There are moments in the new Netflix western The Harder They Fall that glean inspiration from Sergio Leone or the paintings of Kadir Nelson, but the film’s style—replete with split screens, zooms and precisely arranged widescreen compositions—was also shaped by cinematographer Mihai Mălaimare Jr.’s choice of lunchtime perch. “Because of COVID, we couldn’t all eat together, so we would each pick our own spots. I always ate up on the balcony of one of the sets,” said Mălaimare Jr. “The crew always joked that was why we have so many high angle shots in the movie, because I would be […]
by Matt Mulcahey on Nov 5, 2021If you’re reading this story in hopes of gleaning the magic recipe behind Panavision’s increasingly popular “detuning” process, sorry to disappoint you. Panavision Senior Vice President of Optical Engineering Dan Sasaki will divulge no such details. “I wish I could. Unfortunately, that is a process we like to keep secret,” said Sasaki, who began his career at Panavision in 1986 as a lens service technician. “What I can say is that it’s a process that is continually evolving.” Sasaki will, however, happily talk about being a second-generation member of the Panavision family, the storied history of the C Series anamorphics, […]
by Matt Mulcahey on Jul 29, 2019DPs, not directors, are the rock stars at Camerimage, the film festival in Bydgoszcz, Poland, devoted to the foundational art of the motion picture camera. The world’s best cinematographers, if not working, flock there each autumn.The 25th edition, which wrapped several months ago in November 2017, proved no exception. The festival hub is a modernist opera house, perched above The Brda, the narrow river that bisects picturesque Bydgoszcz (once known as “Little Berlin”). Centrally located, Opera Nova hosts two theaters, including the festival’s main venue. A long, ground-floor lobby and second-floor hallway, curved thanks to the building’s cylindrical shape, house […]
by David Leitner on Mar 8, 2018Late last year Panavision introduced a new lens line, the Primo 70. These lenses are specifically designed for use on larger sensor digital cameras and, according to Panavision, cannot be used on film cameras. We spoke with Dan Sasaki, VP of Optical Engineering at Panavision, about the development of these lenses, and how they differ from film lenses. Filmmaker: What was the impetus for developing digital lenses? Sasaki: Our Primo 35 lenses have been around since the late ’80s, early ’90s, and they are designed to work with film cameras. The Primo lenses have what’s called the blue line shift on […]
by Michael Murie on Mar 18, 2015