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The Panavision Hylén System


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#1 Ram Shani

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Posted 08 March 2009 - 02:07 AM

http://www.facebook....?v=529246479137
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#2 Michael Collier

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Posted 08 March 2009 - 02:36 AM

Ok, now that's pretty sweet. Its like tilt shift on crack. I could see that being useful on certain shots.
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#3 Gus Sacks

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Posted 09 March 2009 - 02:39 AM

They used this system on Atonement and it looked great.
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#4 Serge Teulon

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Posted 09 March 2009 - 10:39 AM

With only 1/4 of a stop loss its brilliant!

I did however notice that you can't use it on anamorphic...only S35
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#5 Adrian Sierkowski

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Posted 09 March 2009 - 10:48 AM

I wonder what would happen if you did try it on anamorphic.....
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#6 Jason Debus

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Posted 09 March 2009 - 01:06 PM

They said on the video you could use it with front element anamorphic lenses.
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#7 A. Whitehouse

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Posted 09 March 2009 - 06:49 PM

Got to play with it at Panavision last year. Its really big and I have to admit my first reaction was that this seemed to be something which is better handled in post (particularly when the systems rental price is so high) but it did carry some serious street cred and the lure of doing it optically is tough to ignore.
It didn't have that nifty Sega Genesis controller when I saw it, that's probably worth the rental on its own.
My impression was it doesn't actually change the plain of focus so there's uses for shift and tilts yet. Plus I can't imagine this hand held...
Assistants with Playstation experience required.
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#8 David Rakoczy

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Posted 09 March 2009 - 07:41 PM

I love Panavision, however, I did not see anything that could not be done with easier control in that 'dark room somewhere' they mentioned.. That 'dark room somewhere' can get you the same thing with more control and in the end cheaper as you don't have an entire crew standing around waiting for Mr. Joystick to get it right.... "that looked good but the timing was off.. one more... Take 32!" They also lost me on the "well this is done in the three dimensional world as that 'dark room somewhere' is in only two".. who cares once it hits the Neg... and if I might add.. it is those 'dark rooms somewhere' that have been making Film look fantastic! What a great marriage indeed! I am all for in Camera capture.. but this seems like a lot of $ for little return.
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#9 Saul Rodgar

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Posted 09 March 2009 - 08:19 PM

This is new as in a couple of years old. And I agree, it is a bit much to be lugging around on set . . .
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#10 Spencer Hutchins

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Posted 09 March 2009 - 10:36 PM

A little more quality here, dang facebook compression!

http://www.hylensystem.com/

Would any of you experienced fellows consider using this device? Does it really give us an advantage over doing it in post?
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#11 K Borowski

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Posted 09 March 2009 - 10:49 PM

They used this system on Atonement and it looked great.


I was surprised too that it is so old and that "Atonement" used it. Never heard of this until yesterday, in part due to someone else seeing this thread.

Didn't "Atonement" do a full DI though? I'd wonder what the real benefits would be of both. Obviously though, optically, there are definitely more limitations and technical problems to overcome.


Now, if only they can come out with the LCD printer light that allows you to vary exposure and color correction etc etc across different areas of the negative. . .

Oh if wishes were horses :-)
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#12 Steve Hylen

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Posted 01 May 2009 - 09:04 AM

I wonder what would happen if you did try it on anamorphic.....


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#13 K Borowski

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Posted 01 May 2009 - 09:14 AM

Wow, is the inventor himself trying to speak up here?

BTW, any chance of seeing something like this for the Elaine?
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#14 Steve Hylen

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Posted 01 May 2009 - 09:17 AM

I wonder what would happen if you did try it on anamorphic.....


Hi,
You can use it with front element anamorphic lenses, but it is limited i the range/usage of rear end anamorphs.
Hylen System #106 is anamorphic, which allows you to use any of the Panavision spherical lenses for anamorphic output.

Thank you,
Steve Hylen
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#15 Steve Hylen

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Posted 01 May 2009 - 09:34 AM

I love Panavision, however, I did not see anything that could not be done with easier control in that 'dark room somewhere' they mentioned.. That 'dark room somewhere' can get you the same thing with more control and in the end cheaper as you don't have an entire crew standing around waiting for Mr. Joystick to get it right.... "that looked good but the timing was off.. one more... Take 32!" They also lost me on the "well this is done in the three dimensional world as that 'dark room somewhere' is in only two".. who cares once it hits the Neg... and if I might add.. it is those 'dark rooms somewhere' that have been making Film look fantastic! What a great marriage indeed! I am all for in Camera capture.. but this seems like a lot of $ for little return.


The beauty of the system is that the cinematographer can achieve effects
live and in camera which react to the performance of an actor. This
melding of real life and light distinguishes the device from alternatives
created in post production which often are created without the input from
the cinematographer.
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Visual Products

Aerial Filmworks

Technodolly

Glidecam

CineLab

The Slider

Gamma Ray Digital Inc

Opal

Rig Wheels Passport

CineTape

Tai Audio

Ritter Battery

Broadcast Solutions Inc