PANAVISION Formats to Suit the Script

The range of PANAVISION camera equipment is vast. There is no script or budget camera demand that PANAVISION cannot satisfy.

65mm

PANAVISION has a full range of 65mm cameras with reflex, handhold–able, studio–quiet, high speed and underwater capabilities.

Anamorphic Large Screen Formats

35mm PANAVISION Anamorphic lenses are readily available for pictures destined for large screen theatrical release. Many Directors like to shoot in this format because it gives them a wide canvas that makes their movie more special in the theatre and yet gives a sense of intimacy to a group shot.

Academy, TV and Widescreen Formats

PANAVISION has the widest range of spherical lenses to cover the Academy frame, which encompasses both the TV and the Widescreen (1.85:1) formats, available anywhere in the world. For Directors who wish to ensure that their pictures are correctly shown on theatrical screens PANAVISION cameras may be supplied with a hard matte. A TV image can still be extracted from a 1.66:1 hard matted negative.

Super–35

PANAVISION cameras can be supplied to shoot with spherical lenses across the full width of the 35mm frame. This format gives an adequate negative area for large screen 70mm and Anamorphic prints and yet the video format can be extracted without the need to pan and scan the image.

PANAVISION 3–PERF

PANAVISION’s 3–PERF three perforation pull–down system reduces film production costs by saving more than 25% of all camera filmstock costs and processing charges. It is especially suitable for films destined only for video post–production and presentation but may also be used for films destined for theatrical presentation.

Regular 16 and Super 16

For both Regular 16 and Super 16 shooting, where the sound track area is included in the 16mm frame area to give a larger negative for 1.66:1 and 1.85:1 35mm blow–up prints, the PANAFLEX 16 is the ideal camera.

Television

To shoot film is to shoot “future proof” TV.