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Panalux

Lighting rental for the film, television, and entertainment production industries.

Created specifically to cater to the exacting needs of the global entertainment industry, the Panalux service is unrivalled in its ability to provide creative solutions to the full spectrum of production types, regardless of size or genre. Experience and innovation plus an extensive inventory of modern equipment fully supported by a team of highly skilled professionals sets Panalux apart from the

competition. Utilising these extensive resources, clients continually entrust us to deliver practical, effective lighting systems to projects throughout the world.

05/09/2024

Today we're throwing it back to this rig on the set of

26/08/2024

for a shoot! by Matt Fox and Paul Allen. Serviced by and London and shot on Green Stage at

14/08/2024

Emmy nominated Adriano Goldman ASC BSC ABC and Andy Lowe take viewers behind the scenes of .

Over six seasons, the Emmy nominated Netflix series has enthralled viewers with its simultaneously intimate and epic portrait of Queen Elizabeth II and the royal family’s inner workings throughout the second half of the 20th century and into the early years of the 21st.

and serviced the production throughout all six seasons, supplying cameras, optics and lighting equipment to lead Adriano Goldman ASC BSC ABC; cinematographers Ole Bratt Birkeland BSC; Stuart Howell BSC; Fabian Wagner ASC BSC; Frank Lamm; Ben Wilson; Rasmus Videbæk; and Sophia Olsson, and their crews. In this video, Goldman and gaffer Andy Lowe welcome viewers on set and reflect on the evolution of the series’ camerawork and lighting.

Sophia Olsson has been nominated for Outstanding Cinematography for a Series (One Hour) - “Ritz,” and Adriano Goldman ASC BSC ABC has been nominated for Outstanding Cinematography for a Series (One Hour) - “Sleep, Dearie Sleep." has also been nominated for 18 Emmys, including Outstanding Drama Series. Watch The Crown, Seasons 1-6, now on and click the link below to watch the full interview!
https://pvlink.net/Making_of_The_Crown

25/07/2024

Huge thanks to for including and in their “New Crew” night! It was such a privilege to welcome in new members of the film & TV industry in the area with a night of drinks, catching up, and networking.

Incredible photos by Kerry Spicer Photography 📸

19/07/2024

Congratulations to all the 2024 nominees! is proud to have supported a number of the nominated series and artists. Among the incredible works are the following projects, , and :

🍺 - Serviced by London
✨ Outstanding Limited or Anthology Series, cinematography by Krzysztof Trojnar & Annika Summerson.
Gaffers: Alex Edyvean & Bernie Rostoski

👑 - Serviced by London & Panavision London
✨ Outstanding Cinematography for a Series (One Hour) - "Ritz," by Sophia Olsson
✨ Outstanding Cinematography for a Series (One Hour) - "Sleep, Dearie Sleep," by Adriano Goldman
✨ Outstanding Drama Series
Gaffers: Andy Lowe & Chris Stones

🔍 Slow Horses - Serviced by Manchester & Panavision London
✨ Outstanding Drama Series, cinematography by Danny Cohen BSC & David Chizallet.
Gaffer: Paul McGeachan

👬 - Serviced by London & Panavision London
✨ Outstanding Television Movie, cinematography by Stephen Goldblatt ASC BSC,
Gaffer: Martin Cox

18/07/2024

Simon Chaudoir takes us of this gorgeous Biotherm spot.

"It was a hell of a shoot--we had one day on two stages at [Island] Studios Cape Town with four sets in all. The next day we started on the beach before sunrise, then battled with the incoming tide for the end shot of the story and wrapped just before a huge wall of fog enveloped us all.

As always with projects that have more ambition than time, a lot of energy was expended planning just how to achieve it all, but I’m delighted with the result. Who knew a skincare advert could be so epic? The pre-dawn shots were hoovered up in no-time by Jo Oosthuizen with his Trinity--let’s face it, normally the sun has bleached out whatever magic there was in the air before everyone’s happy with the shots--but he was a laser-guided missile.

My special thanks to
Director: Jonas Vahl & PHANTASM
DIT: Rusty Ruthven
Trinity operator: Jo Oosthuizen
Focus: Frank Gardner
Gaffer: Toby Smuts
Grip: Craig Bekker"

03/07/2024

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

27/06/2024

Another peek of courtesy of Nathanael Bauer ().

24/06/2024

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

21/06/2024

“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 Rick Joaquin () 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:
Production:
DOP:

Camera + Lenses provided by , lighting provided by South Africa and shot at Gold in Johannesburg South Africa

Shot on Alexa Mini + Speed Panchros + 58mm Petzval lens + Supertechno30 Technocrane

21/06/2024

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

20/06/2024

"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 Stephan Pehrsson BSC, he discusses his approach to and how inspiration has struck for shaping the look of some of his projects, including for which he won a Best Cinematography

"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."

20/06/2024

Part 2 of our conversation with Stephan Pehrsson BSC (.pehrsson) takes us of lighting choices and his relationship with 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."

13/06/2024

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

10/06/2024

"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 courtesy of Bernie Rostoski .lights - proudly serviced by London.

Director
DoP
Desk op
Best Boy .willy

05/06/2024

''Faces and Atmosphere! Hamlet, starring Ian McKellan, Steven Berkoff, and Jenny Seagrove, was full of close-ups - almost every shot was of a lit face. The Theatre Royal Windsor was our controlled interior location which DP Neil brought to life with colour contrast, haze, and shadows. The Theatre didn't have to resemble the moody and conspiratorial Castle Elsinor, but it had to feel like it. DP Neil kept an excellent diary of the shoot (linked in bio)."

Ben Millar shows us the method to the madness behind the scenes of

"Despite the cast; the budget and schedule were tight. How much budget do you need to light a face and create an atmosphere? Almost always we used 650w Tungstens with Muslin Frames, LiteMat 2Ls, Gemballs, and Rifas, time-tested classics. The set-ups demanded speed and the actors appreciated the warm tungsten glow.

A Spark will tell you (or an Actor in the middle of a scene) that the best light is the closest light to hand. Panalux had everything we needed and more. They understood the budget and the production, and offered a consistent and reliable customer service with logisitical management that always takes weight off a Gaffer's and Best Boy's shoulders.

First Diagram: A standard interior close-up: soft key, subtle backlight, colour contrast, eyelight. This was our bread-and-butter. I love it. Watching the blocking for the different beats and angles, then discussing with DP Neil the approach, finding the mood, setting it all in an hour, then trying not to tweak.

Second Diagram: Lighting 200m of Windsor Castle walls and towers (only a few days after Prince Philip died). 10Ks along the street, Parcans picking out details, a LiteMat8 on top of the Theatre roof lighting the talent. All that was for a slight lift in the shadows, it's tempting when you have the firepower to over do it. The scene worked, but had we done it again, I would have used more sources but smaller! An unforgettable project.''

Dir. Sean Mathias
DP. Neil Oseman
Gaffer. Ben Millar

05/06/2024

‘’Faces and Atmosphere! Hamlet, starring Ian McKellan, Steven Berkoff, and Jenny Seagrove, was full of close-ups - almost every shot was of a lit face. The Theatre Royal Windsor was our controlled interior location which DP Neil brought to life with colour contrast, haze, and shadows. The Theatre didn’t have to resemble the moody and conspiratorial Castle Elsinor, but it had to feel like it. DP Neil kept an excellent diary of the shoot (linked in bio).”

Ben Millar (.milla) shows us the method to the madness behind the scenes of

“Despite the cast; the budget and schedule were tight. How much budget do you need to light a face and create an atmosphere? Almost always we used 650w Tungstens with Muslin Frames, LiteMat 2Ls, Gemballs, and Rifas, time-tested classics. The set-ups demanded speed and the actors appreciated the warm tungsten glow.

A Spark will tell you (or an Actor in the middle of a scene) that the best light is the closest light to hand. Panalux had everything we needed and more. They understood the budget and the production, and offered a consistent and reliable customer service with logisitical management that always takes weight off a Gaffer’s and Best Boy’s shoulders.

First Diagram: A standard interior close-up: soft key, subtle backlight, colour contrast, eyelight. This was our bread-and-butter. I love it. Watching the blocking for the different beats and angles, then discussing with DP Neil the approach, finding the mood, setting it all in an hour, then trying not to tweak.

Second Diagram: Lighting 200m of Windsor Castle walls and towers (only a few days after Prince Philip died). 10Ks along the street, Parcans picking out details, a LiteMat8 on top of the Theatre roof lighting the talent. All that was for a slight lift in the shadows, it’s tempting when you have the firepower to over do it. The scene worked, but had we done it again, I would have used more sources but smaller! An unforgettable project.’’

Dir. Sean Mathias
DP. Neil Oseman
Gaffer. Ben Millar .milla

28/05/2024

A look at this stylish ad for courtesy of Peter Bishop featuring and - serviced by and London.

Directors Charlie di Placido and Josh Lloyd
DOP Peter Bishop
1st AC Mike Linforth
2nd AC Clare Fuller
Cam trainee Abbas Mohsen
Steadi Gary Kent
Gaffer Greg Probert
Desk Op Sam Campbell
Spark Leyt Said
Spark Matt Simmons
Spark Dan Burns
Master Rigger Paul King
Rigger Francis King

24/05/2024

We are excited to announce the family has won two Gold for our video "The Making of The Crown: A Collaboration with Panavision." https://pvlink.net/Making_of_The_Crown

Panavision and are grateful to have had the opportunity to tell the story of how our customers’ artistry and visual approach helped shape the way this beloved series came to life.

🏆 Behind The Scenes (BTS) – Social Video
🏆 Behind The Scenes (BTS) – Branded Content

Thank you to our partners on this video at and !

20/05/2024

Marcus Domleo captured the world of Sugar Ray Robinson on stage 5 at for Christie's Basquiat acquisition. Check out some knock-out scenes behind the camera. Serviced by and London.

13/05/2024

Steve Finberg discusses a lighting behind the scenes of a commercial shot in July 2023.

"Using a video wall outside the windows so it can all be captured in camera, avoiding post production. We had something like 9 sets, with 4 being in position at one time. Only enough lights to have 2 sets lit at once so we could always move into the next set without wasting time relighting. There was only one video wall though so it had to be moved quickly to whatever set we were shooting on, so built the sets in one line so the 2 tonne video wall could roll along the I-beams easily. We added extra motors to bridle the screen so we could also adjust distance away from the windows. It was a delicate compromise: if the screen came too close it became impossible to light the set, but too far away and you’d end up seeing off the screen. (Note the magenta hue of the screen wasn’t visible on the shooting camera, as the screens were calibrated to look correct for an Alexa sensor, but looked a little magenta both to the eye and on the iPhone)."

Serviced by shot at

06/05/2024

“In order to show the journey the characters go on, we needed to slightly extend the spectrum. When we needed a warm, happy scene, we went slightly past the normal warm and organic tones, and likewise when it was a cold, sad scene, we took it slightly colder and bleaker, enhancing the change.”

Gaffer Chris Dowling () shines a light on his collaboration with cinematographer Ole Bratt Birkeland BSC for writer-director-star Daniel Levy’s ()Netflix feature Good Grief, serviced by Panalux, Panavision and Light Iron.

“We tried to maintain as low a carbon footprint as possible throughout the project. Wherever possible, we used the latest LED fixtures to try to keep the times we used a generator to an absolute minimum. We are at a point now in the industry where we can really start to make a difference. Having the newest tech also allowed us to have a huge amount of control at our fingertips. This gave us the advantage of speed as well as fine-tuning whilst the shot developed.

I would say 80 to 85 percent of the movie was shot using purely LED fixtures — kudos to Ole for embracing the technology. Anyone who has used LED fixtures as well as tungsten or HMI will tell you they feel and react differently. The craft and skill is knowing that and putting things in place to bring it back to the warmth and organic feel of tungsten and the sharp, clean feel of HMI for daylight.

My favourite lighting setup normally ends up being the one that caused the most headaches. Those are the ones that test you and push you forward. On this project, I would say it was the studio shoot. We were in a tiny studio in the back of Acton, with no height, no space, no rigging, no mains. The scenes in the Paris bedroom, with its huge windows, were shot there. We needed two lighting setups as well as a Translight. When I saw that on the screen, I thought, ‘Yes, we smashed that.’ The lighting and Ole’s clever use of lens and camerawork absolutely shows how it should be done. Even with huge limitations, you can achieve amazing results.”

03/05/2024

Jamie D. Ramsay SASC takes us behind the emotion of lighting Warren Ewan, serviced by London.

Watch the full video at the link in bio!

30/04/2024

“Ed Wild BSC wanted to feel a real richness in the images with a classic old school Hollywood vibe, while keeping in step with Guy Ritchie’s signature style.

We had a real mix of sources on this film, large HMI of moonlight and daywork on the big spaces. Lots of tungsten for interiors and soft LED for the actors modelling.

Demre Harbour was one of the biggest sets I have ever been on let alone try to light. The Art Department had built an entire port and village on the site which had hundreds of period practicals all for a moment in the film where the whole town turns off in an instant. We had submarine builds and many boats in the water that all had individual lighting requirements in order for the night raid to work.”

Nathanael Bauer () takes us behind enemy lines on - proudly serviced by London.

“We Filmed Ministry in Antalya Turkey, although Turkey has fantastic technical crew it is still a growing film industry. We managed, with the help of Panalux, to ship out several containers of a core package that helped us rig and shoot the various studio and location work around the city.

The opportunity to travel the world making films keeps me coming back. Collaborating with different department heads and the cinematographer to work out technical solutions for creative choices always keeps things interesting.”

30/04/2024

"Ed Wild BSC wanted to feel a real richness in the images with a classic old school Hollywood vibe, while keeping in step with Guy Ritchie’s signature style.

We had a real mix of sources on this film, large HMI of moonlight and daywork on the big spaces. Lots of tungsten for interiors and soft LED for the actors modelling.

Demre Harbour was one of the biggest sets I have ever been on let alone try to light. The Art Department had built an entire port and village on the site which had hundreds of period practicals all for a moment in the film where the whole town turns off in an instant. We had submarine builds and many boats in the water that all had individual lighting requirements in order for the night raid to work."

Nathanael Bauer () takes us behind enemy lines on

"We Filmed Ministry in Antalya Turkey, although Turkey has fantastic technical crew it is still a growing film industry. We managed, with the help of Panalux, to ship out several containers of a core package that helped us rig and shoot the various studio and location work around the city.

The opportunity to travel the world making films keeps me coming back. Collaborating with different department heads and the cinematographer to work out technical solutions for creative choices always keeps things interesting."

26/04/2024

We're very excited to welcome Melanie Georgieva who will be shining a light at our London office as Long Form Sales Director.

“The relationships Melanie has developed throughout the film, television and commercial industry, along with her thorough understanding of the production process, are invaluable," said Panalux Business Development Director Michele Channer. "We’re thrilled to welcome her to the Panalux team and look forward to helping our customers bring their creative visions to life together.”

Read more at the link in bio!

25/04/2024

“Latcho Drom is a subtle, poetic film about three Romani brothers and their struggle to move on after the death of their father.

From the beginning, both me and director Lottie saw the film’s visualisation to be very naturalistic, embracing the beautiful, rural environments. Lottie wanted to be able to improvise with the actors so we decided to lean into a more documentary style of shooting. Due to this, we aimed to fully embrace and utilise the natural light to achieve a highly authentic and realistic look for the film.

To achieve this effectively, my gaffer, Joe Dabbs, utilised LiteMats in the space motivating the practicals so that I was able to create more detailed shape and contrast. For the outside nighttime scenes, Joe used ARRI M18 and 2.5kw HMI heads to create the look of outside spotlights.

During the scene featuring the brothers by a fire, my pickup day gaffer, Elena Nassati, strategically placed Astera tubes behind the actors, set to a fire mode, to effectively separate them from the dark sky backdrop.

We had some challenges in our pre-production and Lottie had to re-write a new script a week before our shoot. She created a beautiful story around our main actor, Sonnyboy and his two younger brothers.

Having the story evolve from the initial script, Latcho Drom presented us with a new set of challenges we had to tackle in a short time. Among these were driving scenes that were not initially part of the script. Unable to secure a suitable location for these scenes, we decided to shoot at our school’s LED volume wall instead. I was lucky enough to have the legendary Larry Prinz gaffer for me on this day. Bringing authenticity to the driving scenes was a tricky task, but with Larry’s expert guidance, we were able to create a believable alternative to shooting on location.

Having the support from Panalux on this project was a pleasure and an incredibly positive experience. We were so grateful for them to have supplied us with a generous amount of equipment.”

Essi Hyrkki () takes us behind the scenes of the Grad Film (Good Road). Supported by London. Panalux is a proud patron of the .

25/04/2024

"Latcho Drom is a subtle, poetic film about three Romani brothers and their struggle to move on after the death of their father.

From the beginning, both me and director Lottie saw the film's visualisation to be very naturalistic, embracing the beautiful, rural environments. Lottie wanted to be able to improvise with the actors so we decided to lean into a more documentary style of shooting. Due to this, we aimed to fully embrace and utilise the natural light to achieve a highly authentic and realistic look for the film.

To achieve this effectively, my gaffer, Joe Dabbs, utilised LiteMats in the space motivating the practicals so that I was able to create more detailed shape and contrast. For the outside nighttime scenes, Joe used ARRI M18 and 2.5kw HMI heads to create the look of outside spotlights.

During the scene featuring the brothers by a fire, my pickup day gaffer, Elena Nassati, strategically placed Astera tubes behind the actors, set to a fire mode, to effectively separate them from the dark sky backdrop.

We had some challenges in our pre-production and Lottie had to re-write a new script a week before our shoot. She created a beautiful story around our main actor, Sonnyboy and his two younger brothers.

Having the story evolve from the initial script, Latcho Drom presented us with a new set of challenges we had to tackle in a short time. Among these were driving scenes that were not initially part of the script. Unable to secure a suitable location for these scenes, we decided to shoot at our school's LED volume wall instead. I was lucky enough to have the legendary Larry Prinz gaffer for me on this day. Bringing authenticity to the driving scenes was a tricky task, but with Larry's expert guidance, we were able to create a believable alternative to shooting on location.

Having the support from Panalux on this project was a pleasure and an incredibly positive experience. We were so grateful for them to have supplied us with a generous amount of equipment."

Essi Hyrkki takes us behind the scenes of the Grad Film (Good Road). Supported by London. Panalux is a proud patron of the .

19/04/2024

Reason #3 to get excited about our move: it is easy being green!

Panalux London’s new facility has been designed with sustainable practices as a priority. The new HQ offers roof-mounted photovoltaic array (also known as solar panels) which is built into the sites power system for cleaner energy and boasts other sustainable features such as electric vehicle charging points.

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Videos

The Making of The Crown

Emmy nominated #cinematographer Adriano Goldman ASC BSC ABC and #gaffer Andy Lowe take viewers behind the scenes of #TheCrown. Over six seasons, the Emmy nominated Netflix series has enthralled viewers with its simultaneously intimate and epic portrait of Queen Elizabeth II and the royal family’s inner workings throughout the second half of the 20th century and into the early years of the 21st. #Panavision and #Panalux serviced the production throughout all six seasons, supplying cameras, optics and lighting equipment to lead #directorofphotography Adriano Goldman ASC BSC ABC; cinematographers Ole Bratt Birkeland BSC; Stuart Howell BSC; Fabian Wagner ASC BSC; Frank Lamm; Ben Wilson; Rasmus Videbæk; and Sophia Olsson, and their crews. In this video, Goldman and gaffer Andy Lowe welcome viewers on set and reflect on the evolution of the series’ camerawork and lighting. Sophia Olsson has been nominated for Outstanding Cinematography for a Series (One Hour) - “Ritz,” and Adriano Goldman ASC BSC ABC has been nominated for Outstanding Cinematography for a Series (One Hour) - “Sleep, Dearie Sleep." #TheCrown has also been nominated for 18 Emmys, including Outstanding Drama Series. Watch The Crown, Seasons 1-6, now on #Netflix and click the link below to watch the full interview! https://pvlink.net/Making_of_The_Crown

Jamie Ramsay SASC

#Cinematographer Jamie D. Ramsay SASC takes us behind the scenes of his career, whilst chatting about #AllOfUsStrangers, serviced by #Panalux London. Watch the full video by clicking the link below! https://pvlink.net/-Jamie-Ramsay-interview

All of us Strangers

#Cinematographer Jamie D. Ramsay SASC takes us behind the emotion of lighting #AllOfUsStrangers, serviced by #Panalux London. 💡 #Gaffer: Warren Ewen Click here to watch the full interview! https://pvlink.net/-Jamie-Ramsay-interview

Steve Finberg - 20x20

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."

All of us Strangers

#Cinematographer Jamie D. Ramsay SASC takes us behind the emotion of lighting #AllOfUsStrangers #Gaffer Warren Ewan, serviced by #Panalux London. Watch the full video at the link in bio!

Panalux London new building

Panalux London has officially opened its doors at Pasadena Close, Hayes. Investing in our industry, we’re now operating from a more sustainable space we can grow into and continue to deliver excellent service that you can depend on. Watch this space as we share updates on the brand new Panalux HQ.

BTS Panalux Sonara Panalux Allegra

An extra peek #behindthescenes of #BSCExpo2024 with #PanaluxSonara 3:2s, 4:4s, and #PanaluxAllegra Cs on display

BSC Expo 2024

BSC Expo 2024 recently wrapped in London, and Panavision, Panalux and LEE Filters were all on hand to showcase products from across their range of innovative solutions. Products on display included Ultra Panatar II 1.3x-squeeze anamorphic optics, Panaspeed spherical lenses, a System 65 film camera and Sphero 65 lens, a Panaflex Millennium XL2 and Primo lens, Panalux Allegra and Panalux Sonara LED fixtures, and a large soft box outside of the expo venue comprising Creamsource Vortex8 fixtures diffused through textiles made in-house at Panalux. Thank you to everyone who stopped by and made this year another success!

The Party BTS - Tim Fok

More #bts from #Habitat "The Party" ad courtesy of #cinematographer Tim Fok.

Making of The Crown - teaser

We're cordially inviting you to step into the world of #TheCrown with #cinematographer Adriano Goldman ASC BSC ABC and #gaffer Andy Lowe. Go behind the scenes as the duo discuss their incredible work across 6 seasons, all proudly serviced by #Panavision and #Panalux London. Watch the full interview here: https://pvlink.net/Making_of_The_Crown

Toilet Break - Luc Rëso Janin

"I shot a comedy short during lunch break on the set of a recent commercial shoot. Inspired by a true story, I wrote the script the night before. Using the same set and crew from the commercial, only my producer, the 1st AD and the actor knew about this parallel shoot happening between takes. The best part is knowing that this actually happened. I promised I’d never reveal my source but you know who you are!" Enjoy this comedy short shot on #BlueStage at #DukesIslandStudio with #Panalux lighting. Written and Directed by: Luc Rëso Janin Produced by: Luc Rëso Janin, Gilles Nathan, Ella Knight Featuring: Austin Caley 1st AD: Jonathan Sidewell Set Designer: Benedict Lack Stylist: Sophie Donaldson Sound Designer: Martin Leitner | Sounds Good Colourist: Denny Cooper | Unit

BTS from Gaffer Theo Milford

A cool look #onset and #behindthescenes from 2021 courtesy of #gaffer Theo Milford (@_the.dark.spark_)

ADJ Technical SA BTS

Some brilliant light shows from #behindthescenes courtesy of #lightingengineer and #dimmerOp Angelo "Mango" Julies at ADJ Technical SA. Shot at #CapeIslandStudios and serviced by #Panalux Cape Town with gaffer Toby Smuts.

Channel 4 Idents

#Gaffer Steve Finberg gives us some insights behind the creative process for the #channel4 idents filmed in part at #BlackIslandStudios, serviced by #Panalux London. "Channel 4 Idents, cut down to just show the parts I worked on. Best to watch the full 3 1/2 minutes film to fully appreciate the cleverness of this film that involved dozens of directors and a handful of DPs. Apart from the high speed shots (which were photographed by Dan Tobin Smith), the other cinematographer I worked with on this project was Eponine Momenceau who is a true artist. The job was challenging in having to prelight all 9 sets without having to move lights between sets, on a modest budget. Thankfully Éponine was keen to avoid LED where possible so we mostly used a lighting package more akin to what was used in the '90s: kino flo and tungsten. When we introduced colour for lighting, it had to be considered and have to order the gels required."

Ben Smithard Panalux

#Cinematographer Ben Smithard BSC describes using #PanaluxSonaras for a particularly tricky scene to shoot. Watch the full interview and learn more about #PanaluxSonara LEDs: https://pvlink.net/Ben_Smithard_BSC_interview

Litemover

#Litemover, get your Litemover here! This innovative, motorised device allows you to take control of stationary film lamps with ease for smooth pan, tilt, and spot/flood movements. Configured to easily connect to a range of fixtures and control via handset, DMX, or CRMX, the Litemover works in both a hanging position and on stand for dual versatility so you can be in control over your production. Get in touch to test today!

Ben Smithard BSC

"I wanted to be a DP when I was at art college but I didn't have the confidence." #Cinematographer Ben Smithard BSC illuminates us on his early career and lighting on set. Watch the full interview here: https://pvlink.net/Ben_Smithard_BSC_interview

Harry Wiggins interview

"You are looking for a way to create a strong but real atmosphere with the lighting..." More insights from #gaffer Harry Wiggins who sat down with us and provided a look behind the scenes of his process. Watch the full interview: https://pvlink.net/HarryWigginsInterview

Domino Profile S LED

#Domino Profile S LED from Ayrton Digital is back in at #Panalux for a check before heading out to a new job! 1000 W monochromatic high-efficiency LED, DOMINO PROFILE S can deliver powerful metallic white light with record output of 51,000 lumens at 7000K, when operating at a steady state. 10:1 zoom ratio and a zoom range of 6° to 60°. Designed to operate in the most extreme situations, DOMINO PROFILE S can resist hot or cold temperatures, wind, rain, hail, salt fog, sand, and dust. It can withstand arid environments, heavy rainfall, and sudden climatic variations. Get in touch to test it out!

Rodlights Rainbow

This #Rodlight rainbow certainly brightens up the gloomy sky #onset

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All of us Strangers

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Channel 4 Idents

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