Filmmaking cameras
Film cameras and Lenses used for
'Elvis'
DP Mandy Walker used a range of lenses to shoot different periods in Elvis' live. For the first part she used the 'Panavision Sphero' spherical lenses. By the time Elvis arrives in Hollywood Walker switches to specially made Panavision glass titled "Elvis" Lenses. As opposed to modern lenses, the "Elvis" version is less sharp, even a bit 'dirty' and with extra aberration, so it remains the old anamorphic glass from the seventies.
CAMERAS
Arri Alexa 65
Offering a complete large-format solution for high-end motion pictures, the ALEXA 65 system comprises a 65 mm digital cinema camera, custom-designed prime and zoom lenses, and fast, efficient workflow tools. Interest in the system has spread rapidly, with leading filmmakers pressing to use it on major feature films and IMAX announcing that it has selected the ALEXA 65 platform as its digital option for 2D IMAX productions.
Available exclusively through ARRI Rental, the ALEXA 65 has already been supplied to numerous high-profile projects, some using it as the main unit camera throughout production and others using it as a specialist camera for sequences that require extreme levels of image quality.
"Rogue One: A Star Wars Story," shot by Greig Fraser has been utilizing the ALEXA 65 as its main unit A, B and C-cameras. Before that, Stuart Dryburgh captured with ALEXA 65 on "The Great Wall," using it as his A and B-cameras on main unit.
Behind the ALEXA 65's latest system updates are pioneering technology advances that will also feature in ARRI's new-generation ALEXA SXT cameras. The updated ALEXA 65 now supports 2 TB SXR capture drives, offering over 40 minutes of recording time at the full 6560 x 3100 sensor resolution.
Arri Alexa LF
Featuring a sensor slightly larger than full frame, the ALEXA LF camera records native 4.5K with ARRI’s best overall image quality. This allows filmmakers to explore the immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.
LENSES
Panavision Sphero 65
With subtle aberrations and rounded out-of-focus properties, Panavision Sphero 65 lenses offer distinct attributes that separate them from more clinical large-format lenses. Moderate focus roll-off and blended layers of contrast allow the lenses to capture pleasing flesh tones and a soft, classic look.
Updated with modern mechanics as well as speciality coatings to make them less susceptible to flare and glare.
Compatible with both film and digital cameras fitted with a PV 65 mount.
Panavision T-Series
Panavision T Series anamorphic lenses combine new optical layouts with mechanical advances adopted from the G Series. T Series attributes include high contrast, balanced aberration control, excellent glare resistance, tightly controlled anamorphic squeeze ratio, and minimal breathing. With their lightweight, compact design, the T Series delivers superior optical quality in an easy-to-use package.
Optimized for digital sensor compatibility while maintaining the imaging characteristics that are part of Panavision’s anamorphic grammar. Larger sweet spot. Typical speed of T2.3 and close focus of 2 feet. (The 60mm focuses to 1.5 feet.) Engraved focus and T-stop scales on both sides of the lens, with gears in the standard Panavision locations.