURBANK, CA - FotoKem recently completed the digital intermediate and post production services for the indie film Palo Alto. Working with director/screenwriter Gia Coppola and cinematographer Autumn Durald, FotoKem colorist Alastor Arnold fine-tuned the natural look created in camera to ensure the filmmakers' vision for this teen tale is reflected on the big screen. Based on James Franco's short story collection about rebellious high school kids in suburban California, Palo Alto has been praised for Coppola's coming-of-age storytelling and for Durald's evocative photography. The film, which marks Coppola's feature debut, garnered raves at the Tribeca, Telluride, Toronto and Venice film festivals before its recent release. "Gia and I had worked together on five projects prior to this feature, so we have a similar visual language, taste and sensibilities," says Durald. "Gia is from a photography background, and we pulled a lot of photographic references for the tone and mood we wanted - photos by Stephen Shore and William Eggleston. It was important to have a more filmic, softer texture to the image that harkened back to movies like The Outsiders and Dazed and Confused - something that looked more aged with softer tones in the blacks as well. And nothing overly saturated and contrasty." Durald shot the feature with a Panavised RED Epic camera, mounted with Panavision Super Speed lenses and vintage 1970s glass to give a softer feel to the image. The on-set DIT handled basic data management and adjusted stills in REDCINE-X, but no LUTs were applied. Durald's RED raw R3D files were transcoded for final color using REDlogFilm for flexibility with various film/lab emulations. When Coppola and Durald met with Arnold, they brought their look-book of still photography and suggested some films for him to watch, including The Last Picture Show, American Graffiti and The Virgin Suicides. They also experimented with different combinations of film emulation LUTs and grain treatments on various scenes from the feature. "First and foremost, they wanted a very filmic approach to keeping the image natural, smooth, and most importantly beautiful," recalls Arnold. "We weren't pushing in a hyper digital direction. Autumn's photography was awesome, a unique look with a consistency of tonality - it was in a very warm place with naturalistic skin tones." Arnold demonstrated Fuji and Kodak film emulation LUTs along with variants involving slightly different color spaces and lab processes. "We were really happy with the Kodak LUT as the base, and then we added grain over that as well," says Durald. Using the Quantel Pablo for grading, Arnold suggested using its noise treatment feature in different blending modes and intensities to give a grain pass to the entire film. "It all ran in real time, so it was really interactive and fast to adjust noise to emulate different exposures," he reports. He gave particular attention to sodium vapor night exterior shots, tilting toward warm ambers instead of greens and making sure that black levels "felt appropriate for night but didn't bury anything - you always felt you could get into them." Arnold credits Durald's talents as a DP with making the DI process more about collaboration and experimentation than fixing things. "We never struggled to match a key to another key or to even things out," Arnold notes. "It was all about finding the right feel, tonalities, densities and grain. It was great to have the filmmakers walk in with a concise understanding of where they wanted to go stylistically with the finish." Durald concludes, "Alastor has a really great eye - he understood what we were going for from the outset. It's really important to find people with the same taste and sensibilities you have who can translate your visual language emotionally and technically."
  5. At the forthcoming BSC expo in London, Carey Duffy of Tiffen UK will screen the Tiffen 4K Diffusion tests I shot for them late last year. The tests consisted of a series of simple comparisons between every brand of Diffusion filter Tiffen currently offer and serve as an excellent reference. Designed in conjunction with Steven Poster ASC the test is a simple, but very effective, starting point for a Cinematographer to compare the effect of Tiffens range of Diffusion filters before selecting specific filters to test under their own lighting conditions. We wanted to keep as many of the parameters as simple and unbiased as possible. The light is soft but not too soft to allow us to see the effect of the filter. The half light allows us to judge contrast changes, the backlight and bare bulb allow us to see blooming. Similarly the Primo primes were chosen because I felt they were a). familiar to most Cinematographers worldwide and B). sat somewhere between Master Primes and Cooke S4's in terms of sharpnes and contrast and therefore would be a better lens to showcase the effect of the filter. Shot on a Panavisied Sony F55 in 4K the tests will be presented in 4K at events around the world over the coming months. I believe the idea is that eventually Panavision and Technicolor, who co-sponsored the tests, will have copies of the 4K DCP as reference for projection in facilites around the world, so speak to your local Panavision/Technicolor rep for details, or contact Tiffen directly. For my tastes the current generation of 4K+ cameras are just too sharp, especially when projected at 4K, so for me I cant see myself shooting without some form of filtration either infront of, or behind, the lens, especially if I think the project will be projecting in 4K. I also think a lot of the diffusion filters give the image some texture, something I find lacking in most digital images. It'll be interesting to see how many people feel the same way and perhaps we'll see a resurgence in the use of Diffusion over the coming years. Regardless, these tests should still be a very useful reference for us over the next few years so keep an eye out for them. There's a few BTS images and brief video here along with a few other notes on the tests http://stephenmurphydop.blogspot.co.uk/2014/01/notes-on-tiffen-4k-diffusion-tests.html
  6. 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.
  7. 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
  8. 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!!
  9. 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.
  10. 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
  11. 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.
  12. 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
  13. 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.
  14. 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.
  15. 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
  16. 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,
  17. 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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