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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Michael Goi

Michael Goi, ASC

Panavision has always been one of my closest partners. What I get from the company is truly a collaborative effort toward the creation of something artistically original. It's largely indefinable why it works the way it does, but it works every single time I walk through those doors. I look forward to exploring the visual possibilities with Panavision every time I prepare a project.

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