Panavision ATZ: motorized zoom and focus control system developed in 1987 for broadcast sports and live events, using stepper motors for automated lens adjustment.
The ATZ system uses stepper motors with a resolution of 0.01° for zoom and focus adjustment. The focal length coverage varies by lens between 17-80mm to 28-280mm with a constant T-stop of 2.8. The system stores up to 16 zoom/focus combinations as recallable presets. The response time is under 0.1 seconds, and the maximum zoom speed is 8 seconds for the complete focal length range. An integrated distance meter operates with ultrasonic or LiDAR technology for automatic subject tracking.
Panavision developed the ATZ system in 1987 in response to the growing demands for precise camera movements in TV production. Initial prototypes were used in NBC sports broadcasts in 1988. The ATZ series was launched in 1991 with the models ATZ 70-400mm and ATZ 17-102mm. The second generation (ATZ-II) from 1995 integrated digital control and storage functions. Since 2003, the ATZ-III series has operated with CAN bus protocol and allows remote control via fiber optics.
ATZ lenses were primarily used in TV production, especially for sports broadcasts and live events. "The West Wing" (1999-2006) utilized ATZ systems for complex walk-and-talk sequences with simultaneous zoom and focus pulls. In documentaries like "Hoop Dreams" (1994), ATZ lenses enabled tracking unpredictable movements without loss of focus. The system reduces the crew by one focus puller and allows for single-operator use in ENG (Electronic News Gathering) productions.
Unlike manual zoom lenses with separate focus pulling, the ATZ system operates fully automatically. Canon developed a competing system for digital cinema cameras with the CN-E 30-300mm T2.95-3.7. Modern alternatives include computer-controlled lens control systems like Preston FIZ or RT Motion, which offer similar functionality with greater flexibility. For narrative film productions, prime lenses or manual zooms are now generally preferred as they allow for more creative control. ATZ systems remain standard for live TV, sports productions, and documentaries with unpredictable subjects.
Ich schätze das ATZ-System bei schnellen Dokumentardrehs, wo ich keine Zeit für manuelle Schärfekorrekturen habe. Die automatische Motivverfolgung funktioniert zuverlässig bei Interviews mit bewegten Personen, allerdings fehlt mir die feine Kontrolle über Schärfeverlagerungen für dramaturgische Effekte. Bei narrativen Projekten bevorzuge ich nach wie vor manuelle Systeme.
Das ATZ-System gibt mir die Freiheit für spontane Zoom-Fahrten ohne Sorge um Schärfeverlust, besonders wertvoll bei improvisierten Szenen oder Dokumentaraufnahmen. Allerdings schränkt die automatische Schärfenachführung meine Möglichkeiten ein, bewusst mit Unschärfe zu arbeiten oder den Fokus dramaturgisch zu verlagern. Für kontrollierte Narrative nutze ich lieber traditionelle Objektive mit erfahrenem Focus Puller.
Das ATZ-System reduziert meine Crew-Kosten erheblich, da ich keinen separaten Focus Puller benötige – besonders bei TV-Produktionen und Dokumentarfilmen rechnet sich das schnell. Die höheren Mietkosten von 200-300€ pro Tag amortisieren sich durch gesparte Personalkosten und verkürzte Drehzeiten. Allerdings steigt das Risiko technischer Ausfälle, weshalb ich immer Backup-Objektive einplane.
1. Was beschreibt „Panavision ATZ" am besten?
2. Zu welchem Department gehört „Panavision ATZ"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.