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2024 Emmy Nominees Supported by the Panavision Group

Panavision’s camera and optics, lighting, and post divisions supported nominees across a range of categories.

The Panavision group is proud to have supported many of the projects that have been recognized with a 2024 Emmy nomination, including:

Baby Reindeer, Emmy nominee supported by Panalux

Baby Reindeer
Outstanding Limited or Anthology Series
Cinematography by Krzysztof Trojnar & Annika Summerson
Gaffers: Alex Edyvean & Bernie Rostoski
Serviced by Panalux London

The Bear, Emmy nominee supported by Panavision

The Bear Season 2
Outstanding Cinematography For A Single-Camera Series (Half Hour), “Forks,” cinematography by Andrew Wehde
Outstanding Comedy Series
Serviced by Panavision Chicago

Bob Hearts Abishola, Emmy nominee supported by Panavision

Bob Hearts Abishola Season 5
Outstanding Cinematography for a Multi-Camera Series, “These Giants Are Flexible,” cinematography by Patti Lee, ASC
Serviced by Panavision Woodland Hills

The Conners, Emmy nominee supported by Panavision

The Conners Season 6
Outstanding Cinematography for a Multi-Camera Series, “Fire and Vice,” cinematography by Donald A. Morgan, ASC
Serviced by Panavision Woodland Hills

The Crown, Emmy nominee supported by Panavision and Panalux

The Crown Season 6
Outstanding Cinematography for a Series (One Hour), “Ritz,” cinematography by Sophia Olsson
Outstanding Cinematography for a Series (One Hour), “Sleep, Dearie Sleep,” cinematography by Adriano Goldman, ASC, BSC, ABC
Outstanding Drama Series
Gaffers: Andy Lowe & Chris Stones
Serviced by Panavision London & Panalux London

Frasier, Emmy nominee supported by Panavision

Frasier Season 1
Outstanding Cinematography for a Multi-Camera Series, “Reindeer Games,” cinematography by Gary Baum ASC
Serviced by Panavision Woodland Hills

The Gilded Age, Emmy nominee supported by Panavision

The Gilded Age Season 2
Outstanding Drama Series
Cinematography by Manuel Billeter, SCS & Lula Carvalho, ASC, ABC
Serviced by Panavision New York

Griselda, Emmy nominee supported by Panavision and Light Iron

Griselda
Outstanding Cinematography for a Limited or Anthology Series or Movie, “Middle Management,” cinematography by Armando Salas, ASC
Serviced by Panavision Woodland Hills & Light Iron Los Angeles, final color by supervising colorist Ian Vertovec and senior colorist Ethan Schwartz

Hacks, Emmy nominee supported by Panavision

Hacks Season 3
Outstanding Cinematography for A Single-Camera Series (Half Hour), “Just for Laughs,” cinematography by Adam Bricker, ASC
Outstanding Comedy Series
Serviced by Panavision Hollywood

How I Met Your Father, Emmy nominee supported by Panavision

How I Met Your Father Season 2
Outstanding Cinematography for a Multi-Camera Series, “Okay Fine, It’s a Hurricane,” cinematography by Gary Baum, ASC
Serviced by Panavision Woodland Hills

Lessons in Chemistry, Emmy nominee supported by Light Iron

Lessons in Chemistry
Outstanding Cinematography for a Limited or Anthology Series or Movie, “Little Miss Hastings,” cinematography by Zachary Galler
Outstanding Picture Editing for a Comedy Series
Serviced by Light Iron Los Angeles, final color by supervising colorist Ian Vertovec

Night Court, Emmy nominee supported by Panavision

Night Court Season 2
Outstanding Cinematography for a Multi-Camera Series, “A Night Court Before Christmas,” cinematography by Wayne Kennan, ASC
Serviced by Panavision Woodland Hills

Palm Royale, Emmy nominee supported by Panavision

Palm Royale
Outstanding Comedy Series
Cinematography by David Lanzenberg and Todd McMullen
Serviced by Panavision Woodland Hills

Physical, Emmy nominee supported by PanavisionPhysical Season 3
Outstanding Cinematography for a Single-Camera Series (half hour), “Like a Rocket,” cinematography by Jimmy Lindsey, ASC
Serviced by Panavision Woodland Hills

Red, White & Royal Blue, Emmy nominee supported by Panavision and Panalux

Red, White & Royal Blue
Outstanding Television Movie
Cinematography by Stephen Goldblatt, ASC, BSC
Gaffer: Martin Cox
Serviced by Panavision London & Panalux London

Reservation Dogs, Emmy nominee supported by Panavision and Light Iron

Reservation Dogs Season 3
Outstanding Cinematography for a Single-Camera Series (half hour), “Deer Lady,” cinematography by Mark Schwartzbard
Outstanding Comedy Series
Outstanding Picture Editing for a Comedy Series
Serviced by Panavision Dallas & Light Iron Los Angeles, final color by supervising colorist Corinne Bogdanowicz

Ripley, Emmy nominee supported by Panavision

Ripley
Outstanding Cinematography for a Limited or Anthology Series or Movie, “V Lucio,” cinematography by Robert Elswit, ASC
Outstanding Limited or Anthology Series
Serviced by Panavision Woodland Hills

Scoop, Emmy nominee supported by Panavision

Scoop
Outstanding Television Movie, cinematography by Nanu Segal, BSC
Serviced by Panavision London

Slow Horses, Emmy nominee supported by Panavision and Panalux

Slow Horses Season 3
Outstanding Drama Series
Cinematography by Danny Cohen, BSC & David Chizallet
Gaffer: Paul McGeachan
Serviced by Panavision London & Panalux Manchester

Sugar, Emmy nominee supported by Panavision

Sugar
Outstanding Cinematography for a single-Camera series (half hour), “Starry Eyed,” cinematography by Richard Rutkowski, ASC
Serviced by Panavision Woodland Hills

True Detective: Night Country, Emmy nominee supported by Panavision

True Detective: Night Country
Outstanding Cinematography for a Limited or Anthology Series or Movie, “Part 6,” cinematography by Florian Hoffmeister, BSC
Outstanding Limited or Anthology Series
Serviced by Panavision London

Unfrosted, Emmy nominee supported by Panavision

Unfrosted
Outstanding Television Movie
Cinematography by Bill Pope
Serviced by Panavision Woodland Hill

Emmy nominee Chuck Ozeas on the set of The Upshaws

The Upshaws Season 3
Outstanding Cinematography for a Multi-Camera Series (Half Hour), "Forbidden Fruit," cinematography by Chuck Ozeas
Serviced by Panavision Woodland Hills

What We Do in the Shadows, Emmy nominee supported by Light Iron

What We Do in the Shadows Season 5
Outstanding Comedy Series
Outstanding Picture Editing for a Comedy Series
Cinematography by DJ Stipsen, NZCS
Serviced by Light Iron Los Angeles, final color by senior colorist Ethan Schwartz

Winning Time, Emmy nominee supported by Panavision

Winning Time Season 2
Outstanding Cinematography for a Series (One Hour), “Beat L.A.,” cinematography by Todd Banhazl, ASC
Serviced by Panavision Woodland Hills