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#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

#Cinematographer Andre Myers Washington (@dp.drete) takes us #behindthescenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s #NewFilmmaker Program. Each chapter was directed and shot by different filmmakers, highlighting the dynamicism of the culture it endeavors to capture.

“With this being my first time ever working with Panavision in any capacity, from being there to actually using their equipment, I did not want to overthink my decisions,” Washington tells us. “So I kept it simple: I wanted a lens that was a happy medium between characterized and clean. Nothing too stylized or clinical. Thus, #director Tyler Ocasio Holmes (@bytyholmes) and I landed on the #Primo70 lenses as a perfect fit for the story.

The [chapter] is broken up into two visually distinct ‘worlds’ that we knew each needed their own instantly recognizable visual character: the ‘sitcom world’ shot on old-style broadcast cameras and the ‘real world’. The Primo 70’s allowed us to find a happy medium between the distinct sitcom look with the more modern narrative film look.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
Bashir Salahuddin as “Jontavious ‘John’ Rodgers”
Bashir Salahuddin, @iamkimrie, @juanitajennings912, @thejadahmarie, @amarr & @usedup914 as “The Greens”

“When selecting lenses for this project, my director Allison A. Waite (@tothosewhowaite) and I both knew we wanted something with a lot of character,” #cinematographer Sonali Chugani (@sonalichugani) tells us about her approach the second chapter in the anthology film ‘Three Colors: Pan-African’ (@threecolorsfilm), supported by Panavision’s #NewFilmmaker Program.

Chugani continues, “BLACK: BREADMAN tells the story of an African immigrant mother and daughter struggling through the fiscal realities of contemporary immigrant life while finding support in the African American community they initially reject as beneath them. The film is about juxtaposing two perspectives on the same dire situation, that of a mother (realist) and daughter (fantastical) as they encounter hardships together. It quickly became clear we needed to reflect these differing perspectives visually.

We tested a couple of sets together at #Panavision, but eventually landed on the #PrimoArtistes due to their dynamic qualities. The falloff on skin was quite flattering and the bokeh so dreamy that they provided the perfect amount of character for the fantastical elements of the story without betraying the realist elements.

Given the title of the film, ‘BLACK,’ we planned to shoot the film with decent contrast, drawing from silhouettes and shadows to construct our images. I found that these lenses possessed the perfect happy medium of contrast, allowing me to maximize how I played with highlights and shadows in lighting.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@lathan.ava as “Amma Mensa”
@sibongile as “Joana Mensa”

“When selecting lenses for this project, my director Allison A. Waite (@tothosewhowaite) and I both knew we wanted something with a lot of character,” #cinematographer Sonali Chugani (@sonalichugani) tells us about her approach the second chapter in the anthology film ‘Three Colors: Pan-African’ (@threecolorsfilm), supported by Panavision’s #NewFilmmaker Program.

Chugani continues, “BLACK: BREADMAN tells the story of an African immigrant mother and daughter struggling through the fiscal realities of contemporary immigrant life while finding support in the African American community they initially reject as beneath them. The film is about juxtaposing two perspectives on the same dire situation, that of a mother (realist) and daughter (fantastical) as they encounter hardships together. It quickly became clear we needed to reflect these differing perspectives visually.

We tested a couple of sets together at #Panavision, but eventually landed on the #PrimoArtistes due to their dynamic qualities. The falloff on skin was quite flattering and the bokeh so dreamy that they provided the perfect amount of character for the fantastical elements of the story without betraying the realist elements.

Given the title of the film, ‘BLACK,’ we planned to shoot the film with decent contrast, drawing from silhouettes and shadows to construct our images. I found that these lenses possessed the perfect happy medium of contrast, allowing me to maximize how I played with highlights and shadows in lighting.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@lathan.ava as “Amma Mensa”
@sibongile as “Joana Mensa”

“When selecting lenses for this project, my director Allison A. Waite (@tothosewhowaite) and I both knew we wanted something with a lot of character,” #cinematographer Sonali Chugani (@sonalichugani) tells us about her approach the second chapter in the anthology film ‘Three Colors: Pan-African’ (@threecolorsfilm), supported by Panavision’s #NewFilmmaker Program.

Chugani continues, “BLACK: BREADMAN tells the story of an African immigrant mother and daughter struggling through the fiscal realities of contemporary immigrant life while finding support in the African American community they initially reject as beneath them. The film is about juxtaposing two perspectives on the same dire situation, that of a mother (realist) and daughter (fantastical) as they encounter hardships together. It quickly became clear we needed to reflect these differing perspectives visually.

We tested a couple of sets together at #Panavision, but eventually landed on the #PrimoArtistes due to their dynamic qualities. The falloff on skin was quite flattering and the bokeh so dreamy that they provided the perfect amount of character for the fantastical elements of the story without betraying the realist elements.

Given the title of the film, ‘BLACK,’ we planned to shoot the film with decent contrast, drawing from silhouettes and shadows to construct our images. I found that these lenses possessed the perfect happy medium of contrast, allowing me to maximize how I played with highlights and shadows in lighting.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@lathan.ava as “Amma Mensa”
@sibongile as “Joana Mensa”

“When selecting lenses for this project, my director Allison A. Waite (@tothosewhowaite) and I both knew we wanted something with a lot of character,” #cinematographer Sonali Chugani (@sonalichugani) tells us about her approach the second chapter in the anthology film ‘Three Colors: Pan-African’ (@threecolorsfilm), supported by Panavision’s #NewFilmmaker Program.

Chugani continues, “BLACK: BREADMAN tells the story of an African immigrant mother and daughter struggling through the fiscal realities of contemporary immigrant life while finding support in the African American community they initially reject as beneath them. The film is about juxtaposing two perspectives on the same dire situation, that of a mother (realist) and daughter (fantastical) as they encounter hardships together. It quickly became clear we needed to reflect these differing perspectives visually.

We tested a couple of sets together at #Panavision, but eventually landed on the #PrimoArtistes due to their dynamic qualities. The falloff on skin was quite flattering and the bokeh so dreamy that they provided the perfect amount of character for the fantastical elements of the story without betraying the realist elements.

Given the title of the film, ‘BLACK,’ we planned to shoot the film with decent contrast, drawing from silhouettes and shadows to construct our images. I found that these lenses possessed the perfect happy medium of contrast, allowing me to maximize how I played with highlights and shadows in lighting.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@lathan.ava as “Amma Mensa”
@sibongile as “Joana Mensa”

“When selecting lenses for this project, my director Allison A. Waite (@tothosewhowaite) and I both knew we wanted something with a lot of character,” #cinematographer Sonali Chugani (@sonalichugani) tells us about her approach the second chapter in the anthology film ‘Three Colors: Pan-African’ (@threecolorsfilm), supported by Panavision’s #NewFilmmaker Program.

Chugani continues, “BLACK: BREADMAN tells the story of an African immigrant mother and daughter struggling through the fiscal realities of contemporary immigrant life while finding support in the African American community they initially reject as beneath them. The film is about juxtaposing two perspectives on the same dire situation, that of a mother (realist) and daughter (fantastical) as they encounter hardships together. It quickly became clear we needed to reflect these differing perspectives visually.

We tested a couple of sets together at #Panavision, but eventually landed on the #PrimoArtistes due to their dynamic qualities. The falloff on skin was quite flattering and the bokeh so dreamy that they provided the perfect amount of character for the fantastical elements of the story without betraying the realist elements.

Given the title of the film, ‘BLACK,’ we planned to shoot the film with decent contrast, drawing from silhouettes and shadows to construct our images. I found that these lenses possessed the perfect happy medium of contrast, allowing me to maximize how I played with highlights and shadows in lighting.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@lathan.ava as “Amma Mensa”
@sibongile as “Joana Mensa”

“When selecting lenses for this project, my director Allison A. Waite (@tothosewhowaite) and I both knew we wanted something with a lot of character,” #cinematographer Sonali Chugani (@sonalichugani) tells us about her approach the second chapter in the anthology film ‘Three Colors: Pan-African’ (@threecolorsfilm), supported by Panavision’s #NewFilmmaker Program.

Chugani continues, “BLACK: BREADMAN tells the story of an African immigrant mother and daughter struggling through the fiscal realities of contemporary immigrant life while finding support in the African American community they initially reject as beneath them. The film is about juxtaposing two perspectives on the same dire situation, that of a mother (realist) and daughter (fantastical) as they encounter hardships together. It quickly became clear we needed to reflect these differing perspectives visually.

We tested a couple of sets together at #Panavision, but eventually landed on the #PrimoArtistes due to their dynamic qualities. The falloff on skin was quite flattering and the bokeh so dreamy that they provided the perfect amount of character for the fantastical elements of the story without betraying the realist elements.

Given the title of the film, ‘BLACK,’ we planned to shoot the film with decent contrast, drawing from silhouettes and shadows to construct our images. I found that these lenses possessed the perfect happy medium of contrast, allowing me to maximize how I played with highlights and shadows in lighting.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@lathan.ava as “Amma Mensa”
@sibongile as “Joana Mensa”

“When selecting lenses for this project, my director Allison A. Waite (@tothosewhowaite) and I both knew we wanted something with a lot of character,” #cinematographer Sonali Chugani (@sonalichugani) tells us about her approach the second chapter in the anthology film ‘Three Colors: Pan-African’ (@threecolorsfilm), supported by Panavision’s #NewFilmmaker Program.

Chugani continues, “BLACK: BREADMAN tells the story of an African immigrant mother and daughter struggling through the fiscal realities of contemporary immigrant life while finding support in the African American community they initially reject as beneath them. The film is about juxtaposing two perspectives on the same dire situation, that of a mother (realist) and daughter (fantastical) as they encounter hardships together. It quickly became clear we needed to reflect these differing perspectives visually.

We tested a couple of sets together at #Panavision, but eventually landed on the #PrimoArtistes due to their dynamic qualities. The falloff on skin was quite flattering and the bokeh so dreamy that they provided the perfect amount of character for the fantastical elements of the story without betraying the realist elements.

Given the title of the film, ‘BLACK,’ we planned to shoot the film with decent contrast, drawing from silhouettes and shadows to construct our images. I found that these lenses possessed the perfect happy medium of contrast, allowing me to maximize how I played with highlights and shadows in lighting.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@lathan.ava as “Amma Mensa”
@sibongile as “Joana Mensa”

“When selecting lenses for this project, my director Allison A. Waite (@tothosewhowaite) and I both knew we wanted something with a lot of character,” #cinematographer Sonali Chugani (@sonalichugani) tells us about her approach the second chapter in the anthology film ‘Three Colors: Pan-African’ (@threecolorsfilm), supported by Panavision’s #NewFilmmaker Program.

Chugani continues, “BLACK: BREADMAN tells the story of an African immigrant mother and daughter struggling through the fiscal realities of contemporary immigrant life while finding support in the African American community they initially reject as beneath them. The film is about juxtaposing two perspectives on the same dire situation, that of a mother (realist) and daughter (fantastical) as they encounter hardships together. It quickly became clear we needed to reflect these differing perspectives visually.

We tested a couple of sets together at #Panavision, but eventually landed on the #PrimoArtistes due to their dynamic qualities. The falloff on skin was quite flattering and the bokeh so dreamy that they provided the perfect amount of character for the fantastical elements of the story without betraying the realist elements.

Given the title of the film, ‘BLACK,’ we planned to shoot the film with decent contrast, drawing from silhouettes and shadows to construct our images. I found that these lenses possessed the perfect happy medium of contrast, allowing me to maximize how I played with highlights and shadows in lighting.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@lathan.ava as “Amma Mensa”
@sibongile as “Joana Mensa”

“When selecting lenses for this project, my director Allison A. Waite (@tothosewhowaite) and I both knew we wanted something with a lot of character,” #cinematographer Sonali Chugani (@sonalichugani) tells us about her approach the second chapter in the anthology film ‘Three Colors: Pan-African’ (@threecolorsfilm), supported by Panavision’s #NewFilmmaker Program.

Chugani continues, “BLACK: BREADMAN tells the story of an African immigrant mother and daughter struggling through the fiscal realities of contemporary immigrant life while finding support in the African American community they initially reject as beneath them. The film is about juxtaposing two perspectives on the same dire situation, that of a mother (realist) and daughter (fantastical) as they encounter hardships together. It quickly became clear we needed to reflect these differing perspectives visually.

We tested a couple of sets together at #Panavision, but eventually landed on the #PrimoArtistes due to their dynamic qualities. The falloff on skin was quite flattering and the bokeh so dreamy that they provided the perfect amount of character for the fantastical elements of the story without betraying the realist elements.

Given the title of the film, ‘BLACK,’ we planned to shoot the film with decent contrast, drawing from silhouettes and shadows to construct our images. I found that these lenses possessed the perfect happy medium of contrast, allowing me to maximize how I played with highlights and shadows in lighting.”

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@lathan.ava as “Amma Mensa”
@sibongile as “Joana Mensa”

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

We went #behindthescenes with the filmmakers of ‘Three Colors: Pan-African’ (@threecolorsfilm), an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s #NewFilmmaker Program. #DOP Jonathon Jacobs (@jonspassion) details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with #director Elijah Davis (@elijah8122).

"One of the core aims of the story is to depict our protagonist's distorted sense of his own masculinity, how it shaped his past and how it constantly threatens to define his future. We wanted to distinguish these moments of the character's subjective perspective through a lens that could visually express his distorted worldview, and that lens became the 58mm T2 Petzval Portrait lens.

What I love about the #HSeries lenses is the soft highlight roll-off that still produces eye popping imagery. For the world Elijah and I wanted to build, we knew we needed lenses that could retain richness without feeling harsh or overly modern. With its distinctive swirly bokeh and the discipline it demands to keep the subject centered, the lens naturally pulls the viewer inward and demands their attention. My hope is that, when watching these scenes, the audience can see the world through Ahmari's eyes and in line with the aim of the film, relate to his decisions as an imperfect protagonist navigating uncomfortable emotional turmoil as he explores his nascent reality."

To stay in the loop on upcoming screenings, tap the link in our bio!

Pictured:
@stephencbishop as "Uncle Steve"
@peytonalexsmith as "Ahmari Rose"

Every pin, mirror, and claw in a #Panavision #System65 camera carries history, used by prolific filmmakers to capture some of the most influential contemporary large-format films. We deconstructed this one for refurbishment for an upcoming project, but what film shot with System 65 is your favorite? 🎥

🌀 Inception (2010)
🦇 The Dark Knight Rises (2012)
📡 Contact (1997)
🎩 The Master (2012)
☢️ Oppenheimer (2023)
👑 Hamlet (1996)
🌾 Far and Away (1992)
🔫 No Time to Die (2021)
🏚️ Shutter Island (2010)
🏜️ The Hateful Eight (2015)
🧛 Sinners (2025)

Every pin, mirror, and claw in a #Panavision #System65 camera carries history, used by prolific filmmakers to capture some of the most influential contemporary large-format films. We deconstructed this one for refurbishment for an upcoming project, but what film shot with System 65 is your favorite? 🎥

🌀 Inception (2010)
🦇 The Dark Knight Rises (2012)
📡 Contact (1997)
🎩 The Master (2012)
☢️ Oppenheimer (2023)
👑 Hamlet (1996)
🌾 Far and Away (1992)
🔫 No Time to Die (2021)
🏚️ Shutter Island (2010)
🏜️ The Hateful Eight (2015)
🧛 Sinners (2025)

Every pin, mirror, and claw in a #Panavision #System65 camera carries history, used by prolific filmmakers to capture some of the most influential contemporary large-format films. We deconstructed this one for refurbishment for an upcoming project, but what film shot with System 65 is your favorite? 🎥

🌀 Inception (2010)
🦇 The Dark Knight Rises (2012)
📡 Contact (1997)
🎩 The Master (2012)
☢️ Oppenheimer (2023)
👑 Hamlet (1996)
🌾 Far and Away (1992)
🔫 No Time to Die (2021)
🏚️ Shutter Island (2010)
🏜️ The Hateful Eight (2015)
🧛 Sinners (2025)

‘Run Forever’ - @nike
(Join the Lens Addition Community - Link in bio)
🔎1- PANAVISION Primo 17.5mm T1.9
🔎2- PANAVISION Primo 17.5mm T1.9
🔎3- PANAVISION Primo 27mm T1.9
🔎4- PANAVISION Primo 17.5mm T1.9
🔎5- PANAVISION Primo 21mm T1.9
🔎6- PANAVISION Primo 35mm T1.9
🔎7- PANAVISION Primo 27mm T1.9
🔎8- PANAVISION Primo 65mm T1.9
🔎9- PANAVISION Primo 27mm T1.9
📹 ARRI Arricam LT 4-Perf
KODAK 500T 5219/7219
Creative Dir/Concept. @isamayaffrench
Written/Dir. @rodrigoinada
DP. @pierrekerchove
Energy Marketing Lead Nike. @Madisonhahn_
Energy Marketing Specialist. @eth_kng
Stylist. @rubinamarchiori
Set Designer. @isaacashley_​
Hair Stylist. @clmorhair​
Makeup Artist. @isamayaffrench
Manicurist. @laurenmichellepires
Production. @cebestudio
Rep. @iconoclast.tv
1st AD. @grammasterflash
Talents @dinaashersmith @Isamayaffrench Nia Wilson
Daniel Thackery Hilary Thompson Joyce Kalombo
Edit. @church_edit @aaronysaiki grading: @johnlowe.xyz @societypost.house
Sound Design. @ineedsound.co @george_lesage
Executive Producer. @claireburman
Senior Producer. @mmeekks
Production Manager. @cdignadice
Production Coordinator. @lucy_ataylor
.
.
Join the Lens Addiction Community - Link in bio
.
#lensaddiction #panavisionprimo

‘Run Forever’ - @nike
(Join the Lens Addition Community - Link in bio)
🔎1- PANAVISION Primo 17.5mm T1.9
🔎2- PANAVISION Primo 17.5mm T1.9
🔎3- PANAVISION Primo 27mm T1.9
🔎4- PANAVISION Primo 17.5mm T1.9
🔎5- PANAVISION Primo 21mm T1.9
🔎6- PANAVISION Primo 35mm T1.9
🔎7- PANAVISION Primo 27mm T1.9
🔎8- PANAVISION Primo 65mm T1.9
🔎9- PANAVISION Primo 27mm T1.9
📹 ARRI Arricam LT 4-Perf
KODAK 500T 5219/7219
Creative Dir/Concept. @isamayaffrench
Written/Dir. @rodrigoinada
DP. @pierrekerchove
Energy Marketing Lead Nike. @Madisonhahn_
Energy Marketing Specialist. @eth_kng
Stylist. @rubinamarchiori
Set Designer. @isaacashley_​
Hair Stylist. @clmorhair​
Makeup Artist. @isamayaffrench
Manicurist. @laurenmichellepires
Production. @cebestudio
Rep. @iconoclast.tv
1st AD. @grammasterflash
Talents @dinaashersmith @Isamayaffrench Nia Wilson
Daniel Thackery Hilary Thompson Joyce Kalombo
Edit. @church_edit @aaronysaiki grading: @johnlowe.xyz @societypost.house
Sound Design. @ineedsound.co @george_lesage
Executive Producer. @claireburman
Senior Producer. @mmeekks
Production Manager. @cdignadice
Production Coordinator. @lucy_ataylor
.
.
Join the Lens Addiction Community - Link in bio
.
#lensaddiction #panavisionprimo

‘Run Forever’ - @nike
(Join the Lens Addition Community - Link in bio)
🔎1- PANAVISION Primo 17.5mm T1.9
🔎2- PANAVISION Primo 17.5mm T1.9
🔎3- PANAVISION Primo 27mm T1.9
🔎4- PANAVISION Primo 17.5mm T1.9
🔎5- PANAVISION Primo 21mm T1.9
🔎6- PANAVISION Primo 35mm T1.9
🔎7- PANAVISION Primo 27mm T1.9
🔎8- PANAVISION Primo 65mm T1.9
🔎9- PANAVISION Primo 27mm T1.9
📹 ARRI Arricam LT 4-Perf
KODAK 500T 5219/7219
Creative Dir/Concept. @isamayaffrench
Written/Dir. @rodrigoinada
DP. @pierrekerchove
Energy Marketing Lead Nike. @Madisonhahn_
Energy Marketing Specialist. @eth_kng
Stylist. @rubinamarchiori
Set Designer. @isaacashley_​
Hair Stylist. @clmorhair​
Makeup Artist. @isamayaffrench
Manicurist. @laurenmichellepires
Production. @cebestudio
Rep. @iconoclast.tv
1st AD. @grammasterflash
Talents @dinaashersmith @Isamayaffrench Nia Wilson
Daniel Thackery Hilary Thompson Joyce Kalombo
Edit. @church_edit @aaronysaiki grading: @johnlowe.xyz @societypost.house
Sound Design. @ineedsound.co @george_lesage
Executive Producer. @claireburman
Senior Producer. @mmeekks
Production Manager. @cdignadice
Production Coordinator. @lucy_ataylor
.
.
Join the Lens Addiction Community - Link in bio
.
#lensaddiction #panavisionprimo

‘Run Forever’ - @nike
(Join the Lens Addition Community - Link in bio)
🔎1- PANAVISION Primo 17.5mm T1.9
🔎2- PANAVISION Primo 17.5mm T1.9
🔎3- PANAVISION Primo 27mm T1.9
🔎4- PANAVISION Primo 17.5mm T1.9
🔎5- PANAVISION Primo 21mm T1.9
🔎6- PANAVISION Primo 35mm T1.9
🔎7- PANAVISION Primo 27mm T1.9
🔎8- PANAVISION Primo 65mm T1.9
🔎9- PANAVISION Primo 27mm T1.9
📹 ARRI Arricam LT 4-Perf
KODAK 500T 5219/7219
Creative Dir/Concept. @isamayaffrench
Written/Dir. @rodrigoinada
DP. @pierrekerchove
Energy Marketing Lead Nike. @Madisonhahn_
Energy Marketing Specialist. @eth_kng
Stylist. @rubinamarchiori
Set Designer. @isaacashley_​
Hair Stylist. @clmorhair​
Makeup Artist. @isamayaffrench
Manicurist. @laurenmichellepires
Production. @cebestudio
Rep. @iconoclast.tv
1st AD. @grammasterflash
Talents @dinaashersmith @Isamayaffrench Nia Wilson
Daniel Thackery Hilary Thompson Joyce Kalombo
Edit. @church_edit @aaronysaiki grading: @johnlowe.xyz @societypost.house
Sound Design. @ineedsound.co @george_lesage
Executive Producer. @claireburman
Senior Producer. @mmeekks
Production Manager. @cdignadice
Production Coordinator. @lucy_ataylor
.
.
Join the Lens Addiction Community - Link in bio
.
#lensaddiction #panavisionprimo

‘Run Forever’ - @nike
(Join the Lens Addition Community - Link in bio)
🔎1- PANAVISION Primo 17.5mm T1.9
🔎2- PANAVISION Primo 17.5mm T1.9
🔎3- PANAVISION Primo 27mm T1.9
🔎4- PANAVISION Primo 17.5mm T1.9
🔎5- PANAVISION Primo 21mm T1.9
🔎6- PANAVISION Primo 35mm T1.9
🔎7- PANAVISION Primo 27mm T1.9
🔎8- PANAVISION Primo 65mm T1.9
🔎9- PANAVISION Primo 27mm T1.9
📹 ARRI Arricam LT 4-Perf
KODAK 500T 5219/7219
Creative Dir/Concept. @isamayaffrench
Written/Dir. @rodrigoinada
DP. @pierrekerchove
Energy Marketing Lead Nike. @Madisonhahn_
Energy Marketing Specialist. @eth_kng
Stylist. @rubinamarchiori
Set Designer. @isaacashley_​
Hair Stylist. @clmorhair​
Makeup Artist. @isamayaffrench
Manicurist. @laurenmichellepires
Production. @cebestudio
Rep. @iconoclast.tv
1st AD. @grammasterflash
Talents @dinaashersmith @Isamayaffrench Nia Wilson
Daniel Thackery Hilary Thompson Joyce Kalombo
Edit. @church_edit @aaronysaiki grading: @johnlowe.xyz @societypost.house
Sound Design. @ineedsound.co @george_lesage
Executive Producer. @claireburman
Senior Producer. @mmeekks
Production Manager. @cdignadice
Production Coordinator. @lucy_ataylor
.
.
Join the Lens Addiction Community - Link in bio
.
#lensaddiction #panavisionprimo

‘Run Forever’ - @nike
(Join the Lens Addition Community - Link in bio)
🔎1- PANAVISION Primo 17.5mm T1.9
🔎2- PANAVISION Primo 17.5mm T1.9
🔎3- PANAVISION Primo 27mm T1.9
🔎4- PANAVISION Primo 17.5mm T1.9
🔎5- PANAVISION Primo 21mm T1.9
🔎6- PANAVISION Primo 35mm T1.9
🔎7- PANAVISION Primo 27mm T1.9
🔎8- PANAVISION Primo 65mm T1.9
🔎9- PANAVISION Primo 27mm T1.9
📹 ARRI Arricam LT 4-Perf
KODAK 500T 5219/7219
Creative Dir/Concept. @isamayaffrench
Written/Dir. @rodrigoinada
DP. @pierrekerchove
Energy Marketing Lead Nike. @Madisonhahn_
Energy Marketing Specialist. @eth_kng
Stylist. @rubinamarchiori
Set Designer. @isaacashley_​
Hair Stylist. @clmorhair​
Makeup Artist. @isamayaffrench
Manicurist. @laurenmichellepires
Production. @cebestudio
Rep. @iconoclast.tv
1st AD. @grammasterflash
Talents @dinaashersmith @Isamayaffrench Nia Wilson
Daniel Thackery Hilary Thompson Joyce Kalombo
Edit. @church_edit @aaronysaiki grading: @johnlowe.xyz @societypost.house
Sound Design. @ineedsound.co @george_lesage
Executive Producer. @claireburman
Senior Producer. @mmeekks
Production Manager. @cdignadice
Production Coordinator. @lucy_ataylor
.
.
Join the Lens Addiction Community - Link in bio
.
#lensaddiction #panavisionprimo

‘Run Forever’ - @nike
(Join the Lens Addition Community - Link in bio)
🔎1- PANAVISION Primo 17.5mm T1.9
🔎2- PANAVISION Primo 17.5mm T1.9
🔎3- PANAVISION Primo 27mm T1.9
🔎4- PANAVISION Primo 17.5mm T1.9
🔎5- PANAVISION Primo 21mm T1.9
🔎6- PANAVISION Primo 35mm T1.9
🔎7- PANAVISION Primo 27mm T1.9
🔎8- PANAVISION Primo 65mm T1.9
🔎9- PANAVISION Primo 27mm T1.9
📹 ARRI Arricam LT 4-Perf
KODAK 500T 5219/7219
Creative Dir/Concept. @isamayaffrench
Written/Dir. @rodrigoinada
DP. @pierrekerchove
Energy Marketing Lead Nike. @Madisonhahn_
Energy Marketing Specialist. @eth_kng
Stylist. @rubinamarchiori
Set Designer. @isaacashley_​
Hair Stylist. @clmorhair​
Makeup Artist. @isamayaffrench
Manicurist. @laurenmichellepires
Production. @cebestudio
Rep. @iconoclast.tv
1st AD. @grammasterflash
Talents @dinaashersmith @Isamayaffrench Nia Wilson
Daniel Thackery Hilary Thompson Joyce Kalombo
Edit. @church_edit @aaronysaiki grading: @johnlowe.xyz @societypost.house
Sound Design. @ineedsound.co @george_lesage
Executive Producer. @claireburman
Senior Producer. @mmeekks
Production Manager. @cdignadice
Production Coordinator. @lucy_ataylor
.
.
Join the Lens Addiction Community - Link in bio
.
#lensaddiction #panavisionprimo

‘Run Forever’ - @nike
(Join the Lens Addition Community - Link in bio)
🔎1- PANAVISION Primo 17.5mm T1.9
🔎2- PANAVISION Primo 17.5mm T1.9
🔎3- PANAVISION Primo 27mm T1.9
🔎4- PANAVISION Primo 17.5mm T1.9
🔎5- PANAVISION Primo 21mm T1.9
🔎6- PANAVISION Primo 35mm T1.9
🔎7- PANAVISION Primo 27mm T1.9
🔎8- PANAVISION Primo 65mm T1.9
🔎9- PANAVISION Primo 27mm T1.9
📹 ARRI Arricam LT 4-Perf
KODAK 500T 5219/7219
Creative Dir/Concept. @isamayaffrench
Written/Dir. @rodrigoinada
DP. @pierrekerchove
Energy Marketing Lead Nike. @Madisonhahn_
Energy Marketing Specialist. @eth_kng
Stylist. @rubinamarchiori
Set Designer. @isaacashley_​
Hair Stylist. @clmorhair​
Makeup Artist. @isamayaffrench
Manicurist. @laurenmichellepires
Production. @cebestudio
Rep. @iconoclast.tv
1st AD. @grammasterflash
Talents @dinaashersmith @Isamayaffrench Nia Wilson
Daniel Thackery Hilary Thompson Joyce Kalombo
Edit. @church_edit @aaronysaiki grading: @johnlowe.xyz @societypost.house
Sound Design. @ineedsound.co @george_lesage
Executive Producer. @claireburman
Senior Producer. @mmeekks
Production Manager. @cdignadice
Production Coordinator. @lucy_ataylor
.
.
Join the Lens Addiction Community - Link in bio
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#lensaddiction #panavisionprimo

‘Run Forever’ - @nike
(Join the Lens Addition Community - Link in bio)
🔎1- PANAVISION Primo 17.5mm T1.9
🔎2- PANAVISION Primo 17.5mm T1.9
🔎3- PANAVISION Primo 27mm T1.9
🔎4- PANAVISION Primo 17.5mm T1.9
🔎5- PANAVISION Primo 21mm T1.9
🔎6- PANAVISION Primo 35mm T1.9
🔎7- PANAVISION Primo 27mm T1.9
🔎8- PANAVISION Primo 65mm T1.9
🔎9- PANAVISION Primo 27mm T1.9
📹 ARRI Arricam LT 4-Perf
KODAK 500T 5219/7219
Creative Dir/Concept. @isamayaffrench
Written/Dir. @rodrigoinada
DP. @pierrekerchove
Energy Marketing Lead Nike. @Madisonhahn_
Energy Marketing Specialist. @eth_kng
Stylist. @rubinamarchiori
Set Designer. @isaacashley_​
Hair Stylist. @clmorhair​
Makeup Artist. @isamayaffrench
Manicurist. @laurenmichellepires
Production. @cebestudio
Rep. @iconoclast.tv
1st AD. @grammasterflash
Talents @dinaashersmith @Isamayaffrench Nia Wilson
Daniel Thackery Hilary Thompson Joyce Kalombo
Edit. @church_edit @aaronysaiki grading: @johnlowe.xyz @societypost.house
Sound Design. @ineedsound.co @george_lesage
Executive Producer. @claireburman
Senior Producer. @mmeekks
Production Manager. @cdignadice
Production Coordinator. @lucy_ataylor
.
.
Join the Lens Addiction Community - Link in bio
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#lensaddiction #panavisionprimo

The dynamic filmmaking duo @abdalabrothers met with #Panavision SVP of Optical Engineering Dan Sasaki to talk all things #lensing for their artful debut film 2DIE4 (@2die4_film). Click the link in our bio to watch the full video! 🎥

See 2DIE4 only in theaters, exclusively in @IMAX 🏎️💨

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#Cinematographer Anshul Shankhdhar (@anshul_shankhdhar) takes us #behindthescenes of ‘Beaten Down’, supported by the #Panavision #NewFilmmaker Program.

“Beaten Down follows a young immigrant in Los Angeles navigating isolation, identity, and the difficult choices that come with trying to belong in a system stacked against him,” Shankhdhar tells us. “It’s an intimate, character-driven story that explores how far someone might go when pushed to their limits.”

Last year, I had the opportunity to shoot the film as a recipient of the Panavision New Filmmaker Program grant. From prep through production, the support we received played a huge role in bringing this project to life. Prepping at Panavision was a dream. The collaboration and guidance throughout the process allowed us to really shape the visual language of the film with intention. We chose to shoot with the trusted Panavision Primo lenses. The Primos felt ‘perfect,’ but not clinical—they gave us a clean, high-contrast image that still felt organic, with subtle falloff, natural skin tones, and a consistency across the set that made them incredibly reliable.

For key moments, we worked with Dan Sasaki to develop a custom front element, which we used in the church sequence to subtly introduce a grittier texture and enhance the emotional weight of the scene. The film was written and directed by Anmol Bajaj (@anmolbajaj_), and collaborating with him was a really rewarding experience. We were constantly pushing each other to go further and stay honest to the story.

This project pushed us beyond our limits, both technically and creatively. Given the current climate, it’s a story that feels especially relevant, and one we hope resonates with audiences. Huge thanks to the entire team at Panavision for their support throughout the process, and especially to Aaron Saffa — his guidance and support were instrumental in helping us bring this film to life. Also a big thank you to Dan Sasaki for collaborating with us on the custom optics.”

#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 🔗

Panavision Petzval for young Deborah’s point of view flashbacks

@panavisionofficial @reddigitalcinema @hacks

(Paulina’s c-camera builds 👌)

Panavision Petzval for young Deborah’s point of view flashbacks

@panavisionofficial @reddigitalcinema @hacks

(Paulina’s c-camera builds 👌)

Panavision Petzval for young Deborah’s point of view flashbacks

@panavisionofficial @reddigitalcinema @hacks

(Paulina’s c-camera builds 👌)

“CELERY MAN started as a small idea about the quiet absurdity of everyday betrayals, but became something far more personal,” the writer & #director of the unsettling & absurdist short film Diane Michelle (@dianemichelleofficial) tells us. The film was shot on #Panavision #SuperSpeed lenses, and serviced by Panavision Chicago.

Michelle continues, “We chose to shoot on 16mm to give the story a timeless, nostalgic feeling that mirrors the in-between space many people with mental health struggles inhabit. Huge thanks to Panavision for helping bring that vision to life. This is one of the pieces I’m most proud of. I hope it reminds people that even in the darkest moments, there can still be room for laughter because sometimes that’s all we have.”

#Cinematographer Jonathan Patterson (@midwestcowboy_) adds, “CELERY MAN was conceived as a dark comedy film by Diane Michelle which for me was a challenge outside of my comfort zone to define a look and presence that felt honest to the film's sense of tone. I relied on versatility and consistency to guide the look across the board. I found the lensing crossed paths uniquely in a way that carried this quasi-retro world these characters brought to life with us through their performances and the writing on the page. I’m always so fortunate to be in Stan [Glapa]’s graces over at Panavision Chicago here in Detroit.”

“CELERY MAN started as a small idea about the quiet absurdity of everyday betrayals, but became something far more personal,” the writer & #director of the unsettling & absurdist short film Diane Michelle (@dianemichelleofficial) tells us. The film was shot on #Panavision #SuperSpeed lenses, and serviced by Panavision Chicago.

Michelle continues, “We chose to shoot on 16mm to give the story a timeless, nostalgic feeling that mirrors the in-between space many people with mental health struggles inhabit. Huge thanks to Panavision for helping bring that vision to life. This is one of the pieces I’m most proud of. I hope it reminds people that even in the darkest moments, there can still be room for laughter because sometimes that’s all we have.”

#Cinematographer Jonathan Patterson (@midwestcowboy_) adds, “CELERY MAN was conceived as a dark comedy film by Diane Michelle which for me was a challenge outside of my comfort zone to define a look and presence that felt honest to the film's sense of tone. I relied on versatility and consistency to guide the look across the board. I found the lensing crossed paths uniquely in a way that carried this quasi-retro world these characters brought to life with us through their performances and the writing on the page. I’m always so fortunate to be in Stan [Glapa]’s graces over at Panavision Chicago here in Detroit.”

“CELERY MAN started as a small idea about the quiet absurdity of everyday betrayals, but became something far more personal,” the writer & #director of the unsettling & absurdist short film Diane Michelle (@dianemichelleofficial) tells us. The film was shot on #Panavision #SuperSpeed lenses, and serviced by Panavision Chicago.

Michelle continues, “We chose to shoot on 16mm to give the story a timeless, nostalgic feeling that mirrors the in-between space many people with mental health struggles inhabit. Huge thanks to Panavision for helping bring that vision to life. This is one of the pieces I’m most proud of. I hope it reminds people that even in the darkest moments, there can still be room for laughter because sometimes that’s all we have.”

#Cinematographer Jonathan Patterson (@midwestcowboy_) adds, “CELERY MAN was conceived as a dark comedy film by Diane Michelle which for me was a challenge outside of my comfort zone to define a look and presence that felt honest to the film's sense of tone. I relied on versatility and consistency to guide the look across the board. I found the lensing crossed paths uniquely in a way that carried this quasi-retro world these characters brought to life with us through their performances and the writing on the page. I’m always so fortunate to be in Stan [Glapa]’s graces over at Panavision Chicago here in Detroit.”

“CELERY MAN started as a small idea about the quiet absurdity of everyday betrayals, but became something far more personal,” the writer & #director of the unsettling & absurdist short film Diane Michelle (@dianemichelleofficial) tells us. The film was shot on #Panavision #SuperSpeed lenses, and serviced by Panavision Chicago.

Michelle continues, “We chose to shoot on 16mm to give the story a timeless, nostalgic feeling that mirrors the in-between space many people with mental health struggles inhabit. Huge thanks to Panavision for helping bring that vision to life. This is one of the pieces I’m most proud of. I hope it reminds people that even in the darkest moments, there can still be room for laughter because sometimes that’s all we have.”

#Cinematographer Jonathan Patterson (@midwestcowboy_) adds, “CELERY MAN was conceived as a dark comedy film by Diane Michelle which for me was a challenge outside of my comfort zone to define a look and presence that felt honest to the film's sense of tone. I relied on versatility and consistency to guide the look across the board. I found the lensing crossed paths uniquely in a way that carried this quasi-retro world these characters brought to life with us through their performances and the writing on the page. I’m always so fortunate to be in Stan [Glapa]’s graces over at Panavision Chicago here in Detroit.”

“CELERY MAN started as a small idea about the quiet absurdity of everyday betrayals, but became something far more personal,” the writer & #director of the unsettling & absurdist short film Diane Michelle (@dianemichelleofficial) tells us. The film was shot on #Panavision #SuperSpeed lenses, and serviced by Panavision Chicago.

Michelle continues, “We chose to shoot on 16mm to give the story a timeless, nostalgic feeling that mirrors the in-between space many people with mental health struggles inhabit. Huge thanks to Panavision for helping bring that vision to life. This is one of the pieces I’m most proud of. I hope it reminds people that even in the darkest moments, there can still be room for laughter because sometimes that’s all we have.”

#Cinematographer Jonathan Patterson (@midwestcowboy_) adds, “CELERY MAN was conceived as a dark comedy film by Diane Michelle which for me was a challenge outside of my comfort zone to define a look and presence that felt honest to the film's sense of tone. I relied on versatility and consistency to guide the look across the board. I found the lensing crossed paths uniquely in a way that carried this quasi-retro world these characters brought to life with us through their performances and the writing on the page. I’m always so fortunate to be in Stan [Glapa]’s graces over at Panavision Chicago here in Detroit.”

“CELERY MAN started as a small idea about the quiet absurdity of everyday betrayals, but became something far more personal,” the writer & #director of the unsettling & absurdist short film Diane Michelle (@dianemichelleofficial) tells us. The film was shot on #Panavision #SuperSpeed lenses, and serviced by Panavision Chicago.

Michelle continues, “We chose to shoot on 16mm to give the story a timeless, nostalgic feeling that mirrors the in-between space many people with mental health struggles inhabit. Huge thanks to Panavision for helping bring that vision to life. This is one of the pieces I’m most proud of. I hope it reminds people that even in the darkest moments, there can still be room for laughter because sometimes that’s all we have.”

#Cinematographer Jonathan Patterson (@midwestcowboy_) adds, “CELERY MAN was conceived as a dark comedy film by Diane Michelle which for me was a challenge outside of my comfort zone to define a look and presence that felt honest to the film's sense of tone. I relied on versatility and consistency to guide the look across the board. I found the lensing crossed paths uniquely in a way that carried this quasi-retro world these characters brought to life with us through their performances and the writing on the page. I’m always so fortunate to be in Stan [Glapa]’s graces over at Panavision Chicago here in Detroit.”

“CELERY MAN started as a small idea about the quiet absurdity of everyday betrayals, but became something far more personal,” the writer & #director of the unsettling & absurdist short film Diane Michelle (@dianemichelleofficial) tells us. The film was shot on #Panavision #SuperSpeed lenses, and serviced by Panavision Chicago.

Michelle continues, “We chose to shoot on 16mm to give the story a timeless, nostalgic feeling that mirrors the in-between space many people with mental health struggles inhabit. Huge thanks to Panavision for helping bring that vision to life. This is one of the pieces I’m most proud of. I hope it reminds people that even in the darkest moments, there can still be room for laughter because sometimes that’s all we have.”

#Cinematographer Jonathan Patterson (@midwestcowboy_) adds, “CELERY MAN was conceived as a dark comedy film by Diane Michelle which for me was a challenge outside of my comfort zone to define a look and presence that felt honest to the film's sense of tone. I relied on versatility and consistency to guide the look across the board. I found the lensing crossed paths uniquely in a way that carried this quasi-retro world these characters brought to life with us through their performances and the writing on the page. I’m always so fortunate to be in Stan [Glapa]’s graces over at Panavision Chicago here in Detroit.”

“CELERY MAN started as a small idea about the quiet absurdity of everyday betrayals, but became something far more personal,” the writer & #director of the unsettling & absurdist short film Diane Michelle (@dianemichelleofficial) tells us. The film was shot on #Panavision #SuperSpeed lenses, and serviced by Panavision Chicago.

Michelle continues, “We chose to shoot on 16mm to give the story a timeless, nostalgic feeling that mirrors the in-between space many people with mental health struggles inhabit. Huge thanks to Panavision for helping bring that vision to life. This is one of the pieces I’m most proud of. I hope it reminds people that even in the darkest moments, there can still be room for laughter because sometimes that’s all we have.”

#Cinematographer Jonathan Patterson (@midwestcowboy_) adds, “CELERY MAN was conceived as a dark comedy film by Diane Michelle which for me was a challenge outside of my comfort zone to define a look and presence that felt honest to the film's sense of tone. I relied on versatility and consistency to guide the look across the board. I found the lensing crossed paths uniquely in a way that carried this quasi-retro world these characters brought to life with us through their performances and the writing on the page. I’m always so fortunate to be in Stan [Glapa]’s graces over at Panavision Chicago here in Detroit.”

“CELERY MAN started as a small idea about the quiet absurdity of everyday betrayals, but became something far more personal,” the writer & #director of the unsettling & absurdist short film Diane Michelle (@dianemichelleofficial) tells us. The film was shot on #Panavision #SuperSpeed lenses, and serviced by Panavision Chicago.

Michelle continues, “We chose to shoot on 16mm to give the story a timeless, nostalgic feeling that mirrors the in-between space many people with mental health struggles inhabit. Huge thanks to Panavision for helping bring that vision to life. This is one of the pieces I’m most proud of. I hope it reminds people that even in the darkest moments, there can still be room for laughter because sometimes that’s all we have.”

#Cinematographer Jonathan Patterson (@midwestcowboy_) adds, “CELERY MAN was conceived as a dark comedy film by Diane Michelle which for me was a challenge outside of my comfort zone to define a look and presence that felt honest to the film's sense of tone. I relied on versatility and consistency to guide the look across the board. I found the lensing crossed paths uniquely in a way that carried this quasi-retro world these characters brought to life with us through their performances and the writing on the page. I’m always so fortunate to be in Stan [Glapa]’s graces over at Panavision Chicago here in Detroit.”

“CELERY MAN started as a small idea about the quiet absurdity of everyday betrayals, but became something far more personal,” the writer & #director of the unsettling & absurdist short film Diane Michelle (@dianemichelleofficial) tells us. The film was shot on #Panavision #SuperSpeed lenses, and serviced by Panavision Chicago.

Michelle continues, “We chose to shoot on 16mm to give the story a timeless, nostalgic feeling that mirrors the in-between space many people with mental health struggles inhabit. Huge thanks to Panavision for helping bring that vision to life. This is one of the pieces I’m most proud of. I hope it reminds people that even in the darkest moments, there can still be room for laughter because sometimes that’s all we have.”

#Cinematographer Jonathan Patterson (@midwestcowboy_) adds, “CELERY MAN was conceived as a dark comedy film by Diane Michelle which for me was a challenge outside of my comfort zone to define a look and presence that felt honest to the film's sense of tone. I relied on versatility and consistency to guide the look across the board. I found the lensing crossed paths uniquely in a way that carried this quasi-retro world these characters brought to life with us through their performances and the writing on the page. I’m always so fortunate to be in Stan [Glapa]’s graces over at Panavision Chicago here in Detroit.”

Playing around with celluloid.

Playing around with celluloid.

Playing around with celluloid.

Playing around with celluloid.

Hear from our Cinematographer, Thomas Rose (@throse), on creating the look for THE CALLING WITCH! 🎥 💡

If you’ve seen watched the film, we’d love your review on letterboxd, IMDB or Rotten Tomatoes!

#thecallingwitchfilm #panavision #supportindiefilm #cinematography