Freddie Young

Filmmaker

British·b. 1902 – d. 1998

Known for:

Three-time Oscar-winning cinematographer for David Lean's epics, Super Panavision 70 pioneer

Education:

Self-taught; entered the film industry at age 15

Freddie Young began working in the British film industry at age 15, joining Gaumont-British Picture Corporation in 1917 and managing its film lab by 19. Over a career spanning nearly 70 years and more than 130 films, he became one of the most respected cinematographers in cinema history. He won three consecutive Academy Awards for Best Cinematography, all for David Lean collaborations: Lawrence of Arabia (1962), Doctor Zhivago (1965), and Ryan's Daughter (1970). He served as a captain and chief cameraman of the British Army's Kinematograph Unit during World War II, and later became head of cameras at MGM Elstree.

Freddie Young's Gear List(5)

Super Panavision 70

Panavision

Connection Source

ShotonwhatWebsite

Connection note

Used on Lawrence of Arabia (1962) and Ryan's Daughter (1970). Super Panavision 70 uses 65mm negative with spherical lenses

Product description

Super Panavision 70 is a 65mm spherical camera system introduced in 1959 to compete with Todd-AO and MGM Camera 65. It shoots on 65mm film with a 5-perforation pulldown using spherical lenses, producing a 2.20:1 aspect ratio on 70mm prints. The first film shot in the format was The Big Fisherman (1959). The original camera bodies were eventually succeeded by the Panaflex System 65 in 1991, though the Super Panavision 70 name persists as a format designation.

Know something Freddie Young uses that's not listed?

Related artists

Jack Cardiff

Filmmaker

Last updated March 20, 2026

Super Panavision 70 Lenses

Panavision

Connection Source

WolfcrowWebsite

Connection note

Full lens set on Lawrence of Arabia: 28mm T2.8, 35mm T2.8, 50mm T2.0, 75mm T2.8, 100mm T2.5, 150mm T3.0

Product description

Spherical lenses designed for Panavision's 65mm camera system, producing a 2.20:1 aspect ratio when projected on 70mm prints. Originally developed in the late 1950s for large-format widescreen productions.

Panavision Sphero Panatar 450mm

Panavision

Connection Source

WolfcrowWebsite

Connection note

Custom telephoto used for the iconic Omar Sharif mirage entrance. Young spotted this unmarked lens at Panavision Hollywood and brought it to the desert

Product description

Custom 450mm telephoto lens built by Panavision for 65mm large-format cinematography. Designed to cover the full 5-perf 65mm frame at long focal lengths, where standard telephoto lenses would fall short on image circle coverage.

Eastman Kodak 50T 5250 (65mm)

Kodak

Connection Source

In70mmWebsite

Connection note

65mm negative stock used on Lawrence of Arabia. "Shooting on Kodak Eastmancolor 5250 65mm neg-stock"

Product description

Early Kodak color negative stock introduced in 1959, rated at EI 50 tungsten and EI 32 daylight. Available in 65mm for large-format cinematography and used on Lawrence of Arabia (1962) in Super Panavision 70.

Mole-Richardson Brute Arc Lamp

Mole-Richardson

Connection Source

TheascInterview

Connection note

Young's primary lighting tool. Minimum package included 12 Brute arcs. "The Brute is the most valuable lamp in the film industry. Nothing else can touch it"

Product description

The Mole-Richardson Brute Arc Lamp is a high-intensity carbon arc spotlight that draws 225 amps of DC power through a 24-inch Fresnel lens. Brute Arcs were a dominant lighting tool on Hollywood sound stages from the 1930s through the 1980s, when HMI lamps gradually replaced them. A small number remain in rental stock but have not been manufactured for decades.