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“It's a story about a night that television and comedy changed pretty much forever, and we wanted to use that parallel in our work – to stand out from the rest just like Lorne Michaels wanted his show to stand out from the rest of television,” says #cinematographer Eric Steelberg, ASC (@ericsteelberg) about the kinetic & hilarious ‘Saturday Night’ (@satnightmovie). “In choosing #16mm film, we thought that would be the recipe that would create the feeling of being there that night. The softer resolution, the grain, the color palette – it’s just beautiful. My last movie was on 16mm and my first short film was also on 16mm, and the first thing I ever worked with #director Jason Reitman (@jasonreitman) on when we were teenagers was 16mm. Little details like that might not mean much to other people, but they're special to me. ‘Saturday Night’ was about stripping my work down to its simplest elements and various components. This is the first time I've had the mandate to get the camera in the middle of everything and make it feel like it's a fly on the wall. We're not on #steadicam, except for a few shots. Using the dolly, using remote, it's focusing on the story and moving around with the actors. There really was an independent, give-me-the-camera-and-throw-it-on-my-shoulder sort of vibe, but it also came with an extraordinary amount of planning, unlike I'd never done before. We needed to know exactly what was going to happen in every scene every day, because there was so much to organize between the actors and the background actors and props and lighting cues. #Panavision has always had amazing cameras and fantastic optics, but at the end of the day, Panavision for me has been about the people that I want to have as my partners who have my back on films. Whether I was doing something that was a short film or the biggest studio feature I've ever done, I've always had the same amount of service. And there's an honesty and a support and a trust, they understand the creative reasons for needing something and they do it. Panavision's always been interested and invested in my creative success, and I consider them a part of whatever success I've had.”

Panavision @panavisionofficial has been at the forefront of filmmaking innovation for 70 years. In celebration of this milestone, the December issue of American Cinematographer dives into the company’s legacy and future vision, featuring insights from its leadership. Read more on our website and pick up the latest issue of American Cinematographer. 1. Stanley Kubrick at the camera while filming 2001: A Space Odyssey in 65mm. 2. Panavision co-founders Richard Moore and Robert Gottschalk. 3. Former vice president of optics George Kraemer holds the “mirage” lens custom-made for Lawrence of Arabia.

"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.” #Cinematographer Armando Salas, ASC (@cinesalas) on 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 (@ianvertovec) and senior colorist Ethan Schwartz (@ethan.color). BTS photo credit to @elizabethmorrisrocks

Unsteadying The Steadicam, from @dazed DRAMA! Issue. Photographer: @simonchaudoir@simonchaudoirwork Stylist: Imruh Asha @imruh Hair: @sarahjopalmer Make-Up: @siddharthasimone Models: Sanique Dill @saniquedill at Elite, Celeste Fitzpatrick @celestefitzpatrick at The Squad, Patrick Coghlan @patcog_ at Headoffice, Anointing Efe @anointingefe at Linden Staub, Indigo Pearce @indigopearce at The Squad, O-Min at MC Barnes, JP @jake_paat Select, Fady-Shounen @ufady at IMM Models, Leon Farinhas-Gray @leonfarinhasgrayat PRM Production: @gw.plus @missdeepikapatel @lilyfendall Post-Production: @jonoliverstudio Casting: @mischanot @11casting Special thanks to @panavisionofficial @panaluxworld, @island_studios and @directdigitalhq Editor-in-Chief: @ibkamara Art Director: @gareth_wrighton Editorial Director: @kaci0n Fashion Director: @imruh Photographic Crew: @benedict_moore@jamestarmcnaught @maxglatzhofer Film Crew: @marco.giulio.39 @aly.g85@ christopher_pohl88 @jglxltd @johnnydonne@mo.grips @jessiebrough @teramot @richard_james_lewis Assistant Director: Tony Fernandez. 2nd AD: Lee Tailor BTS: Monty Chaudoir: @monty_corp

Happy #WaybackWednesday to a special screening hosted at @the__asc clubhouse last month of the classic film The Sugarland Express, shot by #cinematographer Vilmos Zsigmond ASC. A landmark film and one of #Spielberg's best, it was the first to utilize #Panavision's then newest creation: The #Panaflex. In honor of this heritage screening for The Sugarland Express' 50th anniversary, the prototype Panaflex #1, and actual camera used to film the movie, was brought and displayed at the clubhouse. 📷 Photo credit & special thanks to Jim Roudebush, Panavision's VP of Marketing

@abi.hurcomb hosting 👋 COLD WATER A really fun short, written and directed by Leanne O'Neil. For this film we really wanted to get a slight sense of claustrophobia felt by the main character and portrayed through the framing, so decided to develop a visual language where we always kept quite spatially close to her with the climax/release moment finally allowing our lead room to breath with some luscious wides. The hero lens for this very quickly became the 32mm, and we were lucky to shoot on gorgeous Cooke Speed Panchros, which really helped to bring out the natural colour of the environment. Cast: Jo McInnes, Michael Higgs and Scarlett Rayner Kit from @panavisionofficial and lighting from @panaluxworld @anastasia.savinova.film @jaina_liu @pawel_achtelik @alexjgtan @pcioffi_ @chelseamaryanne #cinematography #dop #cinematographersuk #abihurcomb #directorofcinematography #womeninfilm #cookespeedpanchro #alexamini

“We definitely wanted Wicked to be our own version of Oz. Jon kept saying, ‘I want to create a world that is ours and for it to be a unique experience. Let’s avoid the obvious choices and make bold ones.’” #Cinematographer Alice Brooks ASC (@_alicebrooks_) details her latest collaboration with #director Jon M. Chu (@jonmchu), for the feature 'Wicked'. The movie was the first to use the prototypes of what would eventually become the Ultra Panatar II 1.3x anamorphic lens series. “As soon as I knew I had the job, Dan Sasaki was my first phone call. As I started showing him pictures, he started getting a feeling for the world we were building, and he said, ‘Well, we can design these lenses with any flare color you want,’ which was amazing because a blue flare with our green and pink [subjects] was not going to be the right choice for this movie. In the end, we went with an amber flare. I love the imperfections of the lenses. They were very subtle, making our world feel a little different. Early on, we talked about, ‘How do we create this world without relying heavily on bluescreens or virtual production while still having a huge scope?’ Production designer Nathan Crowley, VFX supervisor Pablo Helman, Jon, me and the whole team decided to try and capture as much as we could on camera. The sets were giant; our Emerald City and Shiz University sets were each the size of four American football fields. Munchkinland wasn't much smaller. We also built a barley field with a train station and a functioning train that ran through it. No place in London could fit these sets, so we rented a turf farm and installed our sets there. It felt like we were Dorothy, Tin Man, Scarecrow, and Lion with our arms linked together, saying, ‘There's going to be a lot of risks we have to take, but we're taking these risks because we’re doing something no one else has done. And it's worth going for it.’ The fact that we were all linked arm-in-arm made all the difference because we had each other's backs.”

A movie like this comes once in a millennium. 🔌 In our excitement for the new apocalyptic comedy #Y2KMovie (@y2kmovie), we went #behindthescenes with #cinematographer Bill Pope, ASC on his collaboration with #LightIron and #Panavision for this project. “I knew #director Kyle Mooney (@kylemooney) from working with him on Zoolander 2 (I helped out on the principal photography after the #DoP of record had to leave), and from Seinfeld’s Unfrosted. He just struck me as an incredibly committed and hilariously surprising comic actor. We connected and talked on the films and I just stored that away in my wee mind. When he and Evan Winter were looking for a DP, somehow my name came up. The VA Primes have a great light distortion which felt period to us. Softer toward the edges, they felt filmish. Light Iron works closely with Panavision and spoke to us very early about being our post solution. We started working on a LUT as we were checking out gear. I approached collaborating with Senior #Colorist Charles Bunnag (@charlesbunnag) how everyone would: references, feel, discussion. It’s like being at a wine tasting, but without the wine. Wah! Certainly our touchstone was Dazed and Confused. Not just the content of the film, but the way Richard Linklater and Lee Daniels blocked out scenes with multiple actors coming from multiple directions was thrilling in its seemingly casual blocking, that on closer viewing is not so easily done. And we wanted Y2K to feel like it was shot on film, with grain rolling around, and the color space of that film. There were others, like Breaking Away which had great biking scenes and a laid back approach. We wanted a feeling of lightness and an invisible camera for the first part of the film. So we also studied Superbad. Kyle and Evan are also enamored of more mannered films, like Evil Dead, so those also came into play in the second half of the film, after midnight on Y2K.”

More @dazed DRAMA! Gripped. Photographer: @simonchaudoir @simonchaudoirwork Stylist: Imruh Asha @imruh Hair: @sarahjopalmer Make-Up: @siddharthasimone Models: Sanique Dill @saniquedill at Elite, Celeste Fitzpatrick @celestefitzpatrick at The Squad, Patrick Coghlan @patcog_ at Headoffice, Anointing Efe @anointingefe at Linden Staub, Indigo Pearce @indigopearce at The Squad, O-Min at MC Barnes, JP @jake_paat Select, Fady-Shounen @ufady at IMM Models, Leon Farinhas-Gray @leonfarinhasgrayat PRM Production: @gw.plus @missdeepikapatel @lilyfendall Post-Production: @jonoliverstudio Casting: @mischanot @11casting Special thanks to Panavision @panavisionofficial @panaluxworld, @island_studios and @directdigitalhq Editor-in-Chief: @ibkamara Art Director: @gareth_wrighton Editorial Director: @kaci0n Fashion Director: @imruh Photographic Crew: @benedict_moore @jamestarmcnaught @maxglatzhofer Film Crew: @marco.giulio.39 @aly.g85@christopher_pohl88 @jglxltd @johnnydonne @mo.grips @jessiebrough @teramot @richard_james_lewis Assistant Director: Tony Fernandez. 2nd AD: Lee Tailor BTS: Monty Chaudoir: @monty_corp

“My #cinematographer Boa Simon (@boasimon) and I wanted ‘Buscando Alma’ to feel like poetry,” says the heartwrenchingly beautiful short film’s director, Melissa Fisher (@melissathefisher). “While Cristina & Alma’s day-to-day lives are grounded in realism with natural lighting and clean optics, we wanted to elevate their emotional journey with dynamic camera work and expressionist in-camera effects. For flashback sequences, we shot through an assembly of beam splitting prisms with a low-power diopter. This effect helped evoke a feeling of precious, intimate memories. The arrangement also allowed two image pathways to converge on the sensor at different focus distances, creating a gorgeously ghosted second image. This established a visual symbol of duality indicating Cristina’s past and present lives, and her two gender expressions. We opted for spherical lenses in order to achieve a naturalistic and immersive clarity. We chose a set of #PrimoArtiste lenses because they’re clean but not overly sharp, and render more gently than other highly ‘accurate’ optics. They also gave us these splendid, colorful blooming flares without losing contrast to a heavy veil. We scouted each location with those rich, romantic flares in mind, chasing after that magic hour glow. In turn, these flares bloom at the most emotionally evocative moments in the film, punctuating our character’s internal state of mind. These qualities were then beautifully tuned by our colorist Tashi Trieu (@tashitrieu_color). In my research of the immigrant journey, I immersed myself in the powerful and haunting photography of Sebastião Salgado. The way in which he captured moments of displacement and migration in ‘Exodus’ is as beautiful as it is devastating, contrasting immense suffering with the hope for a better life. I also love the work of Terrence Malick; the way he captures the beauty of the natural world and contrasts it with the brokenness of humankind. His work is grounded and realistic, yet heightened towards something divine. Films such as ‘Tree of Life’ inspired the way we lit our scenes and moved our cameras, always from an emotional point of view and in search of the beauty of each moment.”

Pokemon - “Parallel festivity” shot on @panavisionofficial 🎄 Shot on both #primo70 and #panaspeed lenses on a M7 EVO 4 axis head mounted on a 23’ techno. Really fun job and childhood dream of mine on this one 😌we tried to do as much as possible in camera, we had to create this short 15 second take where the Pokemon move freely and motivate the camera movement in the shot. The move was predetermined and quite tricky, we had to come up with a few smart solutions like splitting wall sets where we could get the whole techno to operate with a bit more freedom around the room at a lower level, since we were not able to raise the set. We also had to nail the timings, angles and positions on the day, imagining the Pokemon where there, it was a full on choreography took a few tries but we managed in the end ✌🏽 We also used an array of @panaluxworld Allegra C 4:2 and 2:1 hidden across the set to create little accents of light on this 1 take shot. Director: @directormellor Dop: @miguel.carmenes Gaffer: @jonny.boomer Desktop: @elliottlc Grip: @tomstansfield_grip 1AC: @alibainesfilm DIT: @jimmyloulewis @london_commercial_dits Shot on @island_studios Lighting provided by @panaluxworld & serviced by @panavisionofficial #panavision London

To get in the ❄holiday spirit❄ we went #behindthescenes with #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) on the absolute romp of a movie 'Red One'. “We’ve all seen lots of Christmas movies where Santa, the North Pole, and all of that stuff looks warm, comforting and fun, so we sort of approached that part of it with a sense of humor, taking inspiration from every single Christmas movie you've ever seen, and just throwing in, mixing up, and counter pointing with the action part of the movie, which we tried to bring a contemporary look and feel to. I decided to use the #Primos and the T and C Series lenses. For me, the selection of the lenses is basically the same for every movie. It's all about the texture that we bring to the lenses to put into the workflow. The last movie we did [Twisters] is analog and the elements that are involved in that process clearly are not present in the digital part of the process, so what I like to do is at least give the digital format the space and the benefit of having the best optics you can get to capture the images, knowing that we have to compensate in the post part of the process to take away any sort of unforgivable idiosyncratic behavior that's not predicted. That's why I like to use the same technology – I like to be able to know that something is not going to disturb our balance. To me, it's more about getting the story than the equipment in the grand scheme of things, but that's understanding that the lenses are going to do what they're going to do. It's not all sunglasses and high tech BS. Story is the game, and that's why we're there. What brought me to Panavision is the lifelong support that they’ve given me from when I was a 2nd assistant. There's very little I can say other than that the proof is in the pudding. [Dan] Sasaki has backed me my entire life and I try to reciprocate. Some 45 years ago when I started in the camera department as a trainee in my 20s, I just became enamored with the process of shooting, looking at dailies, correcting, reshooting, and laboriously making images that people can invest in. It's a process that I'm still learning and still have a tremendous amount of fun doing so.”