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Panavision Alga

Name: Panavision Alga
Address: EMGP, Bâtiment 217, 45 Avenue Victor Hugo, Aubervilliers, 93300, FR
Telephone: +33148132550

Prestataire de location de matériel de prises de vue, de machinerie, d'éclairage et de camions pour le cinéma, les fictions TV et la publicité.

Nous retrouver plus facilement : 7 avenue des Chemins de Fers Industriels, Aubervilliers. Demandes de stage à [email protected]

08/06/2026

L'Objet du délit
Un film de Agnès Jaoui ; Image David Chizallet
Zooms Panavision Wide anamorphiques 37-85 mm et 75-210 mm
Copyright photos afBrillot

27/05/2026

sort au ciné 🎥 aujourd'hui le 27/05

21/05/2026

Grand Prix Ami Paris pour La Gradiva à La Semaine de la Critique
Bravo à toute l'équipe du film !
de Cannes

19/05/2026

We had a wonderful time hosting and his team today for ‘Behind The Lens’ workshops by Panavision - demystifying and how different optics influence perspective, depth and atmosphere 🎥 🎥 Great to see so many creatives, directors and advanced technical operators in the room, getting access to the amazing Panavision gear, and hearing from special guest cinematographer and LA-based director 🎬 BIG thanks to and .nsw for partnering with and supporting indie filmmakers

19/05/2026

🎬 Sélection ACID.
Mauvaise étoile rejoint cette section indépendante
dédiée à un cinéma libre et engagé.
Un film de Lola Cambourieu et Yann Berlier,
photographié par Lola Cambourieu et Yann Berlier,
avec Charly Caillaux, 1er assistant caméra

18/05/2026

Visionary DP Alexandra de Saint Blanquat brings us behind the scenes of the powerfully absurdist ‘Two People Exchanging Saliva’. Watch the Oscar-winning short film at the link below.

“The film is a dystopia set in a world that is profoundly divided between the rich, in the store or fancy apartment, and the poor, in the darkness and the underground,” de Saint Blanquat tells us. “Camera-wise, all the shots are either on a dolly, a tripod, or handheld. No steadicam, no crane etc. Our aim was to be as cinematographic as possible.

I have worked with Panavision Paris for a long time, and it felt natural to work together on this film. Panavision offers the widest panel of lenses you could hope for. The Primo 70 lenses were an instant crush for me! We were looking for sharp lenses that would give us precision, but also hoping for a certain softness in the contrast. The film is set in this dictatorship, and having square, harsh structure emphasizing the rigidity felt essential.

I am very happy I had the opportunity to work with directors Alexandre Singh and Natalie Musteata. They have a strong career in modern art, and it showed – they knew what they wanted and how to get there. I love the generosity of the film and its boldness. It is a privilege to work with directors that are this talented, but also know how to trust their crew, and everyone on set felt empowered. I also loved the crew; a majority of women, from all countries. I felt proud to be part of it.

We were shooting in the Galerie Lafayette and had long nights – it was impossible to be late, the store had to open every morning. We were shooting the sequence where a client from the store is arrested and put in a box. The shot list was super precise, but it was one of those moments where I felt that what was happening, and the intensity of it, was beyond what was expected. Alexandre & Natalie trusted me, so I improvised a shot. I ran from Malaise's position to the box, arrived on my knees at the same time as the action, and caught Angine's face as she watched, horrified. I love this shot because I felt that everyone was aligned; we were on the same pace, same flow. It was exhilarating.”

Watch the film here: https://pvlink.net/4318DjF
Set photography by Tudor Cucu ( on Instagram)

18/05/2026

🎬 Sélection officielle – La Cinef.
Algumas coisas que acontecem ao lado de um rio
(Au fil de l'eau) est sélectionné
à la Cinéfondation du Festival de Cannes.
Une section dédiée aux films d’école
et à l’émergence de nouveaux talents.
Fiers d’accompagner les équipes avec Panavision.

17/05/2026

🎬 Quinzaine des Cinéastes.
Dora est sélectionné
dans la programmation 2026.
Fiers d’accompagner ce film avec Panavision.

16/05/2026

🎬 Semaine de la Critique.
Dernier film Panavision présenté
dans cette sélection cette année.
La Sentinelle clôt la programmation 2026.

15/05/2026

“The Lost Bus is the biggest film I've ever done, it's a huge story,” cinematographer Pål Ulvik Rokseth, FNF tells us about his groundbreaking work on the Oscar-nominated film, and his collaboration with director Paul Greengrass.

“Big stars in front of and behind the camera, all the heads of departments are extremely talented and experienced,” continues Rokseth. “Paul Greengrass has a documentary background, so he leans towards that style of shooting. It's not documentary per se – it's more like he constructs the scenes, and you shoot on intuition.

This has been the most intense film I've shot when it comes to handheld work. Our reference was one of Paul’s first movies that put him on the map, Bloody Sunday. It's that Super 16, zoom, shoulder-camera vibe. I operated A-camera, so I got to dance with the actors. It was like a roller-coaster ride.

We started our lens package with the Panavision VA primes and zooms because I talked to Dan [Sasaki, Panavision’s SVP of Optical Engineering] and said I wanted lenses that were true and clean but still give that soft roll-off. When you talk to Dan, it feels more like a conversation about the story, and then he says, ‘Here’s a set I would recommend for you.’ We also used Super 16mm zooms and cropped into the sensor to give us more range in our handheld setups.

It's difficult to recreate being inside a forest fire, because it's during daytime but the sky is black from too much smoke, so the sun won't go through. There's this dusky kind of look, nighttime during the day. All the exteriors we shot in dusk. We prepped for six hours and shot for 40 minutes; everything was shot in that magic hour. It's all based on real photos, real images, what the firefighters filmed with their phones.

This lack of control [in filmmaking], I'm embracing more. When you start out, you're trying to learn how to control the environments around you, to make sure you have control over a scene, where to put the light, the camera. Yet the more I work, the more impulsive I am to just follow the story, and take the chance to see something new when I’m on set.”

15/05/2026

🎬 Semaine de la Critique.
La Frappe est présenté
dans la sélection 2026.

14/05/2026

"The main thing is to keep the main thing, the main thing."

Illustrious cinematographer Michael Goi ASC, ISC joins us for a Panaspeed Round, shining a light on his mantras, inspirations, & advice, as well as his favorite part of the cinematography process.

What lost films do you hope Michael finds in his Indiana Jones era? 🎥

14/05/2026

🎬 Direction Cannes.
La bataille de Gaulle - l'âge de fer rejoint
la Sélection officielle Hors Compétition.
Fiers d'avoir accompagner ce film.

13/05/2026

Cinematographer Andre Myers Washington takes us behind the scenes of GREEN: Meet the Greens, the third and final chapter in the ambitious & vibrant anthology film ‘Three Colors: Pan-African’, supported by Panavision’s New Filmmaker 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 and I landed on the Primo 70 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, Kimrie Lewis, Juanita Jennings, Jadah Marie, AMARR & Tucker Smallwood as "The Greens"

12/05/2026

"When selecting lenses for this project, my director Allison A. Waite and I both knew we wanted something with a lot of character,” cinematographer Sonali Chugani tells us about her approach the second chapter in the anthology film ‘Three Colors: Pan-African’, supported by Panavision’s New Filmmaker 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 Primo Artistes 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."

Pictured:
Lathan Ava as "Amma Mensa"
Sibongile Mlambo as "Joana Mensa"

11/05/2026

We went behind the scenes with the filmmakers of ‘Three Colors: Pan-African’, an anthology film that uses the Pan-African flag as its thematic reference point, supported by Panavision’s New Filmmaker Program. DOP Jonathon Jacobs details his approach to the first chapter, RED: Black Men Don't Cry, and his collaboration with Elijah Davis.

"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 H Series 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."

Pictured:
Stephen Bishop as "Uncle Steve"
Peyton Alex Smith as "Ahmari Rose"

08/05/2026

Every pin, mirror, and claw in a 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)

05/05/2026

The dynamic filmmaking duo, the Abdala Brothers, met with Panavision SVP of Optical Engineering Dan Sasaki to talk all things for their artful debut film 2DIE4. Click the link in our bio to watch the full video! 🎥

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

04/05/2026

Cinematographer Anshul Shankhdhar takes us of 'Beaten Down', supported by the Panavision New Filmmaker 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, 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.”

04/05/2026

May the 4th 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 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 here: https://pvlink.net/4cKjPXR

Adresse

EMGP, Bâtiment 217, 45 Avenue Victor Hugo
Aubervilliers
93300

Heures d'ouverture

Lundi	08:00 - 19:00
Mardi	08:00 - 19:00
Mercredi	08:00 - 19:00
Jeudi	08:00 - 19:00
Vendredi	08:00 - 19:00

Téléphone

+33148132550

Site Web

https://fr.panavision.com/home

Notifications

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