Představujeme

From a young age, Bron Moyi knew he wanted to tell stories with images. As a teenager, he would shoot skits and short movies with his family’s Handycam, and still photos with his grandfather’s vintage film camera. Fast forward to present day, and Moyi is now an established photographer and cinematographer with a body of work that includes music videos, commercials, narrative features and documentary shorts. In 2018, his talent was recognized with the Best Cinematography Award at the 29th Annual New Orleans Film Festival. 

Large-format Sphero 65 optics contribute to the look of the Marvel blockbuster.

Cinematographer Bill Pope, ASC turned to Panavision Sydney for the camera and lens package on the Marvel Studios feature Shang-Chi and the Legend of the Ten Rings. Over the course of production, Panavision Sydney supplied a total of 7,934 items — including cameras, lenses, and a vast array of accessories — to the project’s main, second, VFX and drone units. 

Cinematographer Alice Brooks discusses using DXL2 and G Series anamorphics to craft a big look for director Jon M. Chu’s musical In the Heights.

In 2002, when cinematographer Alice Brooks and director Jon M. Chu were still film students at the University of Southern California, they partnered for the short When the Kids Are Away, a musical about how a group of neighborhood moms spend their day after sending their children to school. During that collaboration, Chu interviewed Brooks on camera about the project, asking her why she wanted to shoot the short. As Brooks tells it, “I said, ‘I've always loved musicals. My mom was an actor, dancer and singer, my dad was a theater director and a playwright, and I grew up going to theater. When you handed me your script for a musical, I knew I had to do this.' We bonded over our love of musicals.”