Panavision

Writer/director Cameron Monaghan takes us #behindthescenes of short film #FOXBODY, premiering today at the #credo23 film festival. "While FOXBODY is a rather dark thriller with western and neo-noir influences, I wanted to retain a sense of color, saturation, and even playfulness in the design. However, it was important to find a balance of a heightened reality and naturalism. Set in Texas in the '80s, I immediately started drawing inspiration from reference photos and films of that time. It was apparent from the jump we needed to shoot on celluloid, giving a sense of density, grit, and authenticity. While I have been a hobbyist film photographer since my teens, I have really become much more of a gear nerd in the last few years. I have made it a habit when I enjoy a film visually, particularly vintage pictures, to research the camera, lens, and film stock. It will come as no surprise to anyone reading this that the vast majority of the films I admire were shot on Panavision glass. When I first met with our DP, Aislyn, we quickly formulated a plan how we might get our hands on PV gear. At the time, the combo of Primo lenses and XL2 body felt like a pipe dream, but Panavision were incredibly supportive. The Primo lenses had the perfect amount of character, whilst still feeling relatively clean, with gorgeous color rendition that felt classic, but not dated. This project is a series of firsts for me. While I have been an on-camera actor for over 25 years, I had never directed a project formally. Whilst I had picked up cameras in friends' backyards, as part of classes, or to train as a concept, I had never been at the helm of a large-scale crew. I was raised on cinema and perhaps it’s a foolish or purist sentiment, but I really wanted my first foray to be something built from the ground up--written and designed to have my voice, to be truly representative of where I am at this current age and time. The goal was to bite off a bit more than what anyone would expect we could chew and prove that we could swallow it. It wasn’t easy on a three-day shoot, but we were scrappy and managed to push our way through." ?? BTS Photo credit: Nika Burnett

#DOP Aislyn Murray takes us #behindthescenes of short film #FOXBODY, written & directed by Cameron Monaghan and premiering today at the #credo23 film festival. "FOXBODY is a film that narrows in on choice of color in a world of dusty tans and baby blue skies. The saturation and wash of color at times is more present than a traditional desolate western palette. Cameron took initiative to have as many crew members as possible watch Blood Simple and Wild at Heart, two amazing films that, when combined together, create whimsical, dangerous, and exciting visuals. Rik DeLisle, our marketing rep, loved hearing about the script and as always, he and Panavision foster an environment to help narrative filmmakers. Cameron and I were in good hands from the start. Panavision's cameras and lenses have a legacy that added a sense of importance to what we were capturing on celluloid. The XL2 camera and Primo lenses have held up through decades of use, and the aesthetic quality has proven to last the test of time. The look was complete with Kodak 5219 500T film, and I would love to use this trio in the future. When people have asked me what my favorite camera is, I have said on more than one occasion the XL2. The movement inside the camera is a work of art. It runs so smoothly and is one of the more silent 35mm film cameras. The viewfinder is so clear and really gives me a sense of confidence when operating, even when handheld in a convertible tearing down a dirt road. Cameron has a really unique experience of being an on-screen actor for over 25 years. I've never worked with someone, as a cinematographer, where they made the leap from seasoned actor to director/writer/producer/lead of their own short. He never really missed a moment, a look, a line, and I know that comes from his career experience. What was rewarding for me as a collaborator was to see him perform on such a focused level, then immediately switch hats and express himself in a new way from behind the camera. I felt like I connected to my subject in a different way than any other narrative I've shot." ?? BTS Photo credit: Nika Burnett

Welcome back to our #WomensHistoryMonth celebration! #Panavision, #LightIron, #Panalux, & #IslandStudios invite you to part IV of our roundtable of women filmmakers! #Panavision: What keeps you inspired? Kingslea Bueltel: What keeps me inspired today is that I get to be part of a community that tells stories. And I think storytelling is more important now than it’s ever been. Simona Susnea: The human experience and connection across the world, and the power of filmmaking to capture those and share them with the audience. And a passion for lighting and camerawork, for creating beauty and putting positive things into the world. Sky Davies ACS: Today my love of the craft is kept alive when I am moved by a piece, whether that comes via the story, the beauty of the image or the creativity in its execution. Carolina Costa AMC: Inspiration comes from many places: watching films, seeing art, or even something as simple as a strange, beautiful light while scouting, or an actor making an unexpected choice on set. For me, it’s all about staying present and keeping that sense of wonder alive. Kaayla Whachell: I am inspired by the perseverance of my peers, who continue to push the limits through their art while facing systemic barriers within this industry. Chanel Parkinson: What keeps me inspired is the mutability of filmmaking — there are always variables in the process, and I am constantly learning. Viola Wyszynska: Every creative role I’ve taken on, including my degree, has involved photography and moving images, which have kept me inspired and motivated. Alison Kelly: There is a magic to thoughtful images that allows them to bypass preconceived ideas and land in a way that is visceral and momentous. I want to keep telling stories that open minds and access emotions. Kat Westergaard: One of the things I love about the job is that you are constantly learning. With every new project and every new director, I feel as though I learn more of the craft and how to better realize a vision. Click the link below to read more! https://pvlink.net/4bvjXIh

What's in a name? Happy #throwbackthursday to the set of the 1996 classic, Romeo + Juliet ??. Directed by #bazluhrmann and shot by #cinematographer Don McAlpine ACS ASC, the film was shot on #35mm film using #Panavision #Panaflex Gold Cameras with #Primo #anamorphic lenses. ?? BTS Photo credit: Merrick Morton

This past Camerimage, we were so proud to host a panel discussion alongside Women in Cinematography spotlighting this incredible group of women cinematographers and how they bring creativity and ingenuity to the pre-production process. As part of our month long Women's History Month celebration brought to you by Panavision, Light Iron, Panalux, & Island Studios, we've shared the full panel on our YouTube – head to the link below to watch! ?? https://pvlink.net/4l6r3aM Featuring: Zuzanna Kernbach, PSC Fernanda Tanaka, ABC Rachel Clark, BSC Simona Susnea Kate Reid, BSC Nancy Schreiber, ASC Moderated by Zoe Mutter

Welcome back to part III of our roundtable of women filmmakers, part of our month long #WomensHistoryMonth celebration & brought to you by #Panavision, #LightIron, #Panalux, & #IslandStudios. #Panavision: What’s the best advice you’ve received? How has it helped you on your journey? Simona Susnea: Focus on the work and don’t take things personally. These two pieces of advice remind me to focus on what I like to create and not take things personally when some projects don’t work out. The industry is so intricate, and keeping focus is very important. Sky Davies ACS: ‘Make sure your ladder is on the right building,’ which also speaks to the other piece of advice that has informed my career: ‘Don’t work on shows that you don’t connect with.’ Carolina Costa AMC: As storytellers, our personal experiences set us apart. Embrace and appreciate that uniqueness. Kingslea Bueltel: Say ‘yes.’ When an opportunity presents itself, take it! Any time that I’ve pushed past my nerves and taken on a new challenge, whether I nailed it or learned from it, I’ve never regretted it. Kaayla Whachell: To take on as many projects as possible early in your career. Each project has taught me something new, not just about the filmmaking process but also about myself as a cinematographer. Chanel Parkinson: ‘If you’re 10 minutes early, you’re late,’ and it has stuck with me ever since. For a long time after, I’d get to set an hour before my call, sometimes more, and just anxiously wait for the day to erupt. Viola Wyszynska: ‘You’re here because you were hired to do the job. This is your spot, and that means you belong here.’ There was no grand speech, no over-explaining — just a simple, undeniable truth. Alison Kelly: Ellen Kuras, ASC told me many years ago to always trust my gut. This has proven true — both when I have and have not! I find that my instinct is almost always right about situations. Kat Westergaard: The best advice I ever received was from John Sayles, who gave me my second narrative feature. On our tech scout, he took me aside and said, ‘You’ve got great instincts; you just need to trust them.’ Click the link below to read more! https://pvlink.net/4bvjXIh

Throwing it back to 'The Beanie Bubble', directed by Kristin Gore and Damian Kulash. Cinematographer Steven Meizler reteamed with Light Iron supervising colorist Ian Vertovec for the color grade. Light Iron also supported the project with dailies services and VFX, including clean-up, tracking, roto, paint, and the creation of realistic-looking whip-pans that tied together multiple shots with natural-looking motion blur.

In celebration of #WomensHistoryMonth, actor and Founder & CEO of #PrimetimeNetwork, Victoria Emslie takes us #behindthescenes of her career. "Since I played Eurydice aged 12 in The Down-going Of Orpheus Hawkings and was bitten by a fictional snake offstage, I became fascinated by what makes something inherently interesting to watch and which stories have the power to hold collective concentration. With an activist heart, I started attending Time's Up UK meetings, became a core member of ERA 50:50, and saw firsthand how solidarity in numbers has the most impact. I witnessed groups of actors coming together to influence what was happening on screen as well as behind the scenes and wanted to add my voice to the conversation. I began to immerse myself in the data and saw a direct correlation that if you change the creative teams behind the camera, it has a direct impact on the stories we tell and who we see on camera. As with all ideas, they need to grow and adapt to the demands of the Industry they serve and seeing that visibility was only one of the barriers to changing the conversation--I reorientated into breaking down two other barriers for underrepresented filmmakers: access to finance and star power. We currently have two projects in post production which will hit the festival circuit this year. Seeing ideas from underserved communities on screen through work we've championed is what keeps me inspired. Also, seeing Primetime members on set when I'm acting gives me the biggest buzz. Community is everything, and in this very politically divisive time where DEIA efforts are being undermined, ridiculed and revoked, this is the time to stand together and do this work more consciously and visibly. [The best advice I ever received was that] you are not competing against anyone but who you were yesterday. Everyone's journey is unique to them and if life leads you down a path which is unexpected, approach it with love and curiosity and you will always find your way."

The #WomensHistoryMonth celebration continues! #Panavision, #LightIron, #Panalux, & #IslandStudios invite you to part II of our roundtable of women filmmakers! Panavision: What are some highlights from your career that you are particular proud of? Sky Davies: One career highlight was shooting House Of Gods. It had a low to middling budget, and we were able to visually elevate it to compete against the premier Australian dramas. Kaayla Whachell: I am particularly proud of my first feature film, Portraits From a Fire. Chanel Parkinson: Festival of Slaps, which was nominated for Best British Short Film at the BAFTAs last year. Kingslea Bueltel: I’ve been so fortunate to work for many amazing DPs that I admire. It’s always a thrill to meet someone you look up to, so that’s an ongoing source of pride and excitement in this business. Viola Wyszynska: One moment that really stands out is the first time I was asked to gaffer a short film. It was a huge deal for me, especially because the offer came from a well-established DOP. Alison Kelly: Recently on Marvel’s Ironheart, I had the opportunity to collaborate with my dear friend Angela Barnes, and we had such fun making that series special. Kat Westergaard: One of my favorite jobs recently was a TV series called Wilderness with director So Yong Kim. Costa: Recently, I’m especially proud of my work with director Max Winkler on Ryan Murphy's show Grotesquerie. Susnea: From the most recent years, I will mention Heartstopper seasons 2 and 3 for Netflix, The Buccaneers for Apple TV, Nowhere, a short made with the support of the British Council, and Audrey, a creative feature documentary about Audrey Hepburn. Click the link below to read more! https://pvlink.net/4bvjXIh

"Well, once there was only dark. If you ask me, the light's winning." Happy #throwbackthursday to the set of the iconic series #TrueDetective S1, shot by #cinematographer Adam Arkapaw ACS on #35mm film using #Panaflex Millennium XL2 cameras with #Primo and #PVintage lenses. ?? BTS Photo credits: James Bridges, Lacey Terrell, Michele K. Short, Warrick Page