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Panavision Panaflex Gold
Camera

Panavision

Panavision Panaflex Gold

The Panaflex Gold is a 35mm motion picture camera produced by Panavision, a company that manufactures equipment exclusively for rental to productions. Its near-silent operation and compatibility with Panavision's proprietary anamorphic and spherical lens systems made it a standard for Hollywood features from the 1980s onward. Christopher Nolan and many other directors continue to use Panavision equipment for productions shot on film.

Wikipedia ↗

Artists who use this(24)

Terrence Malick
Terrence Malick

Connection note

Malick used Panavision equipment for "Badlands" (1973), "Days of Heaven" (1978), and "The Thin Red Line" (1998). His cinematographers Néstor Almendros and John Toll have discussed the Panavision cameras in published interviews.
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Robert Altman
Robert Altman

Connection note

Altman used Panavision cameras for "Nashville" (1975), "The Player" (1992), and many of his ensemble productions. His signature multi-microphone sound mixing was enabled by Panavision's blimped cameras.
Sidney Lumet
Sidney Lumet

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Last updated March 24, 2026

Connection note

Lumet used Panavision cameras for "Dog Day Afternoon" (1975), "Network" (1976), and subsequent New York productions. His approach to camera equipment is discussed in his book "Making Movies" (1995).
Roman Polanski
Roman Polanski

Connection note

Polanski used Panavision cameras for "Chinatown" (1974), "The Pianist" (2002), and other productions. His cinematographers have discussed the Panavision system in published interviews.
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David Fincher
David Fincher

Connection note

Fincher used Panavision cameras for "Se7en" (1995) and "Fight Club" (1999) before transitioning to digital with the ARRI ALEXA for "The Social Network" (2010).
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Ridley Scott
Ridley Scott

Connection note

Scott used Panavision cameras for "Alien" (1979) and "Blade Runner" (1982). His cinematographer Jordan Cronenweth shot "Blade Runner" on Panavision with anamorphic lenses. Documented in production accounts.
Interview ↗
Brian De Palma
Brian De Palma

Connection note

De Palma used Panavision cameras for "Scarface" (1983), "The Untouchables" (1987), and "Mission: Impossible" (1996). His use of Panavision is documented in production accounts.
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David Cronenberg
David Cronenberg

Connection note

Cronenberg used Panavision cameras for "The Fly" (1986), "Crash" (1996), and "A History of Violence" (2005). His cinematographer Peter Suschitzky has discussed the equipment in interviews.
Luis Buñuel
Luis Buñuel

Connection note

Used Panavision cameras for The Discreet Charm of the Bourgeoisie (1972); DP Edmond Richard
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Miloš Forman
Miloš Forman

Connection note

Used Panavision cameras for Amadeus (1984) on Eastman Color Negative; DP Miroslav Ondricek
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Oliver Stone
Oliver Stone

Connection note

Used alongside ARRIFLEX 16SR for JFK (1991) for its documentary-style mixed-format aesthetic
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Martin Scorsese
Martin Scorsese

Connection note

Scorsese used Panavision cameras and anamorphic lenses for Goodfellas (1990) with DP Michael Ballhaus, Casino (1995) with DP Robert Richardson, and Gangs of New York (2002) with Ballhaus.
Interview ↗
Steven Spielberg
Steven Spielberg

Connection note

Spielberg has used Panavision cameras and lenses for the majority of his career, including "Jaws" (1975), "Schindler's List" (1993), and "Saving Private Ryan" (1998). His long partnership with Panavision is documented in multiple production accounts.
Interview ↗
Paul Thomas Anderson
Paul Thomas Anderson

Connection note

Anderson uses Panavision cameras and anamorphic lenses for all his films; "There Will Be Blood" (2007), "The Master" (2012), and "Phantom Thread" (2017) were shot on Panavision with his cinematographer Robert Elswit.
Interview ↗
Akira Kurosawa
Akira Kurosawa

Connection note

Three Panaflex Golds with 25-250mm zooms on Ran (1985); typically locked zooms at fixed focal lengths
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Robert Richardson
Robert Richardson

Connection note

Camera for JFK (1991) and Casino (1995)
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Hoyte van Hoytema
Hoyte van Hoytema

Connection note

Used Panavision Panaflex Gold shooting on film for Nolan's Dunkirk (2017), Interstellar (2014), and subsequent productions.
Gordon Willis

Connection note

Used Panavision cameras and anamorphic lenses for The Godfather (1972), The Godfather Part II (1974), and Apocalypse Now (1979).
Interview ↗
Edmond Richard

Connection note

Used Panavision cameras for The Discreet Charm of the Bourgeoisie (1972) and other late Buñuel films
Website ↗
Jordan Cronenweth

Connection note

Shot Blade Runner (1982) on Panavision with anamorphic lenses, creating the film noir-inspired neon-lit aesthetic that defined the cyberpunk genre.
Interview ↗
Miroslav Ondříček
Miroslav Ondříček

Connection note

Shot Amadeus (1984) on Panavision cameras with Eastman Color Negative stock, capturing the period settings of Prague standing in for 18th-century Vienna.
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Peter Suschitzky
Peter Suschitzky

Connection note

Used Panavision cameras for Cronenberg's Crash (1996) and A History of Violence (2005).
Robert Elswit

Connection note

Shot There Will Be Blood (2007), The Master (2012), and Phantom Thread (2017) on Panavision with anamorphic lenses, establishing the visual language of his collaboration with Paul Thomas Anderson.
Interview ↗
Quentin Tarantino
Quentin Tarantino

Connection note

Tarantino shoots on film with Panavision cameras; Pulp Fiction (1994) and Kill Bill (2003-04) were shot on Panavision Panaflex Gold.
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