- 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
Every year five pictures are nominated for the honor of being selected as the “Best Picture” of the year. By definition “Best Picture” is what it says it is and PANAVISION is proud that year after year this singular honor falls to pictures whose Producers have put their faith and trust in PANAVISION equipment.
“BEST PICTURE” Academy Award pictures
Photographed with PANAVISION lenses and cameras (1958 – 1995)
| AMADEUS | Zaentz–Orion |
| ANNIE HALL | Rollins–Joffe–UA |
| THE APARTMENT | Mirisch–UA |
| BEN HUR | MGM |
| BRAVEHEART | Mel Gibson–Alan Ladd Jnr.–Bruce Davey– |
| Icon Productions/Ladd Company | |
| BUTCH CASSIDY AND THE SUNDANCE KID | 20th Century Fox |
| DANCES WITH WOLVES | Tig Production–Orion |
| THE DEER HUNTER | EMI–Cimino–Universal |
| DOCTOR ZHIVAGO | Ponti–MGM |
| DRIVING MISS DAISY | Zanuck Company–Warner Bros |
| FORREST GUMP | Steve Tish/Wendy Finerman–Paramount |
| THE FRENCH CONNECTION | D’Antoni–Schine–Moore–20th Century Fox |
| GANDHI | Indo–British films–Columbia |
| THE GODFATHER PART II | Coppola Company–Paramount |
| THE GRADUATE | Embassy |
| IN THE HEAT OF THE NIGHT | Mirisch–UA |
| KRAMER vs. KRAMER | Columbia |
| LAWRENCE OF ARABIA | Horizon–Columbia |
| A MAN FOR ALL SEASONS | Highland–Columbia |
| M*A*S*H | 20th Century Fox |
| MY FAIR LADY | Warner Bros |
| OLIVER! | Romulus–Columbia |
| ONE FLEW OVER THE CUCKOO’S NEST | Fantasy–UA |
| ORDINARY PEOPLE | Universal |
| PATTON | 20th Century Fox |
| RAIN MAN | Gruber–Peters Company–UA |
| ROCKY | Chartoff–Winkler–UA |
| THE STING | Bill/Phillips–Hill–Zanuck/Brown–Universal |
| TERMS OF ENDEARMENT | Brooks–Paramount |
| UNFORGIVEN | Warner Bros–Warner Bros |
| WEST SIDE STORY | Mirisch–UA |
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