Panavision

Panavision Inc.
Company type	Private
Industry	Motion picture equipment
Founded	1954
Founder	Robert Gottschalk, Richard Moore, Meredith Nicholson, Harry Eller, Walter Wallin, William Mann
Headquarters	Woodland Hills, Los Angeles, United States
Area served	Worldwide
Key people	Robert Gottschalk (founder and former president)
Products	Anamorphic lenses, cameras (Panaflex, Millennium XL, Genesis), camera equipment rental

Panavision Inc. is a U.S.-based company specializing in motion picture equipment, established in 1954 by Robert Gottschalk and headquartered in Woodland Hills, Los Angeles. Originally created to produce anamorphic projection lenses amid the widescreen surge of the 1950s, Panavision rapidly became a dominant force in anamorphic lens innovation. Over time, the company broadened its offerings to include cameras such as the groundbreaking lightweight Panaflex 35 mm model introduced in 1972, followed by the Millennium XL in 1999, and later the digital Genesis camera launched in 2004.

Distinct from many competitors, Panavision functions solely as a rental service, maintaining full ownership of its equipment inventory.

Early history

In late 1954, Robert Gottschalk founded Panavision alongside partners including Richard Moore, Meredith Nicholson, Harry Eller, Walter Wallin, and William Mann. The enterprise was created to address the need for anamorphic projection lenses driven by theaters screening CinemaScope features. Gottschalk’s experience operating a camera shop in Westwood Village facilitated connections with cinematographers and fueled his fascination with anamorphic lenses, initially applied to underwater photography.

Anamorphic technology, initially designed during World War I for tank periscopes to widen horizontal viewing angles, was adapted by Panavision for widescreen cinema applications. Gottschalk and Moore procured lenses from C. P. Goerz intended for underwater use before recognizing the wider potential market for anamorphic lenses in film projection and cameras. Nicholson participated as a cameraman during early experimentation.

In the 1950s, as television posed a threat to box office income, studios responded by embracing innovations such as color film, 3-D effects, stereophonic sound, and widescreen formats to draw audiences back to theaters. Cinerama employed a complicated three-camera and three-projector system that was expensive and imperfect visually. To simplify widescreen presentation, 20th Century Fox introduced CinemaScope, which utilized anamorphic lenses to double the image’s aspect ratio on screen.

Gottschalk discovered that Bausch & Lomb—the company contracted by Fox to manufacture CinemaScope lenses—was facing production shortages. Collaborating with Mann and optical physicist Wallin, Panavision engineered a prismatic anamorphic lens design known as the Panatar lens, departing from the traditional cylindrical model. This design featured manual control over the anamorphic compression factor, facilitating easier transitions for projectionists between anamorphic films and standard trailers. The patent application was submitted in August 1954 and granted five years later.

Entering the market

Panavision’s initial offering—the Super Panatar projection lens—was introduced in March 1954 at a price of US$1,100 and swiftly gained market traction. This rectangular attachment allowed theaters to project various film formats through simple lens adjustments. Subsequently, the company launched the Ultra Panatar, a lighter model that attached directly to projection lenses and gradually supplanted CinemaScope as the premier anamorphic solution for cinemas.

By December 1954, Panavision had developed the Micro Panatar lens tailored for film laboratories. This device enabled optical printers to create flat prints from anamorphic negatives, permitting studios to distribute films compatible with non-anamorphic theaters without filming separate versions—greatly reducing production expenses.

Panavision reinforced its industry standing with the Auto Panatar camera lens designed for 35 mm anamorphic filmmaking. Early CinemaScope lenses exhibited an optical flaw known as "the mumps," which distorted facial features in close-up shots. The Auto Panatar’s rotating lens element synchronized with the focus ring effectively eliminated this aberration. Released in 1958, this lens rapidly rendered CinemaScope optics obsolete and earned Panavision its first of fifteen Academy Awards recognizing technical innovation.

In 1954, MGM commissioned Panavision to create an advanced widescreen camera system by modifying Mitchell FC "Fox Grandeur" 70mm cameras for use with 65mm film and contemporary lenses. This development integrated the APO Panatar anamorphic lens with a 1.25x squeeze ratio, enabling films to achieve aspect ratios up to 2.76:1 on 70 mm anamorphic prints. Marketed under names like Ultra Panavision 70 or MGM Camera 65, it premiered with Raintree County (1956), although early releases favored 35 mm due to limited theater availability.

Additionally, Panavision introduced Super Panavision 70—a non-anamorphic widescreen process akin to Todd-AO—which debuted in 1959 with Disney’s The Big Fisherman. This expansion into high-resolution widescreen technology strengthened Panavision’s global competitive positioning and broadened its product portfolio.

Cameras

By 1962, four original Panavision founders had departed from the company. That same year, MGM’s Camera 65 production of Mutiny on the Bounty exceeded its budget, prompting MGM to liquidate certain assets. Panavision acquired MGM’s camera equipment division along with the Camera 65 system, rebranding it as Ultra Panavision. This format was utilized for only six additional films before being revived in 2015 for Quentin Tarantino’s The Hateful Eight. Because 1.25× anamorphic lenses for 70 mm projectors are scarce, most film prints are distributed with spherical lenses, resulting in a 2.20:1 aspect ratio rather than the wider original framing.

Initially, Fox insisted on using CinemaScope lenses but transitioned to Panavision optics in 1965 after actor Frank Sinatra requested Auto Panatar lenses for Von Ryan's Express. This marked Fox’s inaugural use of Panavision lenses on a feature. To accommodate this demand, Gottschalk adapted Bausch & Lomb CinemaScope lenses into Panavision housings enhanced with superior optics—a technique later disclosed by a former Bausch & Lomb designer who became a Panavision engineer.

In the mid-1960s, Gottschalk redefined Panavision’s business approach to focus solely on equipment rental. The company maintained comprehensive inventory control and implemented ongoing updates and improvements. This model facilitated the creation of robust proprietary cameras without engaging in price competition through sales.

To support growth initiatives, Panavision was sold to Banner Productions in 1965, with Gottschalk retaining his role as president. The company expanded its presence internationally, establishing operations in New York, Europe, Australia, Hong Kong, and Southeast Asia. Banner was acquired by Kinney National Company in 1968, which then purchased Warner Bros.-Seven Arts in 1969 before rebranding as Warner Communications following a financial scandal. Kinney/Warner’s backing provided substantial resources that fueled significant inventory expansion and research and development efforts.

During this era, research efforts concentrated on modifying the industry-standard Mitchell BNC 35 mm camera—a platform that served as the foundation for all subsequent Panavision 35 mm cameras. The release of the Panavision Silent Reflex (PSR) in 1967 introduced a lighter and quieter camera featuring a reflex viewfinder and shutter angles up to 200°, becoming one of the most widely adopted studio cameras worldwide. Additionally, Panavision gained considerable market share by producing spherical lenses optimized for 1.85:1 aspect ratio cinematography.

In 1968, Panavision unveiled a handheld 65 mm camera; however, the emergence of more economical blow-ups from 35 mm anamorphic films to 70 mm—first popularized with The Cardinal (1964)—made producing films directly on 65 mm nearly obsolete.

The final two feature films shot entirely using Super Panavision were released in 1970: Song of Norway and Ryan's Daughter. Since then, only a handful of productions have employed the 65 mm format.

Emergence of the Panaflex

In 1972, Albert Mayer spearheaded the creation of the lightweight reflex camera known as the Panaflex. This groundbreaking camera operated silently without requiring a cumbersome sound blimp and enabled handheld synchronization. It incorporated a digital electronic tachometer alongside magazine motors. Early productions utilizing the Panaflex included Ted Post's Magnum Force (1973) and Steven Spielberg's The Sugarland Express (1974).

Throughout the 1970s, Panavision introduced several upgrades to the Panaflex series, including models such as the Panaflex X, Lightweight (designed for steadicam use), Panastar high-speed, Gold, and G2. The company also launched the Panaglide stabilizer to rival Tiffen’s Steadicam and developed the Panacam video camera, though it largely refrained from fully entering the video market.

Following the passing of founder Robert Gottschalk in 1982, Warner Communications sold Panavision to a group led by Ted Field, John Farrand, and Alan Hirschfield. Under this new management, Panavision modernized its processes with computerized optics testing and introduced the Platinum camera in 1986. Development commenced on a new 65 mm camera model in 1987. That same year, Lee International PLC purchased Panavision for $100 million; however, financial struggles resulted in Warburg Pincus reclaiming ownership two years later.

In 1989, Panavision unveiled its Primo lenses, acclaimed for their uniform color matching and sharpness across various focal lengths. The company received Academy Awards in 1995 for the design of the Primo 3:1 zoom lens. In 1991, System 65 technology was launched to support 65 mm film formats, but adoption remained limited with only two major Hollywood productions employing it.

A comprehensive overhaul of Panavision’s 35 mm system began in 1992 under Nolan Murdock and Albert Mayer Sr., culminating in the release of the Millennium camera in 1997. The Millennium XL followed in 1999 under Al Mayer Jr., becoming Panavision’s flagship 35 mm camera and earning both an Academy Award and a Primetime Emmy within its inaugural year. The XL2 version was introduced in 2004. These cameras featured more compact bodies suitable for studio setups, handheld operation, and steadicam use, along with a new film transport system utilizing dual sprocket drums instead of a single large drum.

By 2006, Panavision declared it would cease development of new film cameras, shifting focus in response to industry trends favoring digital cinema.

Recent corporate restructuring and acquisitions

In May 1997, Panavision expanded its global footprint by acquiring Visual Action Holdings PLC, a prominent UK-based film services provider, for $61 million. This move broadened Panavision’s international distribution capabilities by adding rental facilities across the UK and agencies in France, Australia, Southeast Asia, as well as key American cities including Atlanta, Chicago, and Dallas. CEO William C Scott emphasized this strategic acquisition as a means to enhance global operations and maintain control over worldwide distribution of Panavision products.

The following year, Ronald Perelman’s MacAndrews & Forbes Holdings (Mafco) gained majority ownership of Panavision. After earlier ventures into video camera development, Panavision embraced digital technology in 2000 through a partnership with Sony forming DHD Ventures. This collaboration aimed to elevate high-definition digital video to match Hollywood film standards—motivated by George Lucas’s demands for the Star Wars prequel trilogy. The partnership produced the Sony HDW-F900 CineAlta camera equipped with Panavision’s Primo Digital lenses and custom modifications tailored for cinematic use. This digital cinema camera was notably employed on Star Wars: Episode II – Attack of the Clones (2002), marking a significant milestone in digital filmmaking.

Further advancing digital cinema technology, Panavision co-developed the Genesis HD camera in 2004 featuring full bandwidth (4:4:4) HD-SDI recording alongside compatibility with standard 35 mm lenses to achieve authentic cinematic depth of field. Sony provided electronic components while Panavision engineered the chassis and mechanical systems. The Genesis made its debut on films such as Superman Returns (2006) and Flyboys (2006). Subsequently, Panavision acquired full ownership of DHD Ventures from Sony.

During this era, Panavision expanded through strategic acquisitions aimed at strengthening market presence and product lines. Notable purchases included EFILM (2001; divested by 2004), Technovision France (2004), William F. White International’s Canadian camera rental division (2005), Plus8Digital (digital camera rental; 2006), lighting and equipment firm AFM (2006), camera manufacturer One8Six (2006), and Joe Dunton & Company’s camera inventory (2007). In 2006, Mafco acquired remaining shares of Panavision to take it private once again, supported by a $345 million credit facility from Bear Stearns and Credit Suisse facilitating debt refinancing and global acquisitions. That same year Mafco also purchased Deluxe Entertainment Services Group.

By March 2010, facing decreased production activity along with substantial debt incurred from Mafco’s acquisition, Panavision underwent debt restructuring led by Cerberus Capital Management private equity firm. The arrangement reduced liabilities by $140 million alongside a $40 million cash injection; Ronald Perelman exited his controlling interest and equity stake in the company. In June 2013, creditors filed lawsuits over unpaid debts totaling $1.7 million that threatened potential dissolution.

On September 13, 2018, Saban Capital Acquisition Corp. announced intentions to acquire both Panavision and Sim Video International for $622 million through cash and stock to establish an integrated production and post-production enterprise. This transaction intended to rebrand Saban as Panavision Holdings Inc., maintaining Nasdaq trading status; however, Saban terminated this acquisition on March 1, 2019.

Panavision 3D

Panavision 3D represented a passive stereoscopic 3D technology designed for digital cinema, utilizing spectral comb filters that employed thin-film optics to divide the visible light spectrum.

In June 2012, DVPO Theatrical, the distributor of this technology on behalf of Panavision, ceased offering Panavision 3D, citing difficult global economic circumstances and evolving trends within the 3D industry.

External links

Panavision’s Prospects Require Clarity by Richard Verrier, The Los Angeles Times, July 20, 2009

Video clips

Official Panavision YouTube channel