Features

VINYL OFFERS RODRIGO PRIETO A ROCK 'N' ROLL CANVAS

Rodrigo Prieto, ASC, AMC was at the camera for Martin Scorsese’s The Wolf of Wall Street, a tale of greed and excess in the go-go 1980s financial rackets. This time, the duo went back a decade earlier to present a story set in the music industry of the 1970s, as it evolved from kid stuff into big business. The two-hour pilot for the HBO series Vinyl touches on the entire culture of the period – business, fashion, society, and art are all in a state of flux.

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Panavision Designs Lenses for Mindel on Star Wars: The Force Awakens

When J.J. Abrams and Dan Mindel, ASC, BSC took on Star Wars: The Force Awakens, they knew they were handling a cultural touchstone. As they did with Star Trek and Star Trek Into Darkness, they wanted to respect the antecedent while making a great, entertaining film for today’s audiences. So when it came to choosing format, lenses and the right look, they began by researching how the original Star Wars films were made.

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MATTHEW JENSEN UTILIZES PANAVISION PRIMO Vs TO ACHIEVE REALISM IN FANTASTIC FOUR

The Fantastic Four debuted in Marvel comic books in 1961, more than 50 years ago, and the group has since been the subject of at least four television series and four feature films, including an unreleased film produced by Roger Corman. The long-awaited cinematic reboot, directed by Josh Trank, is finally here. In it, the heroes teleport to an alternate universe, gain new powers, and learn to harness them in order to save Earth.

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THE LENSES MAKE THE LOOK ON TRUE DETECTIVE

For cinematographer Nigel Bluck, ACS, it's all about the lenses. “You can say the different cameras out there are almost like different film stocks, but the most pronounced difference comes from the lenses,” says the native of New Zealand. “And that's what governs my allegiance to Panavision.”

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DEVISING A NEW ASPECT RATIO FOR THE DINOSAURS OF JURASSIC WORLD

Jurassic World is another in a long line of big-budget tentpole features for cinematographer John Schwartzman, ASC (Armageddon, Seabiscuit, Night at the Museum: Battle of the Smithsonian, The Amazing Spider-Man). With a production scale rivaling that of its dinosaur-sized subjects, this fourth installment in the series served up something Schwartzman had not had on any film prior: the opportunity to create a new aspect ratio.

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LOWELL PETERSON RELIES ON PANAVISION FOR TELENOVELA STYLE OF JANE THE VIRGIN

When director of photography Lowell Peterson, ASC was gearing up to shoot The CW series Jane the Virgin, which has a diverse array of talent in front of the camera including numerous Latino actors, he felt Panavision's Primo Zoom Lenses would be the ideal glass. “I find that the Panavision lenses are really good with skin tone,” he remarks.

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