Opinie

Judd Overton

Judd Overton, Cinematographer

"Filmmaking went through a ‘fastest/sharpest’ phase, but now with high-definition, everyone is looking under the desk for the vintage character look. To me, the Panavision Primo lenses provide the perfect optics for digital, combining the precision of modern lenses with the warmth and character of classic cinema glass. They were the perfect choice for shooting THE LETDOWN.” 

– Judd Overton, Cinematographer

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Paul Cameron, ASC

Paul Cameron, ASC

"The Primo V primes, like the Primos, are absolutely gorgeous glass. Classic beautiful lenses that render faces gracefully. Consistent color. An elegant, creamy quality overall. The falloff of focus delicate and divine. Plus the Primo Vs and Primo Zooms play well together. The Panavision lenses are unique and opulent. Now that they offer customized coatings and lens detuning features, we can spin unique looks on timeless optics.”

– Paul Cameron, ASC

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Darius Khondji, ASC, AFC

Darius Khondji, ASC, AFC

"(On Okja) I tested Primo 70s and System 65s and chose the Primos for their modernity. We also had access to great and knowledgeable people: Panavision's Dan Sasaki was able to fine-tune these T2 lenses for us so there wasn't that too-hard, contrasty, digital sharpness. We liked having a nice falloff on the close-focus lenses, which let me shoot close-ups with wider angles but without image deformation.” – Darius Khondji, ASC, AFC

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Yaron Orbach, Cinematographer

Yaron Orbach, Cinematographer

We shoot a lot of handheld on THE PATH, and Chris Konash at Panavision in New York designed a ‘hot swap box’ that sits on the camera allowing us to reduce cables and drop a battery. That little box is a huge help on a show where we shoot several cameras handheld. I’ve had a great relationship with Panavision. Whenever I have an issue, they solve it. The hot swap box solution in response to my specific demand to lighten our loads was truly invaluable.” – Yaron Orbach, Cinematographer

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Seamus McGarvey

Seamus McGarvey ASC, BSC

Whatever the photographic direction of a project, Panavision is always there to support me in finding a distinct look for the film. They are collaborators in the image with me. That kind of service is unmatched in the industry.” – Seamus McGarvey ASC, BSC

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Manuel Billeter

Manuel Billeter, Cinematographer

The choice of lenses – both old and new and everything in between – is impressive. I was able to find and adjust the right line of lenses for each of my shows, and Panavision’s support and expertise have proven to be an incredible asset, making the production process both liberating and creatively stimulating.” – Manuel Billeter (Jessica Jones, Luke Cage, and the upcoming Iron Fist)

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Loren Yaconelli, Cinematographer

Loren Yaconelli, Cinematographer

I have a wonderful set of lenses, the G Series anamorphic prime lenses from Panavision (on Animal Kingdom). We get incredible flares. The way the light behaves when it hits the lens, things that people might consider a flaw, is really wonderful.

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Jas Shelton, Cinematographer

Jas Shelton, Cinematographer

With Panavision, I’m not just getting equipment – they are partners in helping me put together the right tools for my projects. Regardless of the budget, I receive the same great service. They help me to achieve the look I want for each project by suggesting the best gear for the job. That assistance in formulating my approach is invaluable, and fuels my creative process.

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