Testimonials

Reed Morano, ASC

Reed Morano, ASC

On Little Birds, we wanted a look that combined a John Ford western with the color and grain of a William Eggleston photograph. Shooting 2 perf on a Panavision Gold II and Platinum gave us that widescreen frame to showcase the desolate landscape of the Salton Sea. At times, our composition would be evocative of a western — playing characters on each side of the frame. In post, we selectively saturated colors in the frame so that they would seem to pop out, inspired by Eggleston’s photography.

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Autumn Durald, Cinematographer

Autumn Durald, Cinematographer

Panavision is not just a company I rent from, it's a group of collaborators that are a part of my team. They've been with me from the beginning of my career, and they have always been committed to helping me achieve my creative vision for each project. Whether I'm shooting in Tokyo, Haiti or Iceland, Panavision has been supportive all over the globe."

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Dion Beebe, ACS, ASC

Dion Beebe, ACS, ASC

From the outset it was clear that Edge of Tomorrow would be best suited for 35MM film, so I turned to Panavision for their cameras and anamorphic lenses. We wanted a big canvas for this story and shooting anamorphic was going to give that to us.

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Greig Fraser, ACS

Greig Fraser, ACS

With today’s love affair with the anamorphic format, and these new cameras responding so well to older glass, Panavision is the best resource with an incredibly strong selection of vintage glass.

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Jo Willems, Cinematographer

Jo Willems, Cinematographer

If you love anamorphic, there is truly only one place to go. Panavision's lens department pretty much rebuilt our lenses for The Hunger Games: Mockingjay to where we were happy with them. Their commitment is impressive. Particularly now that we are entering the digital era, glass has become even more important to create a unique visual style.

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Nebraska - Phedon Papamichael

Phedon Papamichael, ASC

The Panavision C-Series Anamorphic lenses helped me achieve a textural quality I was trying to find for Nebraska - the older glass helped reduce the sharpness off the digital image and gave it a more film-like cinematic feeling.

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Foxcatcher - Greig Fraser

Greig Fraser, ACS

I chose Panavision for Foxcatcher because I knew they had a strong arsenal of high-quality film cameras backed by great service. Also, we needed a set of lenses that were mixed and varied to address the different looks being created throughout the movie. The depth and selection of lenses at Panavision is incomparable. And Dan (Sasaki) is a genius – he was able to distill the words I used to describe what I wanted into the tools to do it. Panavision is truly the perfect blend of creativity and science!

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Saving Mr. Banks - John Schwartzman

John Schwartzman, ASC

What more can I say than 29 studio pictures, all shot with Panavision cameras. As a matter of fact, since 1995, Panavision has assigned me my own Platinum camera body -- number 452. Dan Sasaki and I put the viewing system together. I have used it to shoot more than 37 million feet of film.

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