Panavision

#DOP Sing Howe Yam takes us #behindthescenes of #TheThreesome, premiering this weekend at #SXSW2025. "The best way that I would describe it is that it's like If When Harry Met Sally made a baby with Silver Linings Playbook and met up with Annie Hall on the way. I’m definitely a Panavision lifer. Obviously the optics are legendary and second to none, in my opinion. I’ve had such a long relationship with Panavision and everyone there--I owe so much to Mike Carter and Guy McVicker who have both done so much for me. Mike always tries to make every job work for me and Guy has been such an amazing collaborator--I’ve brought some weird ideas and he’s always been game to experiment. I feel Guy has gotten use to my taste and quirks and he constantly tells me about little one-off lenses or anything that sparks in his head from something I mentioned. Because of this, Guy has unknowingly elevated my projects several times. I’ve shot on Primos a lot--they’re one of my favorite lenses--so with this film, I wanted lenses that weren’t too funky due to age. On top of that, they have beautiful color reproduction and there are plenty of focal lengths in the set for when I also needed to carry double-ups for b cam days. [I chose them for] form factor too, as I was carrying the camera on a Ronin 2--the weight and size was something I needed to consider. For our film, I wanted the primos to feel warm with reduced contrast, increased blooming, and warmer flaring. We also used 11:1 and 27-75 primo zooms a lot! I don’t think too many people realize which films were shot on Primos. In film school, I remember learning that Se7en and American Beauty were both shot on Primos, just to name a few, so I was pumped when I got my first opportunity to work with them. I’ve never shot a rom-com before, so it definitely was out of my wheelhouse. This film made me tap into the personal relationships I have and think about how I would handle what our characters were going through while my other films weren’t subject matters that made me think that way. Maybe it's because I’m getting older, but I felt like I looked at this film from a more adult version of myself."

#Director Jessica Siqueiros and #cinematographer Meena Singh take us #behindthescenes of short film This Is What We’re Taking?, part of the ‘Everybody’s Fight: In Bloom,’ series on reproductive freedom, now streaming on #paramountplus! Jessica begins: “I wanted to use levity to explore the radical forms of liberation that exist not on protest lines, but in homes and behind closed doors that have existed for generations. Even though we feel thrust backward, we still must demand not only the RIGHT to abortions but the ability to have access to HOW we execute those rights." Meena continues: “This is my second project with Jessica, who tackles heavy subjects through comedy in such a beautiful manner. We wanted our world to feel flat--a bit theatrical even--so I shot at a deep focus, allowing the actors to play on multiple layers of action between the foreground and background. That way, different stories could be playing out at the same time. The exteriors of New Mexico are spectacular! Our road trip movie unfolds in the space of one day and so the biggest challenge was fitting all our locations in the perfect time of day for light. I spent days scouting, sun-pathing and playing the Tetris game that was our schedule with our incredible 1st AD Jai James. Thank you to the entire crew, to [Panavision Albuquerque] rep James Finn and the kind support of my Panavision Hollywood rep, and savior, Rik DeLisle.” Shot with E Series Anamorphics, the project was supported by Panavision New Mexico. Stars Isabella LaBlanc and Germain Arroyo 1st AC - Rene Vargas 2nd AC - Jack Khorram DIT - Jordan Graham CLT - Joshua Palmer ACLT - Michael Neil Key Grip - Jazmin Parra BGG - Rachel Varoz Dolly Grip - Matt Varoz Grip - Breanna Palmer

Happy #WomensHistoryMonth from the #Panavision group! In celebration, Panavision, #LightIron, #Panaluxworld, & #IslandStudios gathered a roundtable of women filmmakers for a four-part conversation about their artistry and inspirations! Panavision: What sparked your interest in your career, and what keeps you inspired today? Alison Kelly: When I learned through a wonderful high school teacher what a cinematographer does, it was like a door opened to a dream to be realized. Chanel Parkinson: As soon as I was old enough to realize filmmaking was an actual job, that was it. Kaayla Whachell: Growing up without a television at home, my exposure to film was limited to visits to my grandfather's house. His collection of ’80s spy thrillers and Jackie Chan VHS [tapes] left a lasting impression on me. Sky Davies ACS: As a 9 year old I started to storyboard my favorite novel without understanding that was what I was actually doing. Simona Susnea: I worked in stills for a few years, and it was always the storytelling aspect that appealed to me. Carolina Costa AMC: The first time I stepped onto a film set was a moment I’ll never forget. I try to carry that feeling with me on every project — staying curious, open and ready to explore. Kat Westergaard: I quickly realized I was drawn to cinematography — how the balance of light and dark could radically alter the impact of a scene and how framing and movement have so much influence on how the audience experiences a moment. Viola Wyszynska: My journey into lighting has been shaped by a series of experiences over the years. It wasn’t a straightforward path, and it took me a long time to find the confidence to pursue it full time — after all, this industry demands resilience and dedication. Kingslea Bueltel: My career in camera began with a happy accident 17 years ago. I got incredibly lucky and was offered the operator job on an indie feature. The show went really well; there were some wonderful people on the crew who mentored me and helped me when I got stuck, but I learned quickly and fell in love with pulling focus, and by the end I was hooked! Click the link below to read more! https://pvlink.net/4bvjXIh

Congratulations to all the nominees and winners of the 2025 #Oscars! #Panavision is honored to have supported I'm Still Here, winner of Best International Feature Film. Directed by Walter Salles and #cinematography by Adrien Teijido, I'm Still Here was proudly serviced by Panavision Paris and shot with #PVintage and Superspeed lenses. ? BTS Photo credit - Jo?o Atala

#DOP Caleb Heymann takes us behind the scenes of the spellbinding visuals of Agatha All Along! ?? “One of the exciting aspects of Agatha All Along is that we got to create so many different looks for the show, and work with distinct visual languages from one episode to the next,” says Caleb. “Each episode along the Witches Road was a self-contained challenge that had its own references and demanded a unique approach, from aspect ratio and lensing to lighting and how we moved the camera. We wanted each one to feel like you’re stepping into a completely altered reality. It was such a great excuse to dig through all these great moments in film history and pull out which elements worked for us to tell the story. What made this unique was the desire to do as much as possible in-camera using older camera techniques; a unique and refreshing mandate. Instead of hanging blue screens for set extensions on the Witches Road, we hung a giant forced-perspective matte painting that wrapped around the already massive set, to create the sense that it went on forever. The set had interchangeable pieces that allowed for enough variety to sell enough different pathways and change of environment to cover the 70 pages or so that take place on the Road. Each time the coven came to a new challenge we had to figure out how to sell it in camera. With Panavision’s access to such a huge library of tools and lenses old and new, #spherical and #anamorphic, it was a perfect fit for Agatha. Through tuning we were able to have a bit of extra fall off at the edges, softer flares and a subtle filmic halation to the highlights, as well as slightly softer contrast, so that we could incorporate some elements I love about the C series but with the modern housings and mechanical advantages of the T series. It helped blend the practical elements such as matte painting and miniatures in a way that would hold up on, say, a 77” 4k OLED without feeling overly sharp or soft, that would hopefully serve that modern day Wizard of Oz aesthetic. To pull everything off within the time constraints of a TV schedule, we needed that rock solid support and Panavision delivered big time for us.”

#DOP Simona Susnea takes us #behindthescenes of #Netflix #Heartstopper, season three. "Series three deals with a lot more narratively--it goes deeper into Charlie’s world and it happens across 4 seasons. I thought it would be interesting to adapt the colour palette to express that and use a bit more hard light. The summer is warmer, the winter has a lot cooler lighting--there’s an intimacy to the camera work and we mixed a more grounded camera with hand-held this series, which perhaps made the show look less dreamy than series two. I still used saturated colours in the lighting at times, but overall, a bit more realistic and reflecting Charlie’s journey. I looked at stills in early prep and I referenced a few movies: Blue is the Warmest Colour for the intimacy of the camera work, Amelie for the playfulness, and Linklaters’ Apollo 10 1/2 for how teenagers were framed. Some photographers I checked out were Hannah Starkey and images that captured intimacy between couples. I liked H series for their softness and flares--the imperfections and the texture it gave the images. They translated the vulnerability I saw in the characters when reading the script and prepping with the director. I shot close to wide open and there was something there I felt was a match for our story. Heartstopper was my first TV project, so it was a new format for me, although I brought my indie film background to it and the spontaneity of the documentary camera work. We mostly shot hand-held, which I love, and the director didn’t want rehearsals. The process was very open and spontaneous and the focus was on the emotion of the scene. We built a close connection with the cast to pull this off. Framing the world and finding stories and characters in the images I was creating as a stills photographer [is what inspired me to become a cinematographer]. What keeps me inspired is curiosity and passion for film and my craft, working collectively with the director and our crew, the process of creating a film, no matter the format (film, tv, doc, commercial), shooting on film and keeping the creative search alive."

#Panavision congratulates all the 2025 Best Cinematography #Oscars nominees, notably this year's winner Lol Crawley BSC. Today we celebrate their achievements in visual storytelling!

“I want every image that I make on a movie to be fundamentally bespoke," says #cinematographer Jomo Fray. In the decades since he determined his career path, Fray has developed a rich and abiding philosophy that’s inherent in his approach to image-making. Follow the link below to watch the full interview! https://lnkd.in/efXajrmi

ASC Spotlight Award winner Jomo Fray shares his journey and philosophy while guiding viewers #behindthescenes of #nickelboys, shot with VA prime lenses and serviced by #Panavision New Orleans. Click the link below to see the full interview! https://lnkd.in/efXajrmi

We're flying high this #throwbackthursday on the set of Kathryn Bigelow's 1991 cult classic #PointBreak, with #cinematography by Donald Peterman ASC. The film was shot on #35mm film using #Panavision #Panaflex cameras. ?? BTS Photo credit: Richard Foreman Jr.