Panavision Alga

Panavision Alga 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]

"I miss Rushmore. I miss the seasons. And watching the leaves change."Wes Anderson's second film RUSHMORE (1998) premier...
20/08/2026

"I miss Rushmore. I miss the seasons. And watching the leaves change."

Wes Anderson's second film RUSHMORE (1998) premiered at TIFF 27 years ago, with cinematography by Robert Yeoman ASC. Shot on the Panavision Panaflex Platinum camera with Primo Primes lenses.

What's your favorite song off the film's iconic soundtrack? (ours is The Wind by Cat Stevens 🤩)

📸 BTS photography by Van Redin

19/08/2026

"Prep is a great time to just dream, before you get on set and have to just do."

Cinematographer Linda Wu joins us for a PanaSpeed Round, shedding light on her BSC Award-winning short film FLOCK, the filmmakers who inspire her, and more. 🎥

 's 🆕 Primo 65 lens series offers full 65mm coverage, the Primo family's iconic clean, high-contrast look, and an elevat...
17/08/2026

's 🆕 Primo 65 lens series offers full 65mm coverage, the Primo family's iconic clean, high-contrast look, and an elevated, streamlined design to realize your vision on any sensor. What's the first scene you'd shoot on Primo 65?

Learn more here: https://pvlink.net/3RKhc07 🎥

14/08/2026

"Look at your work more, look at everyone else's work less." - Miguel Cármenes

What's the first image that made you fall in love with cinema? For cinematographer Miguel Cármenes, it's the chicken chase in CITY OF GOD 🤌

Hear about how Cármenes collaborates with a director, his on-set essentials, and why he loves the 'quirky' Panavision VA lens in this PanaSpeed Round. Click here to watch more: https://pvlink.net/45oydAz

"I looked up FUBAR in the German dictionary, there's no FUBAR in there..."'Saving Private Ryan' (1998) was shot by cinem...
13/08/2026

"I looked up FUBAR in the German dictionary, there's no FUBAR in there..."

'Saving Private Ryan' (1998) was shot by cinematographer Janusz Kamiński & directed by Stephen Spielberg, earning the legendary duo Academy Awards for their work on the landmark film. Shot with the Panavision Panaflex Platinum & Panastar cameras and Super Speed & Ultra Speed MKII lenses.

📸 Photography by David James

Une affaire turque sortie le 12/08/26Un film de Hüseyin Aydin Gürsoy | DP Romain Le Bonniec  | 1ACHélène Degrandcourt   ...
12/08/2026

Une affaire turque sortie le 12/08/26
Un film de Hüseyin Aydin Gürsoy | DP Romain Le Bonniec | 1ACHélène Degrandcourt

“Shooting Spider-Man: Brand New Day means so much more than I could ever describe. I was a projectionist at my local the...
10/08/2026

“Shooting Spider-Man: Brand New Day means so much more than I could ever describe. I was a projectionist at my local theater for a few years after high school, and I have a core memory of projecting Sam Raimi’s Spider-Man. To have shot a movie within that same franchise, and to have made it with a dear friend and collaborator like Destin, couldn’t make me any happier.”

Cinematographer Brett Pawlak discusses re-teaming with director Destin Daniel Cretton for the latest big-screen adventure of everyone’s favorite wall-crawler. Pawlak shot the movie with modified Panaspeed lenses that helped inform the design of the new Primo 65 lens series.

“I found myself really inspired by a lot of the comics, particularly the way the Spider-Man suit was depicted on the Amazing Fantasy cover. His suit has these incredibly saturated reds and blues, but the majority of the suit falls into almost complete black. That idea of pairing rich, saturated color with deep blacks and shadow became one of the foundations of the look.

I always start each project by going into Panavision and looking at lenses. I absolutely love anamorphic, but for some reason I kept gravitating toward spherical. I appreciate lenses that have character, falloff, and all the things that Panavision is great at giving its cinematographers, but instinctively I was looking for something cleaner. I had a brief conversation with Dan [Sasaki] one afternoon. I told him I was shooting on the [Alexa] 265 and described my hope for a well-performing lens that still had a classic ‘Panavision look.’ I even said, ‘I think I’d shoot this on Primos if I could.’

One of the things that has been most inspiring about working on Spider-Man has been the collaboration. Destin is a very generous collaborator, allowing everyone he brings on to do their ‘thing.’ Whether you’re presenting an idea or receiving one, everyone builds on it until it becomes everyone’s. I think that’s one of the most inspiring things about filmmaking.”

Read more at the link below, and see Spider-Man: Brand New Day in theaters now! 🕷️

Courtesy of Sony Pictures Entertainment
Photos by Jay Maidment, Matthew Towers, & Laura Radford

07/08/2026

If you were a chef instead of a DP, what dish would your next film be? 💭🍱 Cinematographer Anka Malatynska joins us for a PanaSpeed Round to chat about her love for 'Monsterland' and the T Series lenses, how radical optimism creates filmmaking opportunities, and the inspirations & passions that keep her going in between projects.

Click here to watch the full video with Anka: https://pvlink.net/4fxzF9y

Cinematographer Julia Swain brings us behind the scenes of ‘Voicemails for Isabelle’, shot on T Series lenses and suppor...
06/08/2026

Cinematographer Julia Swain brings us behind the scenes of ‘Voicemails for Isabelle’, shot on T Series lenses and supported by Panavision Vancouver. Watch the film only on Netflix! 🎆

“I read the script for Voicemails for Isabelle a few years before we got to go make it,” Swain tells us. “[Director] Leah McKendrick and I had made ‘Scrambled’ together where we had developed a very intimate, artistic partnership in telling a deeply personal story. We were thrilled to finally bring ‘Voicemails for Isabelle’ to the screen – a film that is so much more than a romcom. It’s an emotional journey about love, sisterhood, grief, pursuing your dreams. We were on a mission to bring elements of our favorite romcoms back – warmth, contrast, saturation. There’s also a softness to romcoms of the 90s and early 2000s that I wanted to preserve.

I looked to Panavision, as I have on many films, to give me the tools. It’s no secret that I love the T Series. They retain many of the qualities people associate with classic anamorphic photography – gentle falloff, subtle texture, the way highlights bloom – while still offering a great level of consistency and control. I wanted to create images that felt immersive and emotionally rich. I’m able to photograph very intimate moments, and then ones that are more expansive. I wanted to give audiences a very cinematic experience that they are ultimately just immersed in, captivated by these brilliant performances and along for the ride.”

10 years of the Panavision T Series lenses means 10 years of beautiful cinematography 🤩 What's your favorite project sho...
04/08/2026

10 years of the Panavision T Series lenses means 10 years of beautiful cinematography 🤩 What's your favorite project shot on the anamorphic powerhouse lenses?

Pictured:
Heated Rivalry – DoP Jackson Parrell
Once Upon a Time in... Hollywood – DoP Robert Richardson ASC
Agatha All Along – DoP's Caleb Heymann & Isiah Donté Lee
Ford v Ferrari – DoP Phedon Papamichael ASC GSC GCA (shot with Panavision spherical zooms, Standard Speed, T, C, B, & H Series lenses)
Chief of War – DoP's Matthew Chuang ACS & Michael Snyman
Him – DoP Kira Kelly ASC
Loki Season 1 – DoP Autumn Durald Arkapaw ASC

BTS Photography (in order) by Andrew Cooper SMPSP, Merrick Morton, Nicola Dove, Parrish Lewis

30/07/2026

Oh, to see the world through Alice Brooks' eyes 🤩🩷💚 Cinematographer Alice Brooks ASC details her passion for art through the craft of cinematography, the beauty of the world of Wicked, and her love for our Ultra Panatar II lens in her PanaSpeed Round.

Watch our full video with Brooks below, and stream Wicked: For Good on Netflix now! ✨
https://pvlink.net/3TrUPxj

  Les vacances de Golo & Ritchie de Martin Fougerol et Ahmed Hamidi, image Yannick Ressigeac
21/07/2026

Les vacances de Golo & Ritchie de Martin Fougerol et Ahmed Hamidi, image Yannick Ressigeac

  D'où vient le vent d'Amel Guellaty, image Frida Marzouk
15/07/2026

D'où vient le vent d'Amel Guellaty, image Frida Marzouk

  L'écologie des sentiments d'Alexandre Steiger, image Grégoire de Calignon
08/07/2026

L'écologie des sentiments d'Alexandre Steiger, image Grégoire de Calignon

  La chaleur de Stéphane Demoustier, image David Chambille
08/07/2026

La chaleur de Stéphane Demoustier, image David Chambille

  Evil Dead Burn de Sébastien Vanicek, image Philip Lozano
08/07/2026

Evil Dead Burn de Sébastien Vanicek, image Philip Lozano

  Un champ de fraises pour l'éternité d'Alain Raoust, image Julia Mingo
01/07/2026

Un champ de fraises pour l'éternité d'Alain Raoust, image Julia Mingo

  Miss Mermaid de Pauline Brunner et Marion Verlé, Image Nastasja Saerens
01/07/2026

Miss Mermaid de Pauline Brunner et Marion Verlé, Image Nastasja Saerens

  sort au ciné aujourd'hui.De Lila Pinell, photographié par Victor Zebo
17/06/2026

sort au ciné aujourd'hui.
De Lila Pinell, photographié par Victor Zebo

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

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EMGP, Bâtiment 217, 45 Avenue Victor Hugo
Aubervilliers
93300

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