An Open Letter To Panavision
I write this letter with the utmost respect for Panavision and for its long-standing commitment to excellence in the engineering, design, and manufacture of what I firmly believe to be the finest motion picture equipment the world has ever known. For generations of filmmakers, Panavision has represented not merely a supplier of tools, but the very pinnacle of cinematic craft. As a young, eager, and ambitious film student, I left New York’s School of Visual Arts in 1982 and headed west to Los Angeles to further my education and gain real-world experience in the motion picture industry. Like so many before and after me, I was drawn by the promise of cinema and the companies that defined its highest standards. It was during that formative time that I had a chance encounter that left a lasting impression on my life and career. I met Jac Holzman, former Founder and CEO of Elektra and Nonesuch Records and, at that time, then President and CEO of Panavision, who graciously offered me a personal tour of the Panavision factory in Tarzana. I did not hesitate to accept. Meeting Mr. Holzman and witnessing firsthand the depth of craftsmanship, innovation, and pride embodied in Panavision’s cameras, lenses, and accessories was nothing short of inspiring. Panavision was not simply a rental house—it was the gold standard of motion picture production technology. To a young filmmaker, it represented the summit, and I knew then that I wanted to be part of an industry shaped by such values. Today, however, the motion picture landscape has changed profoundly. The transition from film to digital, the consolidation of studios, shifting audience habits, and the decline of traditional theatrical exhibition have fundamentally altered the business. Long-established models are under strain, and even the most revered companies are not immune to the turbulence. At the same time, an entirely new ecosystem has emerged. Independent production companies, owner-operators, and small creative teams are driving an unprecedented explosion of content creation. In response, respected manufacturers—ARRI, Sony, RED, Zeiss, Cooke, Angénieux, among others—along with a growing number of startups and international competitors, have adapted by designing and selling world-class cameras, lenses, and accessories directly to this market. Panavision, in contrast, remains largely bound to a rental-only paradigm that—while historically successful—now risks limiting its relevance in a rapidly evolving industry. I do not want to see Panavision lose. The company still possesses something rare and powerful: panache. Its name carries weight, trust, and an almost mythic resonance among filmmakers. That brand identity, built over decades of uncompromising quality and innovation, is an asset that cannot be replicated by newcomers. My plea is simple and sincere: I ask Panavision to consider evolving its approach by designing and selling its exceptional lenses and modern digital cinema accessories to the growing independent owner-operator market. This need not replace Panavision’s heritage, but rather extend it—allowing a new generation of filmmakers to invest in, own, and grow with the tools that have defined cinematic excellence for more than half a century. Others have made this transition successfully. There is no reason Panavision, with its unparalleled expertise and legacy, cannot do the same. This letter is written not as criticism, but as an expression of admiration, concern, and hope. Panavision has always led the industry by example. I believe it still can—if it chooses to meet the future with the same boldness and vision that once inspired a young film student walking the factory floor in Tarzana. With deep respect and sincere optimism,
Brent Lestage, CAS Cinematographer, Filmmaker, Production Sound Mixer
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