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#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

Found this : a crew gift from the great Camera operator Martin Schaer.
@martin_schaer
Note the specs …!

Absolute Goat….!🐐. @panavisionofficial @stedirox

Absolute Goat….!🐐. @panavisionofficial @stedirox

Absolute Goat….!🐐. @panavisionofficial @stedirox

We all had our own way of preparing for a “Tony Scott” Shot.Enemy of the State, 97:Tracking Proceeding ECU on Gene Hackman and Will Smith running for their lives…Here I’m thinking How the Fuck am I gonna do this!? Back then…No Monitor, Cinetape, Panatape, Cine RT, Light Ranger 1, or 2…Just a great Operator “Sushi” an educated guess (learned from the best) and some luck with a great crew. Knowing we will find out in a couple days if I (we) got it. #wingitThis Focus Puller position was known to be 3 strikes your out. #nopressure

You can find a par can wherever you go ….Bangkok what a city!!!

“It’s not how you play the game. It’s how the game plays you.”

Rare chance to see movie crew in the wild!!

Big night rig from @shaunconwaygaff
Mixed sources provide beautiful quality and infinitely controllable light .

So …. We are usingmole beams, (@molerichardson )one of the most beautiful light sources made.
Sadly they are a bit fragile and are extremely expensive to maintain.
Can someone tell me the state of play in terms of manufacturing more parts and even new lamps …
Thanks DM