PANAVISION Lenses for All Formats

Long before PANAVISION was known for its state–of–the art cameras, it was famous for its fine lenses. Such films as Lawrence of Arabia, Dr. Zhivago and My Fair Lady, among others, won Oscars for Cinematography using PANAVISION crafted lenses.

Panavision’s Wide Choice of Formats and Lenses

PANAVISION offers the greatest universe of presentation possibilities:

You can go ‘PANAVISION ANAMORPHIC’ and have your picture photographed in the “2.4:1” anamorphic ratio giving your film a broad canvas. PANAVISION’s PRIMO–L series are the very latest anamorphic lenses and the culmination of 35 years of continuous development.

Alternatively, for 2.4:1 release prints, you can go ‘PANAVISION SUPER–35’, using spherical (non–anamorphic) lenses but extending the picture into the soundtrack area of the “Academy” negative to achieve greater image area (2/3 that of a normal Anamorphic frame).

With either of these systems you can have 70mm prints made for exhibition in large theatres and drive–in movie houses and when it comes to making transfers for cable, cassette, network and satellite TV, and even in–flight movie presentation, you will have a product where the close–ups of your major artists will be relatively as large on a small screen as they are in the theatre. (See page 7)

Alternatively you can choose ‘PANAVISIONS PHERICAL’ using the regular Academy frame which can be projected by any 35mm projector anywhere in the world, can be masked down to 1.66:1 or 1.85:1 and can be used for direct transfer to video for television presentation in either the normal or the 16:9 format and for reduction to 16mm.

Whichever format you choose, the credits ‘FILMED IN PANAVISION’ or ‘FILMED WITH PANAVISION CAMERAS AND LENSES’ will say to your distributors, exhibitors and prospective filmgoers and video viewers that yours is a carefully crafted movie.

PANAVISION’s new PRIMO–L lenses, both spherical and anamorphic, are the first complete sets of lenses especially conceived, designed and manufactured solely for motion picture usage to be commissioned in over a decade. The Primos highlight PANAVISION’s place at the forefront of lens manufacturers. These magnificent lenses have unique features about them which give the cinematographer the greatest possible scope for creativity, whether the photography be by natural or highly stylized lighting, or anything in between.

In conjunction with PANAVISION cameras, these state–of–the–art lenses provide the cinematographer with the ultimate image forming equipment.

Regular 16mm (1.33:1, 0.11 sq.”)

16mm TV Transmitted & Safe Action areas

Super 16 Camera Aperture for 16:9 (1.78:1) TV and for 1.66:1 blow–up (0.14sq.”) to Widescreen 35mm

Full Aperture (1.33:1, 0.72 sq.”)

35mm Academy (1.37:1, 0.54 sq.”) with Widescreen extraction for 1.66:1 & 1.85:1 (0.36 sq”) projection.

SUPER PANAVISION 35.
Extraction for 4:3 TV Scanned Area (0.47sq”), 1.85:1 Widescreen (0.48 sq”) and 2.4:1 Anamorphic (0.37sq”) projection.

35mm 4:3 TV Transmitted (0.47sq”) and TV Safe Action areas (Note: As this book goes to press these standards are being discussed and will be changed)

35mm Anamorphic Camera Aperture (0.59 sq.”) (with 2× squeeze for 2.4:1 Anamorphic projection)

PANAVISION 3–PERF
Suitable for 35mm TV, 1.85:1 Widescreen and Anamorphic extraction

65mm Camera Aperture (1.87 sq.”) for 70mm 2.2:1 SUPER PANAVISION or 2.75:1 ULTRA PANAVISION (with a 1.25× squeeze)