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For HBO’s modern take on the classic Fahrenheit 451, Kramer Morgenthau, ASC shoots with a Panavised Panasonic VariCam 35 for the first time. Read more.

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For the ASC and American Cinematographer websites, DP Joe Collins and Gaffer Pat Fontana detail their lighting approach for the network series Instinct. Read more.

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Cinematographer Joe Collins employs the Panavision DXL camera and a couple REDs on the network series Instinct. Read more.

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In Studio Daily magazine, cinematographer Brandon Trost discusses his approach to shooting The Disaster Artist, director and star James Franco’s adaptation of the making of The Room, the best worst movie of all time. Trost deployed RED Epic Dragon cameras and even had to re-create with exacting detail shots from The Room. Read more.

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The new Panavision DXL digital cinema camera:  Panavision ergonomics mated to RED Digital Cinema’s whopping 8K sensor and tweaked with Panavision’s own color science. It has had cinematographers clamoring. Here are three DPs who put it into play–Nigel Bluck, ACS, John Schwartzman, ASC and Peter Deming, ASC. Read More.

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Some recent online spots for a digital campaign for recycling in the City of Fayetteville.

Caught up to cinematographer Bill Pope, ASC to talk about his visual work on Baby Driver for Panavision. Read more.

The second season of the head-trippy series Sense8 is streaming on Netflix. Academy Award-winning cinematographer John Toll, ASC talks about his strategy of using Panavision to shoot the continent-hopping series. Read more…

Still catching up on posts. Here is one on the film Allied (2016) for Panavision and its subsidiary Light Iron used by cinematographer Don Burgess, ASC and director Robert Zemeckis. Read more.

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Catching up on posts. Here’s one for Panavision on cinematographer Ben Davis, BSC shooting large format for Marvel’s Doctor Strange (2016). Read more.

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