Panalux

Some beautiful shots from #director Joe Connor on location with #dop David Proctor BSC in Cape Town.

Michele Channer has been appointed Managing Director of Panalux! Channer will lead the company in its continued focus on providing customers with best-in-class lighting solutions, service and support. Click the link below to read more! https://pvlink.net/4by9pGK

Another peek #behindthescenes of #TheMinistryOfUngentlemanlyWarfare courtesy of #gaffer Nathanael Bauer (@digitalvagrantlc).

A fantastic look on set at #IslandStudios of the #lightingsetup courtesy of #gaffer Steve Finberg "The joy of having 7 x 20’x20’ on motors for easy adjustment of height and angles, on recent commercial @island_studios Riggers Pat Daly and Mark Redmond."

“I had an amazing time with lots of learnings and growth on this one, there were days on set when it felt like Kim our Director took us to church during takes." The Standard Bank Rise "Above the Noise" commercial was shot by #cinematographer Rick Joaquin (@rickjoaquim) and speaks to the importance of self-belief and the strength of individuals who carve out their own paths in life. The film portrays multiple stories and carefully selected music that perfectly complements the narrative of each of the artists it follows. Director: @kimg0307 Production: @0307_films DOP: @rickjoaquim Camera + Lenses provided by @panavisionofficial, lighting provided by @panaluxworld South Africa and shot at Gold @island_studios in Johannesburg South Africa Shot on Alexa Mini + @cookeoptics Speed Panchros + @truelensservices 58mm Petzval lens + Supertechno30 Technocrane

You're invited to join us Wednesday 3rd July at 2pm to come see our brand-new state of the art facility, meet the Panalux team, and catch up with industry manufacturers and colleagues. Click the link below to RSVP! https://pvlink.net/4c832uX

"I still approach filmmaking in the same way: What's the best way to tell the story? What genre is it, and how do we achieve that genre? The more projects you do, you recognize, 'Oh, there's a shortcut here,' or, 'We can do it this way,' or, 'There's a smarter way to do this.’ Sometimes, it's the other way: ‘I've tried that, it doesn’t work,' or, ‘I’ve done that before, let's try a different route.' You also try to accommodate the director and make sure that they're happy, whatever it is that they're trying to achieve. Recently, I've been using ShotDeck a lot because it's quite an easy way to explain to a director or production designer that you like this kind of mood or feeling. Of course, you also research the subject matter. If it's historical, then you spend time looking at the art of the time, and pictures and newsreels and whatever you can get your hands on, to give you a sense of what the period and the era’s lighting and colours looked like. That all feeds into how you approach it." Part 1 of our conversation with #cinematographer Stephan Pehrsson BSC, he discusses his approach to #filmmaking and how inspiration has struck for shaping the look of some of his projects, including #Demon79 for which he won a Best Cinematography #BAFTA "For instance, with Demon 79, it was all browns and oranges and that kind of thing. A lot of that came from design, but also it was my memory of what ’70s films like Mean Streets looked like, those kinds of New York films from the ’70s. Plus, we had all the British horror films of the ’70s that we watched, looking at how they were lit and the way the film stock picked up the colour. That very much fed into how we wanted to approach our style and look. For SAS: Rogue Heroes, we were watching war movies like Kelly's Heroes and The Guns of Navarone, which had the feeling we wanted to invoke but with a slightly more modern sensibility. We probably moved the camera a bit more than they would have in the ’70s, but the colours and the tones were very much taken from the look of those films."

Part 2 of our conversation with #cinematographer Stephan Pehrsson BSC (@stephan.pehrsson) takes us #behindthescenes of lighting choices and his relationship with #gaffer Chris Stones. "Lighting evolves with the new kit and new technology that comes out, but I think my style — not that it is a style — is about being quick and light on your feet. I like to light the room and spend time on a good pre-rig to be as efficient as I can between setups. You want to have something you can move in and out of quickly. Chris Stones, the gaffer I've been working a lot with recently, has a great relationship with Panalux. On Your Christmas or Mine 2, we needed a big, soft light all around this vast alpine set, which was supposed to be in the Austrian Alps with a fantastic view over the mountains. They created this huge Translight outside floor-to-ceiling windows, so it's quite a challenge for any lighting department to keep that looking natural and even. We used Panalux Sonaras, banding them together to be one big source for our ‘daylight.’ We had a restaurant scene in a hotel in Austria with the same view as our set. When we got back to England, we realised we had missed some shots, so we went into our set, turned all the lights off inside and just had the Sonaras on outside the windows, and it matched perfectly with the lighting we had in Austria. It was quite remarkable. I like to keep people involved and make sure they are masters of their own domain. Chris will look after the lighting package, and when we’re rigging a set, I’ll ask him, 'What's your idea? What would you want to do here?' We look at that together, and he comes up with a plan. Often, I operate one of the cameras on set, so I'm not able to look at what the other camera's doing. Chris is great for looking over my shoulder and checking that everything still balances and looks good and is consistent with what we've been trying to achieve. I like it to be as collaborative as possible. I find that you get the best out of people when they are allowed to offer ideas and be part of the process."

Gaffer Tom Northam takes us behind the scenes at Black Island Studios! Serviced by #Panalux London.

"Baby Reindeer! What a show! I was lucky enough to gaffer Block 2 of this crazy Drama for Annika Summerson (BSC). Also a massive thank you for all your trust - as well as a massive thank you to my Crew! It was one cold ride with warm memories! Some BTS attached." A fantastic look behind the scenes of #BabyReindeer courtesy of #gaffer Bernie Rostoski @bernie.lights - proudly serviced by #Panalux London. Director @jbornebusch DoP @annisummerson Desk op @jonny_deskop Best Boy @pope.willy @zwsbrown