Panavision

CSC Nominee for Music Video #Cinematography, Bobby Shore CSC takes us #behindthescenes of the "You Broke My Heart" music video, song by DRAKE. "Since the concept of the music video was pretty out there, we wanted the look to feel really grounded in the lighting and visual approach. Theo Skudra [director], wanted to pull it off in one shot to help sell the idea, and from the jump we decided that shooting 35mm would definitely be the right fit. From a lighting standpoint, we wanted to go with something stylized but also motivated from practical sources (streetlights, fire fx, helicopter searchlight), so we spent a few days lighting up the facades of all the store fronts and putting in place a bunch of lifts with a warm sodium vapor look for the night lighting (S360's, T12's gelled with MTY and an LRX2 with 1/2 CTO). We also flew a heavy-lifter with a punchy LED spot on it to replicate the heli light. It was definitely a challenge but also a lot of fun. Panavision has been a huge support since I was in film school at AFI in 2006, and I couldn't imagine ever shooting anything without them. It also came together pretty last minute, and the folks at the Toronto office, especially Jerry Papernick, have always come through. I'm a pretty big lens nerd and absolutely love testing all the old weird stuff that's kicking around the different pana offices, and so I knew there'd be something good to try out for this one. Since we were shooting film, we wanted to get a lens that was sharp but still had some interesting characteristics and aberrations to it. While prepping the shoot, we settled on a 29mm as the right focal length for the shot, and then we proceeded to test 8 different 29mm's before deciding on the right one. We settled on one that was pretty clean, around a T2.8, but got kinda weird wide open, so that when we speed ramped and pulled the iris for the last bit of the video, we could mess around with the image a bit. Big thank you to Panavision for the support, and of course the crew: 1st AC Matt Veen, Steadicam op Mitch Moemmarts, gaffer Terry Banting and Key Grip Christian Drennan."

VIMEO presents: Don’t/Đừng: Film & Art Night celebrating AAPI creativity and community in NYC, with a special screening and Q&A of Sally Tran’s short film “DON’T: Đừng giỡn mặt với bà" (Don’t F* with Grandma), an action drama short film showcasing an incredible ensemble of queer, AAPI cast. This film was created with the help and support from the Panavision New Filmmakers Fund. JUNE 20 at 6:30pm-11:30pm at 100 Sutton Studios, Greenpoint, Brooklyn, NYC. With a live stream from vimeo from 8:30p-10p EST. RSVP on Instagram @dont_film or @sallyphuongtran (director)

We rig together, we die together! Welcome to #behindthescenes of #Badboys : Ride or Die feat. #WillSmith, releasing today! Shot by #cinematographer Robrecht Heyvaert with #GSeries lenses, #BadBoys: Ride Or Die was proudly serviced by #Panavision Atlanta. 📸 video credit & courtesy of LFN™ | Learn Filmmaking & Jas Davis

“The look of Griselda is inspired by the late ’70s and early ’80s in Miami. We had tons of research that every department was compiling during prep. My task was to unify all those elements on camera in a unique way. I landed on a combination of grit and glamour using specific splashes of color in an otherwise desaturated and monotone environment, and soft light and halation combined with high contrast and heavy texture.” #Cinematographer Armando Salas, ASC details the look of the Netflix limited series #Griselda, directed by Andrés Baiz. Salas worked with #Panavision for his camera and lens package and #LightIron for dailies and final color, which was performed by supervising #colorist Ian Vertovec and senior colorist Ethan Schwartz. “I’ve used Panavision many times before, and I always feel they are invested in the success of the crew and the project. Early on in preproduction, I decided to arrange a blind camera shoot-out. Mike Carter went above and beyond in supporting that and encouraging experimentation, and Dan Sasaki helped pair lens sets with camera bodies for our test. In the end we shot on the Red V-Raptor and Panavision DXL2 with Panaspeed lenses. I knew grain and halation would be part of the look of the show, and I was adamant about a workflow that would allow for those elements to not only exist in the final output, but to be embedded in the fabric of the image from live monitoring on set, to dailies, to VFX review, etc. Light Iron was very supportive in finding a solution and was invested in a successful implementation. Also, I was looking for a partner in the look development since I knew my approach was going to be very aggressive; Ian Vertovec was that partner. Ian and I did several rounds of look development for both color and texture, ending up with what essentially were two ‘film stocks,’ one for 1979-’80 and one for 1983. Although much care went into the design of the look, the feeling is far more carefree and loose. Griselda is on a wild ride, and the image reflects that every step of the way, from the mundane to the opulent.”

Welcome to the set of #TheGildedAge S2, shot by #cinematographers Manuel Billeter and Lula Carvalho ASC ABC with #Panaspeed lenses and serviced by #Panavision New York. 📷 BTS photo credit: Barbara Nitke

“Yeah, I can't remember what we shot with. I have to call Erik Brown. He's my lifeline,” jokes legendary #DOP Robert Elswit ASC, as we sat down to discuss Ripley. “I've worked with [director] Steven [Zaillian] before, and like all cinematographers, he believes that the way something's lit is actually a way to affect people's emotions. There are a lot of directors who actually don't believe that, but Steven is one of those who feels very strongly that there's an emotional message that the lighting in a movie delivers. I had a copy of the Patricia Highsmith series of the latest series of Ripley books with these beautiful covers and black and white images, and Steven said that as he was writing, he just saw the whole thing in monochrome. As we got more into it, and as I read the script, I realized that a big part of the agenda of the backstory is Caravaggio. Steven and I would talk about how Caravaggio invented the whole idea of how the light is playing an emotional, dramatic purpose in his paintings. What was lighting the people and the objects in the room was very selectively realized— faces, arms, gestures—all almost theatrical looking. The lighting dominates the color palette. It dominates even the design in places. There are strong graphic images, but even if you look at them in black and white, which we were in the series, it's all about the light, which is actually a line that one of the characters says. I didn’t want [lenses] that were too sharp and I think that's something that Dan [Sasaki] reacted to. He made something that was wide open but with no greasy, sharp, surveillance photography look. I don't know how [Dan Sasaki] does it, but we shot the whole series with just five lenses. Then there are the zooms that he made when we did the water scenes. You can't make something like Ripley look like Ripley unless everybody's all in. It's the production, it’s [production designer] David Gropman, the great costume designers on the show, Gianni Casalnuovo and Maurizio Millenotti. Their sense of understanding of what tonal structure meant, and how to achieve an interesting kind of contrast of pictorial style in this series was essential." BTS photo credit: Lorenzo Sisti/Netflix & special thanks to Waleed Sokkar & Erik Brown

Jonathan Sela ASC takes us #behindthescenes of his process in selecting lenses for #TheFallGuy. Click here to watch the full interview! https://lnkd.in/e-9R_p8c

This #Librahead and #Tseries lens walk into a bar... Finish the line in the comments (wrong answers only). 🎥 credit: @nicolaslsg & courtesy of @filmcrewmagazine

“I was thrilled when [DOP] Danny came to me wanting to build a cross-country Americana look. We wanted to create a Kodak Vision film emulation, but with a softer contrast curve. The black level is lifted and flashed a little, but still retains detail and depth of the image. The Primo lenses gave us this amazing soft texture that was lovely to lean into. We added several more texture elements in the DI, and at times it almost feels like watching an oil painting.” #LightIron Los Angeles senior #colorist Ethan Schwartz talks #adamthefirstfilm, #cinematography by Daniel Brothers.

"Our hair is complex. It's a part of who we are. It's a part of our identity. Our heritage. Our way of living. It always has been, it will always be no matter how hard we try - us against the world." #Director and #Newfilmmakerprogram recipient Philicia Saunders on her short film #Hairitage. To learn more about #Panavision's New Filmmaker Program, click the link in our bio!