- Cover
- Half Title
- Title Page
- Copyright
- Contents
- Foreword
- Introduction
- Acknowledgements
- The Film Producers’ Panaflex
- Panavision Cameras for all Types of Film Making
- Panavision Lenses for all formats
- Anamorphic or Spherical?
- The Pros and Cons of Academy, Anamorphic & Super-35 Cinematography
- Panavision’S Special Equipment
- Panavision’S New Technologies
- Panavision and Future Technologies
- The Hidden Economies of ’GOING Panavision’
- Variety all-Time Film Rental Champs of The US-Canada Market
- “Best Picture” Academy Awards
- Academy Accolades
- Selecting Panavision Equipment
- Typical Panavision Equipment Choices
- The Film Directors’ Panaflex
- The Directors of Photography’S Paimaflex
- The Directors of Photography’S Panaflex
- Panaccessories to Help The Cinematographer
- Panavision Lenses
- Ground Glasses and Hard Masks
- Light Efficiency
- Optical Accessories
- Light Control Accessories
- In-Camera Light Control and Enhancement Accessories
- Camera Angle Control Accessories
- Environmental Protective Equipment
- Panavision PEOPLE
- The Camera Operators’ Panaflex
- The Camera Operators’ Panaflex
- Sharper Images and Faster Pans With A Panaflex
- Panavid Viewfinder Systems
- THE Panavision Panahead
- Additional Camera Tilt, up or Down
- Fine Tuning Panahead Pan and Tilt Movements
- Special Panahead Facilities
- Panaball Levellers
- Nodally Mounting Panaflex and Panastar Cameras
- The Panatate Turnover Mount
- Panaflex Viewfinder Eyepieces
- Panavision Eyepiece Special Facilities
- Panaflex Viewfinder Special Facilities
- Digital Displays
- Panaflex Lightweight Camera
- THE Panavision Pedestal System
- The Camera Assistants’ Panaflex
- The Camera Assistants’ Panaflex
- Setting up a Panavision Panahead
- Fitting a Panaflex Camera to a Pan and Tilt Head
- Preparing a Panaflex Camera for Hand Holding
- Camera Movement Lubrication
- Super Psr, Pan-Mitchell Mk.II and Panavision 65 Lubrication
- Removing and Replacing Camera Movements
- Panaflex Power Supplies
- Recharging Nicad Batteries
- Recharging Sealed Lead Acid Batteries
- Setting The Camera Speed
- Running The Camera
- Setting The Shutter Opening
- Changing the Panaflex Reflex System
- Changing the Ground Glass and Putting in a Cut Frame
- The Camera Heater
- Panaflex Magazines
- Magazine Systems
- Magazine Loading
- Checking the Aperture Plate and Matte
- Preparing the Camera for Loading
- Threading the Camera - Lacing the Film
- Threading the Camera - Checking that it Runs Properly and Quietly
- Threading the Camera - Final Preparation
- Fitting Lenses to the Camera
- Testing Panavision Lenses
- Focusing Panavision Lenses
- Checking and Resetting the Flange Focal Depth
- Matte Box Features
- Iris Brackets and Rods
- Gelatin Filter Holders
- Follow Focus Controls - Manual
- Follow Focus Controls-Electronic
- Remote Control Iris Systems
- Zoom Controls
- “Smart Shutter” Shutter Angle/Camera Speed/Lens Aperture Control
- Electronic Servicing
- Changing the Electronic Circuit Boards
- Using Panaflex And Panastar Camera Accessories
- The Smart Shutter II Accessory - Fitting the Shutter Motor
- - In-Shot Speed Change Below 24 FPS
- - In-Shot Speed Change Above 24 FPS
- - In-Shot Depth of Field and Exposure Changes
- The Focus, T-Stop, Zoom, Speed-Aperture Controller (F.T.Z.S.A.C.)
- - Focus and T-Stop Control
- - Camera Speed/T-Stop and Zoom Control
- Electronic Synchronizer Systems
- - Camera to Projector Synchronizer
- - Camera to Projector Synchronizer Operating Instructions
- - Time-Lapse and Time Exposures
- Panaflasher
- Panahead Accessories
- Panalite Camera Mounted Lamp
- Panapodtripods
- Panatape II Electronic Rangefinder
- Panatate Turnover Mount
- Panavision Video Assist Systems
- Time Code-The Aatoncode System
- - Aatoncode Generator Unit Overview
- - Aatoncode Generator Unit Data Entry
- - Aatoncode/Nagra IV-S T.C.Unit
- - Initializing The System
- - Aaton Origin C Unit
- Panavision Primo-L Lenses Lens Data
- Primo-L Lens Data - Entrance Pupil Positions
- - Prime Lens Tables and Graphs
- - Anamorphic Lens Tables and Graphs
- - Zoom Lens Tables and Graphs
- Subject Size/Camera Distance Tables - Academy, 1.66:1 & 1.85:1
- - Super 35
- - TV - Anamorphic
- Camera Distance/Subject Size Tables - Academy, 1.66:1 & 1.85:1
- - Super 35
- - TV - Anamorphic
- Depth of Field Tables
- - Prime Lenses
- - 17.5-75mm Zoom
- - 11:1 Zoom
- - 3:1 Zoom
- The Sound Recordists’ Panaflex
- The Production Managers’ Panaflex
- Index
Camera Distance/Subject Size Tables — Super 35
SUPER 35 – SCENE WIDTH for ALL FORMATS
CAMERA DISTANCE /SCENE WIDTH
SUPER 35 for ANAMORPHIC RELEASE
CAMERA DISTANCE I SCENE HEIGHT
SUPER 35 FOR 1.85:1 RELEASE
CAMERA DISTANCE I SCENE HEIGHT
35mm for 70mm RELEASE
CAMERA DISTANCE I SCENE HEIGHT
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