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  1. Hi all, I'm starting prep work for my college thesis at Emerson and I'm researching into the different challenges with shooting the project on film. I'm particularly thinking 16mm, just for budgetary reasons, and can't seem to find a Super 16mm camera that shoots up to 300 fps other than scientific/military cameras. The film is about a track athlete, so I'm wanting to get some very beautiful, frozen moment shots of our talent running. Does anyone know of any cameras that shoot as high as 300 fps? I see most of the HS cameras from Arri only go up to 150 fps. Thanks!
  2. Hey guys! Please check out The Ultimate Anamorphic Lens Test where we tested 13 brands, 40 lenses and created over 500 tests and 130 4K videos. You can compare them all in our 4x side-by-side viewer here. Brands tested include: Angenieux Optimo 44-440mm T4.5 AS-2 Anamorphic Zoom ARRI / Zeiss Master Anamorphic Atlas Lens Co. Orion Series Anamorphic 65mm T2.0 Cineovision Anamorphic Cooke Anamorphic /i Special Flare Elite Anamorphic Hawk V-Lite Vintage `74 Anamorphic Iscorama Pre-36 Anamorphic Lens Adapter Kowa Cine Prominar Anamorphic Lomo Round-Front Anamorphic Panavision Auto-Panatar Anamorphic P+S Technik 35-70mm T3.2 Cinemascope Zoom Todd AO High-Speed Anamorphic Hope you enjoy it. Please let me know if any questions!
  3. Selling a like-new Precision Speed Control 2 that is currently selling for $3000 on CE's website. This one has the LED display and the 3-perf option. Link here: https://cinemaelec.com/products/precision_speed_control_2/ This connects to your film camera and gives you control of your frame rates for over and under cranking, flicker reduction, TV scan line issues etc.. The display also serves as a digital tachometer and footage/meter counter. Works on Panavision, Aaton, Arri, Moviecam and more. Comes with a cable but you may need a different connector for your specific camera. Only uses the one cable, no other power cable is needed. $350 and will ship for free to the lower 48 or you can pick up near North Hollywood. Camera Compatibility Aaton 7 LTR, 54 LTR, LTR-X, XC, XTR, XTR+, XTR Prod, XO+, X Prod, 35MM (Type 1, 2, 3) Arriflex 16SR (1, 2, 3), 16SRHS (1, 2, 3), 35BL (1, 2, 3, 4, 4S), 35-3, 35-2A*, 35-2B*, 35-2C*, 35-3C*, 435, 535, 535B Panavision 16MM, Gold 1,2, Millennium, Panaflex, X, Platinum, Panastar 1,2, PSR Moviecam Compact*** Mitchell Fries** Showscan Showscan Beaumonte Vistavision llm Vistaflex Msm Vistavision Wilcam Vistavision * With Cinematography Electronics 2C CRYSTAL MOTOR BASE ** With Cinematography Electronics FRIES/ARRI MODIFICATION *** With Cinematography Electronics COMPACT PRECISION SPEED PLUS
  4. WOODLAND HILLS, CA, (June 1, 2017) – Panavision will reveal advanced new tools for its unprecedented, large-format Millennium DXL 8K camera at their booth in Stage 2 (#S302) at Cine Gear Expo, June 2-3. Demonstrating the evolution of their innovative approach to filmmaking, Panavision will debut a set of fast, wirelessly controlled “Primo Artiste” lenses that cover the full 8K HDR image; the world’s first HDR OLED “Primo” Viewfinder; a new color spectrum filter called “PX-Pro”; and “DXL Control,” an iPhone app for remote camera control. These new technologies support Panavision’s Millennium DXL, which was engineered to offer superior creative control over the entire imaging chain. “The DXL was designed based on feedback from veteran filmmakers who wanted a large format digital system to serve their vision, and these new tools extend that level of innovation,” notes Panavision CEO Kim Snyder. “We are excited that the camera has been met with great enthusiasm for what it offers in terms of creative flexibility and progressive technology at the service of the artist.” Featuring Panavision’s premier large format optics and modular accessories, advanced 8K sensor technology from RED, and unique color science and workflow optimization from Light Iron, the Millennium DXL has been the camera of choice for numerous productions since becoming available in January. “Filmmakers have chosen the camera to shoot major motion pictures, commercials and TV shows,” says Panavision and Light Iron Senior Vice President of Innovation Michael Cioni. “We’ve been listening to filmmakers and developing top-notch capabilities for the camera, as well as fine-tuning what’s next for its ecosystem. These savvy tools continue our solution-focused efforts to deliver the best in class.” The Primo Viewfinder is the industry’s first HDR OLED viewfinder. Designed, engineered and manufactured at Panavision, the Primo Viewfinder offers Panavision optics and proprietary mechanics, an HDR OLED screen, 600-nit brightness, image smoothing, a heater, and custom Panavision glass to limit eye fatigue and make it easier to focus in very bright or dark environments. The viewfinder also boasts a theoretical contrast ratio of 1,000,000:1. In creating the Primo Viewfinder, Panavision has made liberal use of customer feedback. “We have been extremely transparent with our trusted customers and shown them iterations along the way,” explains Cioni. “Their fingerprints go into this camera, because it’s their hands that touch the buttons.” Panavision will be showcasing a prototype of its PX-Pro color spectrum filter, which ushers in a significant increase in color separation and dramatically higher color precision. The filters provide an infrared (IR) and ultraviolet (UV) cut that improves color clarity and reduces noise and IR contamination, which can corrupt or distort digitally captured images. “PX-Pro was custom made for DXL,” says Haluki Sadahiro, director of Panavision Electronics and Product Development. “It has been specially designed to allow for a wider range of precise color that supports all color palettes and flare characterizes of lenses new and old, while reducing many of the optical artifacts we see on digital cinema cameras.” The Primo Artiste lenses, available by the end of 2017, are a full series of T/1.8 Prime lenses, making them the fastest optics available for large format cinematography. The Artiste Series is an evolutionary step in large format optics design, becoming the second series of Panavision lenses to include a fully internalized motor and complete metadata compatibility. The essence of the Artiste concept is an innovative design that takes advantage of the aesthetic flexibility available within large format digital imagers, and the resulting look evokes a quality reminiscent of vintage optics. The series incorporates modern features such as focus breathing control, even field illumination and optimized close focus performance. “The primary goal of the Primo Artiste line is to balance the intricacies of aberration control and the art of lens design to create a lens that produces images that resonate with our instinct to relate to painterly images that are identified by smooth transitions between surrounding objects,” says Panavision VP Optical Engineer and Lens Strategy Dan Sasaki. An added feature of the Primo Artiste series is a true anamorphic glass attachment that retains the spherical nature of the base lens yet induces many of the artifacts associated with anamorphic photography such as directional flares and distorted bokeh. The Artiste lenses will initially come in eleven focal lengths (27mm, 35mm, 40mm, 50mm, 65mm, 80mm, 100mm, 125mm, 150mm, 200mm, and 250mm) with expanded focal lengths available in 2018 New DXL Control software mirrors the camera menu system on the user’s Apple device, allowing wireless camera control. “It’s got all the familiar buttons and displays,” says Cioni, who notes the software is available now with a DXL camera rental, and will be available to download for free from the iTunes store starting June 2. Cine Gear attendees will also see the Millennium DXL in action on three live sets that show different lighting conditions, mounted with the Primo Artiste and the Panavision T Series anamorphic lenses. Also at the booth, Light Iron will have their unique post production solutions on display in a theater via an HDR Video Village Cart showcasing 8K HDR DXL footage. Light Iron representatives will be demonstrating how this system helps cinematographers evaluate their images simultaneously in high dynamic range and standard, or low, dynamic range. Having access to both image specs while in production enables cinematographers to better prepare for post-production color grading, given that distributors are frequently requiring both standard- and high-dynamic range deliverables. Light Iron colorists will also be on hand to discuss the finishing process as well as “Light Iron Color,” which is the custom color science built into the DXL. LEE Filters will be exhibiting their ProGlass Cine range of neutral-density filters. ProGlass Cine filters are designed to meet the exacting needs of all cinematographers — whether shooting digitally or on film. They are remarkably neutral, eliminating infrared pollution and ensuring all colors remain accurate and true. This simplifies workflow, saves time and enables cinematographers to focus on their creative goals. For more information on Panavision, visit www.panavision.com.
  5. Panavision, the motion picture industry’s most respected designer, manufacturer and provider of state-of-the-art cinema lenses and high-precision camera systems and innovative post production technologies, will bring its Millennium DXL 8K Camera to the 2017 National Association of Broadcasters (NAB) Show, which runs April 24-27 in Las Vegas. Technology leaders from Panavision and its subsidiary Light Iron will also offer their insights and expertise during panel discussions throughout the show. Developed through an unprecedented collaboration of three companies, the Millennium DXL brings together large-format optics and modular accessories from Panavision; an 8K sensor from RED Digital Cinema; and new color science and optimized workflow from Light Iron. The DXL camera has been renting since January. Hands-on demonstrations of the DXL will take place at the following locations during NAB: LEE Filters, A Panavision Company (Booth C11746)with LEE’s new remarkably color-accurate ProGlass Cine IRND Filters. Vitec Videocom (Booth C6025)Freefly Systems (Booth C2922)NAB attendees will have an opportunity to hear from some of the experts and designers behind Panavision’s cameras and lenses, and post innovator Light Iron. Following are the discussions Panavision and Light Iron will participate in: (All locations are at the Las Vegas Convention Center unless otherwise noted.) On the Verge: How Innovation Threatens the Future of Broadcast: OTT distributors Netflix and Amazon are implementing technological innovations that are being chosen by a new generation of content creators. How will that impact traditional broadcast and cable companies?Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron Saturday, 4/22, 3:20-3:55pm LVCC Room N262-N264 Is Cinephilia Dead or Is It Just Expanding? A unique gathering of panelists discuss the infinite palette of technological possibilities and its role in the art of cinema and movie distribution.Panavision Panelist: Michael Cioni, SVP of Innovation, Panavision and Light Iron Sunday, 4/23, 9:15-10:15am LVCC Room S222-S223 DXL on Tap – Reduser Meetup Join SVP of Innovation, Panavision and Light Iron Michael Cioni and other DXL experts for a casual chat about 8K, VV, and Light Iron Color.Sunday, 4/23, 5:00-7:00pm MGM Grand Hotel - Lobby Bar (3799 S. Las Vegas Blvd.) Where Is the Content “Puck” Going to Be? Silicon Valley’s influence over the marketplace is changing not only how content is delivered, but the type of content produced.Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron Monday, 4/24, 12:45-1:15pm LVCC The Studio @ B&H - Booth C10415 Understanding Optics for 8K Panel: Al Collins, from Panavision, and Matt Duclos, from Duclos Lenses, offer thoughtful guidance on large-format optics, anamorphic vs. spherical glass, and what this all means for the average filmmaker.Panelist: Al Collins, Optical Technician, Panavision Tuesday, 4/25, 9:30-10:45am LVCC Room S2227 ASC Lens Committee Update & Trends in Optics: After an update on the ASC Lens Committee, American Cinematographer contributor Jay Holben will have a conversation with Dan Sasaki about the increased use of vintage and large-format lenses.Speaker: Dan Sasaki, VP of Optical Engineering, Panavision Tuesday, 4/25, 9:30-10:15am LVCC Tiffen Booth - C6019 Do We Have Stockholm Syndrome with Apple? Apple fans rejoiced after a recent announcement about the potential future of MacPros. Now is the time to continue to press Apple for the functionality needed to push the boundaries of creativity.Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron Wednesday, 4/26, 10:00-10:20am LumaForge Suite @ Courtyard Marriott (3275 Paradise Road) Digital Cinema Trends, 4K, 8K, HDR, VR at 2017 NAB Panel: As another NAB comes to a close, a lively panel of experts will discuss how this year’s exhibits align with the professional world of content creation.Panelist: Josh Haynie, VP US Operations, Light Iron Wednesday, 4/26, 3:15-4:00pm LVCC The Studio @ B&H - Booth C10415 For more information about the Panavision Millennium DXL, visit www.panavision.com. For more information about Light Iron, visit www.lightiron.com
  6. One-of-a-kind Anamorphic or Spherical Angenieux 25-250 Zoom Lens with compact zoom motor, hand held zoom-speed controller, cables, bracket, and custom case. Excellent condition. $6950 Dan Sasaki at Panavision rebuilt and rehoused this Angenieux 25-250 HP. He added a special low dispersion front element coated with Panavision's anti-reflection coating, and a 119mm Front Filter thread. He improved the mechanics with smoother movement of the barrel and standard focus gearing at the rear of the lens. He fitted the lens with a compact Panavision Zoom motor, which can be removed, and a Panavision/Shiga glass rear 2x Anamorphic capsule that can be added with five hex bolts so the lens can be used as either anamorphic or spherical. The Anamorphic capsule alone is worth more than the entire package. This package is priced to sell fast at $6950. The lens is fitted with a removable PV mount, but a stainless steel PL flange from Zeiss, Century, or MTF Services can easily bolt on. The Anamorphic capsule; however, has a fixed PV mount and would require an adapter or remounted. I have a stainless steel PV to Canon mount that Ken Stone made which can be included in the package for an extra $450. *If purchased before May 8th 2017, I can hand deliver this to Panavision in Woodland Hills for pick-up. If purchased after May 8th, the lens will be shipped from Europe and the buyer covers shipping, insurance, and customs clearance. for images: https://drive.google.com/file/d/0B0NSXBkbH4f2OXpwYjBOTXp3Q28/view?usp=sharing https://drive.google.com/file/d/0B0NSXBkbH4f2Y2EzWkVRNzEwRjg/view?usp=sharing https://drive.google.com/file/d/0B0NSXBkbH4f2VV9jOTk4OTZadlk/view?usp=sharing
  7. Camera Essentials camera raincover sale is underway! For a 20% discount on our website: coupon code is RAIN (for raincovers only) Alexa, Epic, Sony F55/F5 Weather Protectors We still have some FILM camera raincovers at a deep discount, attached is the list with prices We also have a few sample raincovers, along with some raincovers for Steadicam (the clear vinyl kind) While supplies last.... Patti Harrison Camera Essentials www.cameraessentials.com cameraessentials@gmail.com Raincover Sale 2017.pdf
  8. Have to admit I'm interested in how this is coming along, even though I'm not a Star Wars fan. Greig Fraser is supposed to shoot this with the 1.25x Ultra Panavision 70 anamorphics rebuilt for The Hateful Eight. He's also shooting on film, and the Alexa 65. So are the lenses being used on 65mm, or on the Alexa 65? Will the ratio be 2.75:1? Is he shooting anything on 35 (like Episode 8 is)? Anybody heard more about it?
  9. http://www.ebay.com/itm/Angenieux-25-250MM-Zoom-F3-2-T3-9-Panavision-Mount-Arri-Bayonet-Std-Mounts-/332048432990?ssPageName=STRK:MESE:IT 1.6X Angenieux Extender available also $200 If you are here you know what you are bidding on. This was the go to zoom lens during the 70's and 80's and this particular lens has a very rich history. Starting in the early 70's this was used on The Hospital, The Gambler, Dog Day Afternoon, And Justice For All, Slap Shot, Eyes of Laura Mars, Ghost Story, Author! Author!, Without A Trace, The Big Chill, The Pope of Greenwich Village, Brighton Beach Memoirs, Eddie, and Jingle All The Way. I know this because I was the first 1st or 2nd camera assistant on most of these films. Excellent optics. PL mount can be easily made to replace the PV mount. An adapter is also available from Adorama made by MTF. See info below. If you are in the Los Angeles area you can have the lens checked out at your favorite rental house. Fiberglass shipping case in photo is included. MTF Services Ltd PL Mount Adapter With more lens options required by users of 35mm (dof) adaptors and the new generation of digital film cameras such as those by Red, the AF101, Sony F3, MTF Services Ltd will be introducing a new range of products. One of these is the Arri bayonet to Arri PL mount. Beautifully crafted in stainless steel and brass, this quick release adaptor is designed for all Arri bayonet mounted lenses and will allow you to use them on any PL mounted camera.
  10. Coming out in March 2017, directed by Jordan Vogt-Roberts (The Kings Of Summer) and shot by Larry Fong, Kong: Skull Island is NOT a remake, it takes place during the 70's, and involves a scientific expedition to an uncharted island awakening titanic forces of nature, a mission of discovery becomes an explosive war between monster & man. A-list cast on board, including John Goodman, Samuel L. Jackson, Brie Larson, Tom Hiddleston, Shea Wigham, Corey Hawkins, John C. Reilly, John Ortiz, etc, etc. First trailer from Comic Con, a few months back: QT 1080p link: http://pdl.warnerbros.com/wbol/ww/movies/kongsdcc/KONG_TRAILER_1-1080.mov Second trailer out today, with a slightly different tone: QT 1080p link: https://dl.dropboxusercontent.com/u/64705418/k2/KONG_SKULL_ISLAND_TRAILER_3-1080.mov Shot on the Alexa anamorphically, looks like Panavision lenses to me, C-series or E I'd say. Gotta say, Fong always does great work on film, but I've never seen the Alexa look this good, the texture is quite nice, I wonder if they added some grain, it's also really vibrant & beautiful.
  11. WOODLAND HILLS, CA (November 1, 2016) - Panavision, the motion picture industry's most respected designer, manufacturer and provider of state-of-the-art cinema lenses and high-precision camera systems, will showcase many of its newest offerings, including the Millennium DXL 8K Camera and T Series anamorphic lenses at the 2016 edition of the Camerimage International Film Festival, which runs Nov. 12-19 in Bydgoszcz, Poland. Panavision is also presenting two workshops, and exhibiting alongside subsidiaries Light Iron, LEE Filters and Panalux. Unveiled earlier this year, the Panavision Millennium DXL was developed through an unprecedented collaboration of three companies, bringing together large-format optics and modular accessories from Panavision; an 8K sensor from RED Digital Cinema; and new color science and optimized workflow from Light Iron. Presentations on the DXL will take place each day from Nov. 14 through Nov. 17, with demo footage screening at the MCK. The camera is expected to be available in early 2017 for rent exclusively through Panavision facilities worldwide. The company also announces the availability of the Panavision T Series anamorphic lenses. At Panavision's exhibit, attendees will see the product portfolio, ranging in current focal lengths of 35mm, 60mm, 100mm, 135mm, 150mm, and preview the upcoming additions to the lineup in 50mm, 75mm, 180mm. The lenses build on Panavision's long tradition of designing and developing high-quality anamorphic lenses for motion picture. They combine new optical layouts with mechanical advances from the G Series, but have a larger sweet spot and focus closer than some of their predecessors. They are also tuned to be compatible with digital sensors without losing any of the imaging characteristics that have become part of the anamorphic grammar. Camerimage's Lifetime Achievement Award recipient Michael Chapman, ASC will be taking the stage at the MCK on Nov. 15 at 11:00 a.m. CET. This event is a highlight of the festival, which is presented by Panavision. Oscar® nominated for his work on Raging Bull in 1981 and The Fugitive in 1994, Chapman's legacy of film images over four decades places him among the elite of cinematographers. His list of memorable credits includes The Last Detail, Taxi Driver, Invasion of the Body Snatchers, The Lost Boys, Rising Sun, Primal Fear, Space Jam, Six Days Seven Nights, The Story of Us, The Watcher, Evolution, and Eulogy, among many others. Following Chapman's seminar, Panavision's Cinematography Workshop will explore the technical and artistic characteristics of anamorphic and larger format optics. Led by Dan Sasaki, Panavision's VP of Optical Engineering, the workshop will be held Nov. 15 from 2:00 p.m. CET in the MCK. Also on exhibit will be the new Outpost by Panavision, a powerful mobile post-production system for on-set or near-set workflows. Originally developed by Light Iron and refined with Panavision's modular engineering, Outpost's lightweight, compact form factor provides efficient solutions for both creative tasks, such as look setting and processing tasks, including verified backups. Outpost helps creatives maximize their schedules with faster than real-time transcodes and same-day editorial deliverables, even for 8K footage. Like the DXL, Outpost is designed with many details and custom modules that can be configured to each production's needs. LEE Filters, the world's leading manufacturer of professional quality light control filters, will debut their Cine Filters, a new range of glass neutral density camera filters. Also highlighted at the exhibit will be LEE's Zircon Lighting Filters designed for LED lighting with new technology that gives them an increased lifespan of up to 200 times longer than standard lighting filters. Attendees can also pick up the latest copy of the famous LEE yellow swatch book, containing all their color effects filters as well as their full range of technical and diffusion filters for cinematography. Panalux, the leading provider of lighting rental equipment for film, television, and media production, will display their latest in LED lighting technology. The rental and service provider will showcase and demo the lightweight, battery-powered Panalux LED Flex Light and yet-to-be-released soft box accessory. The bi-color, super-slim Panalux LED Flex Light is bendable and portable. The newest accessory to the Flex Light is a quick-assemble, large-format soft box that produces a beautiful, even soft light that makes the low-consumption Flex Light even more versatile. Also on display will be the Panalux Tektile2 slimline LED panels and Panalux NessLED Kit.
  12. WOODLAND HILLS, Calif. (May 23, 2016) - Panavision, the entertainment industry's leading designer, manufacturer and rental provider of high-precision optics and camera systems, has announced the availability of PanaND filters. Representing the next-generation neutral density filters, they offer significant improvements in quality and consistency, so filmmakers can focus on achieving their creative goals. Full spectrum PanaND filters benefit from advancements in materials and manufacturing to deliver color neutrality very accurately. "Until now, cinematographers using traditional ND filters to control exposure have always had to deal with color shifting and optical performance degradation," says Haluki Sadahiro, Panavision's director of new product development. "Unlike traditional filters, PanaNDs are made with the highest quality glass and advanced coating technologies. As a result, they are truly neutral - cutting the light without altering the color temperature." PanaND filters are available in a wide range of options from 1 to 7 stops in 0.3, 0.6, 0.9, 1.2, 1.5, 1.8 and 2.1ND, and come in 4x5.65 and 6x6-inch sizes. The filters feature a sturdier construction and patent-pending tactile markings so users can quickly identify the depth of the ND filter in the dark. "PanaND filters are another example of Panavision's close collaboration with filmmakers that goes back 60 years," says Sadahiro. "Our focus on motion picture production allows us to better understand the needs and methods of cinematographers. Supporting them with the right tools and unparalleled service is our passion." Compatible with film and digital cameras, PanaND filters can be rented from any Panavision facility around the world. For more information, visit www.Panavision.com.
  13. Midnight Special "A father and son go on the run, pursued by the government and a cult drawn to the child's special powers." Trailer Imdb Link http://www.imdb.com/title/tt2649554/?ref_=ttfc_fc_tt Director Jeff Nichols Cinematographer Adam Stone After working together on Shotgun Stories, Take Shelter and Mud, Jeff Nichols and Adam Stone got even bolder in Jeff's new movie, "Midnight Special" If you have followed Jeff Nichols' career you might have noticed that he has a thing for small sci-fi stories where there are a lot of emotions and feelings being unfold in very strange ways. Small stories, simple plots and really amazing actors are constant in Nichols' movies and "Midnight Special" has all of that which might attract a lot of people but also put aside a lot of people too. "Midnight Special's" plot is super simple, a father and a son must escape from somebody in order to bring the son to a point at an exact time and day. Now, the whys are being intercut in the story so well that when the viewer is thinking about "why is this happening?" the story tells you exactly what you need to know in order to continue being engaged by the movie. The opening sequence is one of the best opening sequences I have seen this year so far and Jeff Nichols is so smart that gives you the right amount of information in the first five minutes so you know exactly what is going on.. without the actors telling anything about it! Adam Stone's work is definitely one of the best this year, creating the right emotions for the story but super discreet and yet imaginative, building up the tone scene by scene until the end. There is nothing else to say about all the actors, Edgerton is as fantastic as always, you can feel Shannon's emotions all the way through.. and the last shot is just mind-blowing! All in all, go to the cinema and enjoy a really simple sci-fi story where the actors act really well :) Have a good day.
  14. Jane Got A Gun Trailer Imdb Link http://www.imdb.com/title/tt2140037/ "A woman asks her ex-lover for help in order to save her outlaw husband from a gang out to kill him." Director Gavin O'Connor Cinematographer Mandy Walker As a movie, "Jane Got A Gun" has a very interesting plot and a fantastic start. Natalie Portman as Jane is a great cast and she plays the role in a really great way. However, once we start to know what has happened to her and the reasons behind the "bad gang" and why they want to catch her, it becomes a very dull story. It is a pity that the screenwriters didn't spend more time portraying the ambitions and hopes of "the bad guy", played by Ewan McGregor, because we don't even get to see that he is "that bad". Although in the movie we see 4 or 5 times a banner which reminds us that he is "really bad" as he is the boss of a very dangerous gang. Other than that we don't see anything bad about him, and even his search for Jane is very well justified as in "I have some business left with you" On the other hand, Mandy Walker did her most beautiful job ever, even better than "Tracks"! Gavin and herself introduced a couple of "arty" sequences which are really well thought and the overall look of the movie is just gorgeous. Obviously she is used to shooting in really harsh environments, like "Australia" or "Tracks" but the naturalistic approach yet perfectly photographed frames on 35mm anamorphic creates the right mood for the movie. The night sequence is a little bit of a shock at the beginning being that blue, but after one second watching it you forget about the colour and you see that she made the right choice! and the blacks in the movie are so dense!!! Gavin O'Connor did a great job in the directing part and everything works super flawlessly and the interactions between the three lead characters and how they are told is first class. I suppose it really helps that he is a great director anyways! :D Definitely a movie to watch in the cinema because of the cinematography and the directing skills! Have a good day.
  15. Hey guys, I'm DP'ing a short film soon and need a little advice. I've not DP'd since exactly a year ago and have stepped away to 2nd AC and trainee in the "real world" so to speak. As such while I'm confident of my abilities on the camera side of things, my lighting experience has been limited to say the least! The script is mostly exterior - the A plot is a man in a car. I was wondering - how should I go about getting a consistent "look"? My plans at the mo are to use two HMI's and fire them at a 12x12 frame w/ two silks to create a big bounce. For closer stuff I made a reflector last year that work really well - it provided a strong eye light (a favorite of mine) while wrapping the subject in light. I've two choices of camera, the Panavision Genesis and the Arri D-21. The D-21 blowout is far more "filmic" and controllable (something I've found the Genesis not to be) but the black are far and away better on the Genesis. I have a lot of experience w/ the D-21 from past shoots, while the Genesis I've only been able to get my hands on a couple times. The D-21 can export LOG-C at 4:4:4 DPX files (no ARRIRAW), but the Genesis can only export REC-709 4:2:2 (no PANALOG), which with me being a post kinda guy is making me lean toward the D-21... but whadda you guys think? For anyone interested, here's the trailer for the short I mentioned, "Loved App" (shot with a Sony F3): If anyone's interested in seeing the full short and providing some critique, I can send the link! Thanks all!
  16. NEW YORK, Feb. 9, 2016 - Panavision is pleased to announce industry veteran Russ Robertson has joined the company as Vice President of Marketing in New York, effective immediately. He will be responsible for supporting productions in the region and consulting with filmmakers to supply the most advanced camera rental equipment available through the company's wide-ranging, globally sourced inventory. Robertson brings extensive experience to his role. He has established numerous relationships with production companies, filmmakers and studios in the industry. In addition to liaising with producers, directors, and cinematographers for the majority of his career, Robertson has implemented successful sales teams that respond to the demands of a constantly changing market and that satisfy the needs of customers so they can focus on their job of creating compelling visual stories. "Russ brings a unique blend of knowledge and capabilities to our eastern operations," said Kim Snyder, CEO and President of Panavision. "His understanding of advanced developments in complete production workflows will provide our customers with skilled advice on the latest tools. His industry expertise, along with our highly popular lenses and unique Panavised camera systems, delivers an unparalleled level of service to filmmakers working in the region." Robertson previously worked at Deluxe, where he most recently served as Senior Vice President of Sales for the East Coast. His 20-year career also includes sales and marketing responsibilities at facilities providing film and broadcast post production services in Toronto and Vancouver. Panavision's New York facility is a top supplier of camera rental equipment in the region, with a full staff of prep technicians and camera service experts. The New York team has serviced innumerable local productions, including Vinyl, Orange is the New Black, The Good Wife, Billions, and Blind Spot, among others. For more information, visit http://www.panavision.com, or join the company on Instagram (panavisionofficial), Twitter (@Panavision), Facebook, LinkedIn, Vimeo, and YouTube.
  17. WOODLAND HILLS, CALIF. (Jan. 11, 2016) - Panavision, the entertainment industry's leading designer, manufacturer and rental provider of high-precision optics and camera systems, has reached a distribution agreement with Ludwig Kameraverleih in Germany. The highly regarded rental facility will now be able to provide filmmakers in the region with Panavision's extensive range of spherical and anamorphic lenses, including the popular Primo 70 series for larger sensor digital cameras. This partnership deepens Ludwig's portfolio of filmmaking gear and broadens Panavision's reach. "It was important for Panavision to find a respected partner like Ludwig Kamera that shares our attention to customer service and detail," says Jeff Allen, Panavision's managing director for Europe. "Distributing our high-performance optics for digital cameras through Ludwig allows us to support filmmakers more effectively and efficiently in the region, which has seen a spike in production." Regional and national government entities have taken progressive steps to make Germany an attractive location for international productions. Increased funding and the recent announcement of the expansion of Studio Babelsberg are just a few incentives designed to draw filmmakers to the area. Ludwig Kamera has locations throughout Germany, including Berlin, Cologne, Munich, Leipzig, Hamburg and Erfurt. Martin Ludwig, founder and CEO of Ludwig Kameraverleih, and his highly skilled team have in-depth background knowledge of the German film and TV industry and are known for their high-quality equipment and services. "Teaming up with Panavision is an important milestone for us" says Ludwig. "It broadens our possibilities of service, and allows us to support national as well as international projects with the widest and best range of equipment available." Panavision has been an integral part of the motion picture and television industry for 60 years, servicing many of the big screen's most iconic films including Ben Hur, Lawrence of Arabia, and 2001: A Space Odyssey, to more recent hits as Star Wars: The Force Awakens, Spectre, and Mission Impossible: Rogue Nation, among many others. Panavision currently operates offices in key European cities, including Warsaw, Prague, Paris, Rhône-Alpes, Marseille, Brussels, Dublin, Belfast, Manchester and London, as well as fosters a network of distributors in Rome, Milan, Budapest, Madrid and Barcelona and now Germany. For more information, visit www.panavision.com.
  18. New Space is First Comprehensive Production and Post Location for Companies NEW ORLEANS (December 17, 2015) – Panavision, the entertainment industry’s leading designer, manufacturer and rental provider of high-precision optics and camera systems, has announced the opening of an expanded New Orleans location. The new 30,500-square-foot space will also house Light Iron’s first brick-and-mortar facility in Louisiana. The state-of-the-art facility represents the first location occupied by the two companies since Panavision acquired Light Iron, a leader in digital workflow solutions, earlier this year. The New Orleans location leverages the strengths of both companies to offer turnkey technology solutions from pre-production through delivery. “Panavision has been committed to serving filmmakers in Louisiana for more than a decade,” said Kim Snyder, CEO and president of Panavision. “During that time, the infrastructure and crew-base have built up significantly, and the number of projects being shot has grown such that we needed to expand our footprint to support the community’s needs. Incorporating Light Iron into the new facility brings an unprecedented level of service offerings under one roof to the local filmmaking community.” Panavision’s new high-tech space houses a full range of filmmaking equipment, and access to the company’s technicians and optics specialists. The new location also features an expanded prep floor, a private prep room for larger projects, and a 40-by-40 foot room with an 18-foot ceiling, optimized for shooting test footage. Michael Cioni, president of Light Iron, added, “At Light Iron, we’ve always believed in the marrying of camera and post production. Having Light Iron co-located with Panavision in a vibrant shooting destination like Louisiana is a case study of what the future will look like. Providing comprehensive services under one roof is exponentially more valuable when most everyone is on location. When a cinematographer or crew member has questions about workflow, we have the onsite resources available to answer them in real-time.” The Light Iron space houses a DI theater, which can facilitate remote DI sessions with the company’s Los Angeles and New York facilities. The theater can also be used for reviewing camera tests, setting looks, and screening dailies. In addition, the new facility offers offline editorial suite rentals. “We’ve worked on many great projects in Louisiana over the years with our popular OUTPOST division,” noted Cioni. “With the growing needs of customer demand there, as well as Panavision’s footprint in the state, we felt this was the right time to have a physical presence in New Orleans. The Light Iron team is very excited to be collaborating with the local film community.” “Louisiana is an important production hub for the filmmaking community,” concluded Snyder. “We made this investment to support the filmmakers in the region and this move makes it possible for us to provide a full portfolio of innovative, creative solutions, as well as physical resources and experts more expediently.” Paramount’s Jack Reacher: Never Go Back was the first project to utilize the capabilities of the new Panavision location in New Orleans, followed by an additional unit for Fox’s Scream Queens. # About Panavision Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its world-wide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions. For more information, visit www.Panavision.com, or join the company on Instagram (panavisionofficial), Twitter (@Panavision), Facebook, LinkedIn, Vimeo, and YouTube. About Light Iron Light Iron, a Panavision company, specializes in mobile dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras. With additional facilities in Hollywood and New York City, Light Iron serves projects at both the independent and studio level. The company distinguishes itself by providing workflows that minimize time, maximize image fidelity, and increase creative control. Recent credits include features such as Anomalisa, Gone Girl and the upcoming Ride Along 2, commercial campaigns for Gap and Jaguar, and the television series Mom, True Nightmares, and Transparent. Follow the company on Facebook, Twitter, Instagram, Vimeo, or LinkedIn.
  19. Hey guys, I've loved The Leftovers since season 1, but season 2 has just aired its second episode and I remain stunned by the cinematography, which is now done by Michael Grady (Todd McMullen for most of season 1). It's shot on the Alexa, but it looks SO distinct from everything and anything else I've seen shot on the Alexa, it feels like there's some kind of film grain added because there's a very real and vivid texture to the image, a real patina, the colors pop, but not in a harsh digital way, it doesn't look overly digital, it just really stands out, the lighting also looks beautiful, very colorful. I know they use Primos on this, but I wonder what anyone else think about this, any idea on the film grain or the look they're getting? I'm a film guy mainly, and the only stuff that impressed me on digital so far has been Skyfall, Prisoners, Sicario, A Most Violent Year (yet to see Selma, shot by Bradford Young as well), Drive, Elysium, The Social Network, Gone Girl, Her, Nightcrawler, The Revenant and The Leftovers.
  20. Company To Showcase Latest Advancements in Optics for Cinematography WOODLAND HILLS, CA (Nov. 9, 2015) - Panavision, the motion picture industry's most respected designer, manufacturer and provider of state-of-the-art cinema lenses and high-precision camera systems, will host two seminars at the 2015 Camerimage International Film Festival, which runs Nov. 14-21 in Bydgoszcz, Poland. Panavision's Cinematography Workshop will feature demonstrations from Markus Förderer (Stonewall), Eduard Grau, AEC (Suffragette) and Ellen Kuras, ASC (A Little Chaos) shooting various scenes that compare spherical, anamorphic and larger sensor formats. The workshop will be held November 17 from 11:00 to 13:30 in the MCK - Orzel Cinema. Later in the day, festival goers will have a chance to hear from Panavision's Dan Sasaki, VP of Optical Engineering, on the technical and artistic characteristics of Panavision's anamorphic and large format lenses, including Ultra Panavision 70. The discussion, which runs 15:00 to 16:30, will give the audience a chance to see the different aesthetic options, hear about the technical aspects of each format, and ask questions. Both panels will be moderated by industry writer Benjamin B. Camerimage attendees will also have a chance to visit Panavision in the Opera NOVA exhibit area and see an array of optics including a sneak preview of the new T Series anamorphic lenses, which are designed exclusively for digital cameras. Also on display will be an expanded offering of Primo 70 lenses, which are optimized for large sensor digital cameras. Additionally, festival goers will be able to get up close with the Millennium XL "Millennium Falcon" camera used by Dan Mindel BSC, ASC on Star Wars: The Force Awakens, and the Ultra Panavision 70 camera and lenses used by Robert Richardson, ASC on The Hateful Eight.
  21. Selling a set of Tiffen IRND's 0.3-1.8, sizes in Panavision 4x5.650". The set is 2 years old, is color matched and not faded, still in silver protective bags. Selling entire set for $1,400 ISD shipped. Available for p/u in LA, or can ship elsewhere. Please contact by email: markusmentzer@gmail.com Mfr #: 45650IRND3, W45650IRND6, W45650IRND9, 45650IRND12, 45650IRND15, 45650IRND18 Tiffen 4x5.650 Infrared Neutral Density Filters 0.3-1.8 are a combination Infrared and Neutral Density filter that reduces the amount of light passing through the camera lens without changing the color of the scene, while also reducing the amount of infrared light entering the camera. The Tiffen IR ND series is produced using Water White glass. As with all Tiffen filters, IR ND filters are ground and polished to provide the greatest level of flatness and parallelism. This, together with their exclusive ColorCore technology, ensures the highest level of optical quality.
  22. WOODLAND HILLS, Calif. (June 26, 2015) - Panavision, the entertainment industry's most respected designer, manufacturer and provider of state-of-the-art cinema lenses and high-precision camera systems, today announced the recapitalization of the company. With the recapitalization, Panavision's senior lenders unanimously agreed to convert a majority of the company's long term debt into common stock of the company. This major reduction in Panavision's debt enhances its capital structure and enables the company to explore growth opportunities. "This transaction is very positive news for the company and gives Panavision more fiscal flexibility for the future," said Panavision CEO and President Kim Snyder. "We now have a very healthy balance sheet, allowing us to accelerate our investment in equipment, technology and resources and further focus our efforts on meeting the needs and expectations of our customers." Panavision has recently extended its industry reach into the post production realm with the acquisition of Light Iron, a leader in digital workflow solutions. The recapitalization was a private transaction that was formally completed on June 12, 2015. Panavision's major shareholders have not changed, and the company's Board of Directors and executive leadership team led by Snyder remain committed to the long term growth and success of the company. # About Panavision Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its world-wide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions. For more information, visit www.Panavision.com, or join the company on Instagram (panavisionofficial), Twitter (@Panavision), Facebook, LinkedIn, Vimeo, and YouTube.
  23. Apparently these are being called the "T-Series"? Panavision has pictures of two on their Twitter and Instagram. There's a 150mm T3 and a 37-85mm T2.8 zoom (front element like the two newer ones from 2007). Anyone heard anything else about these? Other lengths and so on?
  24. Hello all, This is my first post to the forum and I'm glad to be here. I am an undergrad cinematography major and I will be shooting my first show on 35mm. Naturally, a gear head will be best for our studio work, but I have only worked as an assistant with the equipment. A few operators and DoPs have told me that tracing a circle on the wall with a laser pointer is a good way to start out. Does anyone have any recommendations on how I can practice? I'll have just the prep day and the test shoot day to figure out the muscle memory. (Unless I should just settle with a fluid head?) Thanks for your time in advance, -Jeremy
  25. Experienced Filmmaker to Provide Service and Support to Southeast Territory WOODLAND HILLS, Calif. (January 6, 2015) - Panavision is pleased to announce Robert Presley, SOC, has joined the company as a marketing executive covering the southeastern U.S. territory, including Atlanta, where he'll be based. Presley brings a wealth of valuable experience and industry relationships to Panavision, having spent 28 years as a camera operator and Steadicam specialist. His inside perspective of motion picture and television production will be an asset to Panavision customers whether in preproduction or finding a solution for an impromptu scenario. His credits include Ride Along 2, Flight, Pearl Harbor and Castaway, among others. Presley has also served as director of photography on such features as Beowulf, Disney's A Christmas Carol and The Polar Express. "We are excited to have Robert join the Panavision team," says Kim Snyder, CEO and president of Panavision. "His feature film and television production experience uniquely positions him to serve our customers. Robert is also deeply integrated with the filmmaking community in the southeast, having begun his career on productions that shot in Georgia and Louisiana, and returning several times to work in the region over the years." Panavision's Atlanta facility is the largest supplier of camera rental equipment in the southern U.S., with a full staff of prep technicians and camera service experts. The Atlanta team has provided equipment and services to productions such as The Hunger Games: Mockingjay Part 1 and Part 2, Fast & Furious 6, Furious 7, Ride Along 2 and Walking Dead, among others.
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