Panavision Vancouver
5560 Trapp Avenue V3N 5G4 Burnaby, BC, Canada

The broadway phenomenon becomes a cinematic event in the trailer for #DearEvanHansenMovie. Shot by cinematographer Brandon Trost. Serviced by #Panavision Atlanta. Watch now: https://pvlink.net/3hGfI2W

We only carried one full set of Primos, but I’d say 65 percent of the time we shot two cameras. We shot 6K, so we would occasionally step down to 5K on one camera just to match sizes if we were cross-shooting for example, with a 40mm and a 35mm, or a 50mm and a 40mm. #GodfatherOfHarlem cinematographer Jack Donnelly on matching Super 35-format optics while windowing #DXL2’s sensor for 6K and 5K capture. #DXLTuesday Read more: https://pvlink.net/3eYzTHt

"From the very first discussion we had about the project, there were two non-negotiable requirements: the hero car and the lens package. We didn’t set out to make a car commercial but a car chase. It was important to treat the creative with a rougher, more aggressive approach honoring the Skyline GT-R’s history both on film and on the race track. A traditional smooth-and-flawless commercial look was never going to fit. Using an unstabilized camera platform originally designed... for "Days of Thunder" brought a level of intensity that rigidly connects the viewer to the driver. My main workhorse lenses were the brilliant Panavision ATZ and AWZ. The colorful, dimensional flares that the anamorphic zooms produce really drove the camera-side aesthetic of the project, allowing for a more modern take on an 80s-and-90s action movie inspiration. The DXL2 choice was a no-brainer - it gave us the sensor size, resolution, and color depth needed to let what was in front of the sensor shine. On a project with such a specific target aesthetic, the best way to get where you’re going is to use the tools that inspired that aesthetic in the first place." Cinematographer Brook Willard on choosing the right #DXL2 package to capture the kinetic action of this Nissan spot. #DXLTuesday

#DeathAndNightingales was shot on #TSeries lenses by cinematographer Stephen Murphy BSC ISC. Serviced by #Panavision Belfast.

#RunTheWorld is out now. Shot by cinematographer Mauricio Rubinstein ASC. Serviced by #Panavision New York.

When your face accessories are as impressive as your camera kit's. Cinematographer Sam Davis is seen here shooting with #PVintage optics. Photo by Joshua Robert Cote.

A mountaintop convent holds many dark secrets in #BlackNarcissus, premiering tonight. Directed and shot by cinematographer Charlotte Bruus Christensen ASC with #Panaspeeds. Serviced by #Panavision London.

Join Steven Poster ASC in the next Chicago Filmmakers Masterwork Industry Conversation to learn about his journey in the filmmaking world. Happening tomorrow, November 18, at 7:00 PM CST:

Save your magic hour shot by changing formats quickly with #DXL2's adaptable and toolless mounting options. How will you streamline your kit?

No punches are pulled in #Jungleland, on digital now. Shot by cinematographer Damian Garcia with #PrimoPrimes. Serviced by #Panavision New York.

In honor of today's episode of #TheMandalorian, our technical service team has discovered the "beskar" technical headgear to finely tune some prized glass.

Diana Spencer and Margaret Thatcher arrive in #TheCrown Season 4, streaming now. Shot by cinematographer Adriano Goldman ASC BSC ABC. Gaffers: Andy Long and Andy Lowe. Serviced by #Panavision London and Panalux.

Come together for Season 3 of #TheNeighborhood, premiering tonight. Shot by cinematographer Chris La Fountaine with #PrimoZooms. Serviced by #Panavision Woodland Hills.

Religion, relationships, and murder are the back-drop for true crime in the trailer for documentary #AlabamaSnake. Shot by cinematographer Britton Foster with #PVintage optics. Serviced by #Panavision Woodland Hills.

Run to stream #RunFilm now! Shot by cinematographer Hillary Spera with #ESeries optics. Serviced by #Panavision Toronto.