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On The Road With Panavision
F rom its very first origins, cinema has been about the relationship between the audience and the image on the screen. Pretty simple. But, of course, actually establishing that link has grown ever more complicated as
whole industries have been vigorously created to keep the technology one step ahead of the film- maker’s imagination.
Which is why all manner of ancillary busi- nesses have become involved in the art of film- making. Everything from the biggest feature film to the lowest-budget commercial relies on these now vital sources of hardware and technical back-up.
In other words, the kind of thing provided by companies like Panavision West One in the heart of London’s West End. A part of the international Panavision group, West One is run by Adam Coles and Andy Cooper to service the commercials industry on their very doorstep.
“Basically, we’re a camera rental house,” explains Coles. “We rent to production companies on the commercials side of the business anything from cameras to all the ancillary equipment. But the West One office doesn’t actually hold any equipment; it’s just an office, a little information centre, if you like. It keeps us within easy reach of the Soho network of production companies.
“When we set up the office we didn’t really push it in any direction; we’re happy for companies, cameramen or crews to pop in if they’re passing, have a coffee and ask questions. It works how they want it to work really. We didn’t advertise the office in any way, we just let it form its own structure.”
This unpressurised approach has seen business expand with a wide range of companies now coming to depend on the exper- tise and support that the office provides. Certainly the knowledge that sales come second to a sound understanding of the business can’t hurt. And it’s that kind of professionalism and commitment to excellence that characterises Britain’s highly regarded and
extremely successful commercials industry.
Of course, adds Coles, “part of my role is the promotion of our equipment, giving people any available information, and updating them on any- thing new. Or helping them out. If they haven’t got a cameraman on board for a certain production yet, they can show us a storyboard and we can go through it with them giving them advice on what
they may need.
“Even afterwards, if a client has had a prob-
lem on a shoot, we can view it and discuss what might have gone wrong. We can sit down and talk about things; approaching it this way helps our business at the same time.” ■ FRANK CHAMBERS
Photo: The new Ford Escort commercial seen through the Panavision lens of cameraman Peter Hannan on location in Portugal, originated on Fujicolor Motion Picture Negative.
EXPOSURE • 25
industry aspects