Panavision Primo: High-resolution spherical lenses with neutral color rendition and minimal aberration — the reference standard for digital cinema production.
Focal Lengths
| 14.5 | 17.5 | 27 | 35 | 50 | 75 | 100 | 150 |
|---|---|---|---|---|---|---|---|
| T2.8 | T1.9 | T1.9 | T1.9 | T1.9 | T1.9 | T1.9 | T1.9 |
| 0.35m | 0.45m | 0.45m | 0.60m | 0.60m | 0.75m | 1.00m | 1.20m |
| 2.2kg | 2.0kg | 1.8kg | 1.9kg | 2.1kg | 2.8kg | 3.4kg | 4.1kg |
| 95 | 95 | 95 | 95 | 95 | 95 | 95 | 95 |
| 100° | 90° | 64° | 54° | 40° | 27° | 20° | 14° |
| ◀━━━━━▶ | ◀━━━━▶ | ◀━━━▶ | ◀━━▶ | ◀━━▶ | ◀━▶ | ◀▶ | ◀▶ |
PV-Mount · S35 · Panavision Coating
Technical Details
Eight prime lenses (14.5-150mm) with T1.9 (14.5mm: T2.8). Exclusive PV-Mount. 11-16 lens elements with Panavision coating (reflections under 0.8%). Uniform 95mm front filter thread. Minimal focus breathing, optimized for 35mm film and early HD production.
History & Development
Panavision developed the Primo series starting in 1987 under the direction of Dan Sasaki in response to the increasing quality demands of the emerging HDTV market. The first four focal lengths were released in 1990, with the series being completed in 1995. The Primo lenses established themselves as the reference standard for 35mm film and shaped the visual aesthetic of the 1990s and 2000s. In 2010, Panavision ceased Primo production and replaced it with the Primo 70 series for larger sensors.
Practical Use in Film
Roger Deakins used Primo lenses for "The Shawshank Redemption" (1994), appreciating their natural color rendition and sharp imaging all the way to the image corners. "Titanic" (1997) was shot entirely with Primo lenses, with Russell Carpenter utilizing their low distortion for complex miniature shots. The lenses are particularly suitable for controlled studio environments but occasionally exhibit flare issues in extreme lighting conditions. Typical workflows include use on Mitchell or Arriflex cameras with additional polarizing filters.
Comparison & Alternatives
In contrast to Zeiss Super Speeds, Primo lenses offer sharper imaging with slightly less low-light capability. Modern alternatives like Panavision DXL or ARRI Master Primes achieve similar sharpness but are optimized for digital sensors. Primo lenses remain the first choice for 35mm film productions, while for 4K digital productions, newer series such as the Panavision T-Series or Cooke S7/i offer technical advantages. Vintage Primo sets are primarily used today for period pieces or a deliberately analog visual aesthetic.