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    Sundance filmmakers turn to Panavision for production and post services

    By SHOOTUpdated:No Comments1232 Views
    WOODLAND HILLS, Calif. --

    As entertainment industry luminaries prepare to swarm Park City for the Sundance Film Festival, Panavision and Light Iron (Panavision’s postproduction subsidiary) announced their collaborations with filmmakers on more than 25 projects screening or competing at the 2019 event (Jan. 24 – Feb. 3). The independent filmmakers behind these unique stories leveraged the innovative services of Panavision and Light Iron to provide a full range of offerings from gear to final deliverables.

    “We’re honored that independent artists join forces with us to achieve their vision,” said Kim Snyder, president and CEO, Panavision. “We are dedicated to delivering the tools and expertise that content creators need, wherever they are in the world, from pre-production to post.”

    The 2019 Sundance lineup illustrates Panavision’s enduring commitment to supporting the creative community and reinforces the importance of fostering filmmaking around the world. Across a number of titles, Panavision provided camera, lens and accessory packages, as well as dailies, offline editorial, and final color services from Light Iron. The comprehensive and single-point offerings underscore the company’s dedication to meeting the individual needs of independent filmmakers and their budget demands.

    Snyder added, “Panavision’s vast portfolio of cameras and lenses coupled with our technical expertise present filmmakers with a phenomenal mix of options to creatively assemble the right equipment for any job. Additionally, the workflow savvy and creative services from Light Iron provide critical components that ensure quality imagery throughout the entire process.”

    Here’s a look at some of the highly anticipated productions at Sundance supported by Panavision and Light Iron:

    U.S. Dramatic Competition
    Big Time Adolescence (dir. Jason Orley, DP Andrew Huebscher) – Camera rental, Superspeed lenses, Panavision New York.

    Brittany Runs a Marathon (dir. Paul Downs Colaizzo, DP Seamus Tierney) – Camera rental, Primo prime lenses, Panavision New York.  Color by Sean Dunckley, Light Iron New York.

    Hala (dir. Minhal Baig, DP Carolina Costa) – Camera and optics package, Panavision Chicago.

    Honey Boy (dir. Alma Har’el, DP Natasha Braier, ASC, ADF) – Camera and optics package, Panavision Hollywood.

    Luce (dir. Julius Onah, DP Larkin Seiple) – Panavision XL2 camera, G Series lenses, Panavision New York.

    To the Stars (dir. Martha Stephens, DP Andrew Reed) – Camera rental, Primo Prime lenses, Panavision Dallas.

    Premieres
    Animals (dir. Sophie Hyde, DP Bryan Mason) – Camera rental, Superspeed lenses, Panavision Ireland.

    Extremely Wicked, Shockingly Evil and Vile (dir. Joe Berlinger, DP Brandon Trost) – Camera rental, C Series anamorphic lenses, Panavision Hollywood.

    Late Night (dir. Nisha Ganatra, DP Matthew Clark) – Camera rental, Primo Zoom lenses, Panavision New York. Dailies by Light Iron New York. Color by Sean Dunckley, Light Iron New York.

    Paddleton (dir. Alex Lehmann, DP Nathan M. Miller) – Color by Corinne Bogdanowicz, Light Iron Los Angeles.

    Photograph (dir. Ritesh Batra, DP Ben Kutchins) – Offline editorial rentals, Light Iron New York.

    The Boy Who Harnessed the Wind – Opening Night Film (dir. Chiwetel Ejiofor, DP Dick Pope, BSC) – Camera rental, Primo Prime lenses, Panavision Johannesburg.

    The Tomorrow Man (dir. and DP Noble Jones) – Color by Corinne Bogdanowicz, Light Iron Los Angeles.

    Top End Wedding (dir. Wayne Blair, DP Eric Murray Lui) – Camera and optics package, Panavision Sydney.

    Troop Zero – Closing Night Film (dir. Bert & Bertie, DP Jim Whitaker) – Dailies by Light Iron New Orleans. Color by Corinne Bogdanowicz, Light Iron Los Angeles.

    Velvet Buzzsaw (dir. Dan Gilroy, Robert Elswit, ASC) – Panavision Millennium DXL2, SP lenses, Panavision Woodland Hills.

    NEXT Competition
    Selah and the Spades (dir. Tayarisha Poe, DP Jomo Fray) – Camera and optics package, Panavision New York. Color by Steven Bodner, Light Iron New York.

    The Wolf Hour (dir. Alistair Banks Griffin, DP Khalid Mohtaseb) – Camera rental and T-series, MAP55, and AWZ2.3 lenses, Panavision New York.

    WORLD Cinema Dramatic Competition
    Judy and Punch (dir. Mirrah Foulkes, DP Stefan Duscio) – Camera rental, C Series lenses, Panavision Sydney.

    Midnight
    Corporate Animals (dir. Patrick Brice, DP Tarin Anderson) – Color by Nick Hasson, Light Iron Los Angeles.

    Little Monsters (dir. Abe Forsythe, DP Lachlan Milne, ACS) – Camera rental, anamorphic lenses, Panavision Sydney.

    Spotlight
    The Nightingale (dir. Jennifer Kent, DP Radek Ladczuk) – Camera rental, PVintage lenses, Panavision Sydney.

    Doc Premieres
    Ask Dr. Ruth (dir. Ryan White, DP David Jacobson) – Color by Nick Lareau. Light Iron Los Angeles.

    Indie Episodic
    It’s Not About Jimmy Keene (Dir. Caleb Jaffe, DP Noble Gray) – Color by Ian Vertovec. Light Iron Los Angeles.

    Special Events
    Lorena (dir. Joshua Rofé, DP Ronan Killeen) – Dailies by Light Iron Los Angeles. Color by Nick Lareau, Light Iron Los Angeles.

    Now Apocalypse (dir. Gregg Araki, DP Sandra Valde-Hansen) – Camera rental, Primo Prime lenses, Panavision Hollywood.

    U.S. Narrative Shorts
    Lockdown (dir. Celine Held and Logan George, DP Caleb Heller) – Rental package, Panavision Woodland Hills.

    Tags:Light IronPanavisionSundance Film Festival



    A Closer Look At Proposed Measures Designed To Curb Google’s Search Monopoly

    Thursday, November 21, 2024

    U.S. regulators are proposing aggressive measures to restore competition to the online search market after a federal judge ruled Google maintained an illegal monopoly for the last decade.

    The sweeping set of recommendations filed late Wednesday by the U.S. Department of Justice could radically alter Google's business, including possibly spinning off the Chrome web browser and syndicating its search data to competitors. Even if the courts adopt the blueprint, Google isn't likely to make any significant changes until 2026 at the earliest, because of the legal system's slow-moving wheels.

    Here's what it all means:

    What is the Justice Department's goal?
    Federal prosecutors are cracking down on Google in a case originally filed during near the end of then-President Donald Trump's first term. Officials say the main goal of these proposals is to get Google to stop leveraging its dominant search engine to illegally squelch competition and stifle innovation.

    "The playing field is not level because of Google's conduct, and Google's quality reflects the ill-gotten gains of an advantage illegally acquired," the Justice Department asserted in its recommendations. "The remedy must close this gap and deprive Google of these advantages."

    Not surprisingly, Google sees things much differently. The Justice Department's "wildly overbroad proposal goes miles beyond the Court's decision," Kent Walker, Google's chief legal officer, asserted in a blog post. "It would break a range of Google products — even beyond search — that people love and find helpful in their everyday lives."

    It's still possible that the Justice Department could ease off on its attempts to break up Google, especially if President-elect Donald Trump... Read More

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