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FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

FIELD MOUSE (2025)
.
It’s hard to fully articulate how special this project was for me. Grayson is my longest creative partner, going back to F1s (first semester films) at @fsufilm, and ‘Field Mouse’ is the outgrowth of a particular visual and pacing style we’ve been developing since our time there. The story unfolds in a rather disjointed, non-linear fashion, paralleling the main character’s inner torment and increasing disconnection from reality. For me, it’s a melancholic tone poem of grief, cowardice, escape and ideation. ‘Field Mouse’ is currently on the festival circuit, stay tuned! 🙏🏼
.
shot on: Arri Amira + Panavision Ultra Speeds MkII / Panavision Primo 17.5 - 75mm Zoom
.
writer/director: @graysogo
cast: @gabefraiv Sophia Claire Smith, Jon Lonoff, Lola Lukas
producers: @storaroblue @raymondknudsen @rbevis @patsilver2000
co-producer: @mollymartha_
editor: @patsilver2000
colorist: @katie_jordan_color
first ac: @willapisarski
second ac: @lilymars__ Collin Hassler
gaffer: @oliviermetzler
key grip: @no_cargo
swing: @chris_violette
art dept: @i_hate_skins @aidanpkaye
vfx: @reidlauff @erikforall
.
@panavisionofficial

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

WEAPONS AND THEIR NAMES (2023)
.
‘Weapons’ was a true labor of love from start to finish, shot back in 2021 alongside some of my very best friends from film school, over some of the hottest days of a south Florida summer. Melina wrote a gorgeous, nuanced script and I poured everything I had into helping her bring it to life. We shot 15 rolls of film over 5 days with no dailies and a very shitty SD video tap — everything had to come from the gut. Thankfully we’d prepped a ton both in New York and then on location in Florida the week prior, creating the space and time for the story to lead. Our cast and crew were truly phenomenal, and despite my resting internal terror shooting the whole film without dailies and 300 miles from the rental house — every night still brought a feeling of warmth that’s hard to describe.
.
shot on: Arriflex SR3 [Kodak Vision3 7219, 7207] + Zeiss Ultra16 Primes
.
writer/director: @mmelinavv
cast: @cecilia__rene @greta.c.hicks @lilia.karst @bdawk511
producers: @raymondknudsen @5thfloorpictures @bigbluepictures
exec. producer: Alan McConnell
assoc. producer: @bandrybarry
production design: @cowboyblonde
editor: @jake_o_lanternnn
colorist: @katie_jordan_color
first ac: @trevorviner
second ac / loader: @tylereverettcook
gaffer: @no_cargo
key grip: @chris_violette
.
@kodakshootfilm @sundanceorg @cinevideotech @tcsfilm #shotonfilm #sundance #sundancefilmfestival #sundance2023

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

DIDN’T THINK I’D SEE YOU HERE (2024)
.
Dylan reached out with the script for DTISYH in 2022 and we met over fried chicken at the Commodore 💥. I was sold pretty quickly — not just because the script was beautifully written, but Dylan’s creative vision felt totally and uniquely distinct. It was also clear that he wanted a visual collaborator to invest emotionally into the project and help bring it to life, which is what I live for. This kind of thing never feels like doing a job, because even the most technical decisions tend to come from an emotional response to the story, or a certain location, or performance, etc — it’s all alchemy. We faced a fair amount of challenges on this one (smash cut to getting kicked out of our first location day 1), and a super tight schedule, small crew, all that, but a great script will make you forget those things and just bust your ass to make it all happen. Very proud of this one.
.
shot on: Arri Alexa Mini + Kowa Cine Prominars / Angenieux Optimo 24-290mm Zoom
.
writer/director: @dylanguerra
cast: @getyaron @marquisrodriguez
producers: @getyaron @lduppz
editor: @getyaron
colorist: @katie_jordan_color
first ac: @mmelinavv
second ac: @steff_elainee @chris_violette
gaffer: @oliviermetzler
key grip: @no_cargo
.
@sundanceorg @tcsfilm @arri @newfest #sundance #sundancefilmfestival #sundance2024

Willa’s bday was the other day and also this movie we shot a few years ago is finally premiering so it’s time to release the photo series. DEEPFAKE (focus by @willapisarski) premieres at Tribeca on 6/6 at village east angelika 🎞️

Willa’s bday was the other day and also this movie we shot a few years ago is finally premiering so it’s time to release the photo series. DEEPFAKE (focus by @willapisarski) premieres at Tribeca on 6/6 at village east angelika 🎞️

Willa’s bday was the other day and also this movie we shot a few years ago is finally premiering so it’s time to release the photo series. DEEPFAKE (focus by @willapisarski) premieres at Tribeca on 6/6 at village east angelika 🎞️

DEEPFAKE is headed to Tribeca! Very proud of Matt and all the work he put in to bring this wacky script to life, from script to post, and incredibly thankful to my small, tight-knit crew for crushing it every single day of this shoot back in 2023. I feel very lucky to get to do this job alongside people I love dearly.

Of course, my sincerest thanks to @panavisionofficial NY (in particular Jeff Marzigliano, Luca Spensieri, and Chris Bieler) for their unwavering support and expertise along the way 🫶🏼

DEEPFAKE screens June 6, 7, and 14!

writer/director: Matt Eames
cast: @thejessdigi @sophialucia____ @jocweis @emilyunkles
producer: @fed_lai @backbaystudios
1st ad: @erikforall
production designer: @graysogo
dp: @robertbevisdp
steadicam op: @j.coyote
1st ac: @willapisarski
1st ac (dayplay): Gianfranco Bello
2nd ac: @michaelglantzis
2nd ac (dayplay): @lilymars__
gaffer: @oliviermetzler
key grip: @no_cargo
sound mixer: @nicole_majewskii
sound editor: Philip Kim
foley artist: Sam Beneitone
colorist: @katie_jordan_color
.
@panavisionofficial @arri @fujifilmproduction

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

NOT MY PROBLEM
Laila!
.
label: IIIXL Studio
artist: @prodlaila
director: @_ot
production company: @newyerrk
producer: @jamiemdolan
associate producer: @debtam // @radish
dp: @robertbevisdp
production design: amelia martinez
editor: @jacquelinexerri
management: jessica chong
1st ad: @cosmo_sweeney
steadicam op: @authorizeddealer
1st ac: @willapisarski
gaffer: @oliviermetzler
key grip: @no_cargo
production sound mixer: @jskyproduction
stylist: @tifffanyhelena
HMUA: eve marie
colorist: @lorenjameswhite
.
shot on: Arri Alexa Mini + Cooke Speed Panchros / Century Compact Zoom
.
@arrirental @cookeoptics @arri
.
#cinematography #commercial #musicvideo #dırectorofphotography

bolt x bts

#cinematography #mrmc #boltx #commercial #production

BTS from ‘Cora, Eat Your Spaghetti’ back in September (dir. @shannonm.sutherland), in post now! // 📸 @aaronkudja

Shot a commercial!
.
DEAR JOHN DENIM x LOVE, JADE
.
So grateful to @jacquelinexerri and @yachtclubfilms for bringing me on. Big shout to @joshtreadaway the absolute best moco operator in town, my IG-less 1st AC Gianfranco Bello who hopped on the day after we wrapped a feature lol, terrific gaffer @jewtangclan and key grip @samstulin, and my ride or die colorist @katie_jordan_color. Such a fun shoot with great tools and a great crew!
.
shot on: RED V-Raptor X + Angenieux Optimo Ultra Compact Zoom / Zeiss Master Primes
.
director: @jacquelinexerri
cast: @jadeshenker @enola.bedard @nuriparkdance @laina.laprell @lili.espo @deepadots @laylah_unique @dtran126 @ohmy_caprisun @sarahhglassnerr @abigailalfrey @dayleembleton
choreographer: @dancelai
exec producer: @joeydepasquale
producer: @producedbymaddy
production company: @yachtclubfilms
client: @dearjohndenim chaamomile @claireannataylor
production manager: jonah_witz
production coordinator: marquis wallace
production assistants: @gracepommy manny polakoski
1st ad: @christine.gee
2nd ad: @krathjen2
production designer: matt schroepfer
dp: ;)
1st ac: gianfranco bello
2nd ac: @mattmorganmattmorgan
moco operator: @joshtreadaway
moco tech: @steadical
gaffer: @jewtangclan
key grip: @stulinsta
swing: @jakeladehoff
swing: chris yannaco
post sound mixer: @baritobobb
colorist: @katie_jordan_color
vfx artist: amin ali
xr / post supervisor: @zach_and_captain
xr screen operator: @mikaman3
stylist: @deniseg.stylist
wardrobe assist: @miacristinaaauaa
.
@angenieuxlenses @reddigitalcinema @zeisscameralenses

Found this in my spam folder today 😅🥵 so it’s a few days late, but so grateful to @the__asc for the opportunity to take part in their 2025 Vision Mentorship program!

primos v ultra speeds v master primes v s4s [all on S16 Kodak V3 500T 7219]. Big thanks to Chris Bieler at @panavisionofficial NYC for letting us come in for this test, and @kodak_shootfilm for the great service. The full comparison and exposure test is up on vimeo, dm me for link if anyone’s interested
.
1st ac: @steff_elainee
loader: @johnjenne
gaffer: @oliviermetzler
.
#shotonfilm #panavision #arri #kodak #16mm #16mmfilm @cookeoptics @arri @zeisscameralenses

primos v ultra speeds v master primes v s4s [all on S16 Kodak V3 500T 7219]. Big thanks to Chris Bieler at @panavisionofficial NYC for letting us come in for this test, and @kodak_shootfilm for the great service. The full comparison and exposure test is up on vimeo, dm me for link if anyone’s interested
.
1st ac: @steff_elainee
loader: @johnjenne
gaffer: @oliviermetzler
.
#shotonfilm #panavision #arri #kodak #16mm #16mmfilm @cookeoptics @arri @zeisscameralenses

primos v ultra speeds v master primes v s4s [all on S16 Kodak V3 500T 7219]. Big thanks to Chris Bieler at @panavisionofficial NYC for letting us come in for this test, and @kodak_shootfilm for the great service. The full comparison and exposure test is up on vimeo, dm me for link if anyone’s interested
.
1st ac: @steff_elainee
loader: @johnjenne
gaffer: @oliviermetzler
.
#shotonfilm #panavision #arri #kodak #16mm #16mmfilm @cookeoptics @arri @zeisscameralenses

primos v ultra speeds v master primes v s4s [all on S16 Kodak V3 500T 7219]. Big thanks to Chris Bieler at @panavisionofficial NYC for letting us come in for this test, and @kodak_shootfilm for the great service. The full comparison and exposure test is up on vimeo, dm me for link if anyone’s interested
.
1st ac: @steff_elainee
loader: @johnjenne
gaffer: @oliviermetzler
.
#shotonfilm #panavision #arri #kodak #16mm #16mmfilm @cookeoptics @arri @zeisscameralenses

primos v ultra speeds v master primes v s4s [all on S16 Kodak V3 500T 7219]. Big thanks to Chris Bieler at @panavisionofficial NYC for letting us come in for this test, and @kodak_shootfilm for the great service. The full comparison and exposure test is up on vimeo, dm me for link if anyone’s interested
.
1st ac: @steff_elainee
loader: @johnjenne
gaffer: @oliviermetzler
.
#shotonfilm #panavision #arri #kodak #16mm #16mmfilm @cookeoptics @arri @zeisscameralenses

primos v ultra speeds v master primes v s4s [all on S16 Kodak V3 500T 7219]. Big thanks to Chris Bieler at @panavisionofficial NYC for letting us come in for this test, and @kodak_shootfilm for the great service. The full comparison and exposure test is up on vimeo, dm me for link if anyone’s interested
.
1st ac: @steff_elainee
loader: @johnjenne
gaffer: @oliviermetzler
.
#shotonfilm #panavision #arri #kodak #16mm #16mmfilm @cookeoptics @arri @zeisscameralenses

primos v ultra speeds v master primes v s4s [all on S16 Kodak V3 500T 7219]. Big thanks to Chris Bieler at @panavisionofficial NYC for letting us come in for this test, and @kodak_shootfilm for the great service. The full comparison and exposure test is up on vimeo, dm me for link if anyone’s interested
.
1st ac: @steff_elainee
loader: @johnjenne
gaffer: @oliviermetzler
.
#shotonfilm #panavision #arri #kodak #16mm #16mmfilm @cookeoptics @arri @zeisscameralenses

primos v ultra speeds v master primes v s4s [all on S16 Kodak V3 500T 7219]. Big thanks to Chris Bieler at @panavisionofficial NYC for letting us come in for this test, and @kodak_shootfilm for the great service. The full comparison and exposure test is up on vimeo, dm me for link if anyone’s interested
.
1st ac: @steff_elainee
loader: @johnjenne
gaffer: @oliviermetzler
.
#shotonfilm #panavision #arri #kodak #16mm #16mmfilm @cookeoptics @arri @zeisscameralenses

primos v ultra speeds v master primes v s4s [all on S16 Kodak V3 500T 7219]. Big thanks to Chris Bieler at @panavisionofficial NYC for letting us come in for this test, and @kodak_shootfilm for the great service. The full comparison and exposure test is up on vimeo, dm me for link if anyone’s interested
.
1st ac: @steff_elainee
loader: @johnjenne
gaffer: @oliviermetzler
.
#shotonfilm #panavision #arri #kodak #16mm #16mmfilm @cookeoptics @arri @zeisscameralenses

primos v ultra speeds v master primes v s4s [all on S16 Kodak V3 500T 7219]. Big thanks to Chris Bieler at @panavisionofficial NYC for letting us come in for this test, and @kodak_shootfilm for the great service. The full comparison and exposure test is up on vimeo, dm me for link if anyone’s interested
.
1st ac: @steff_elainee
loader: @johnjenne
gaffer: @oliviermetzler
.
#shotonfilm #panavision #arri #kodak #16mm #16mmfilm @cookeoptics @arri @zeisscameralenses

from the vault // sundance #2 (2024) with ‘Didn’t Think I’d See You Here’ // this place is really expensive

from the vault // sundance #2 (2024) with ‘Didn’t Think I’d See You Here’ // this place is really expensive

from the vault // sundance #2 (2024) with ‘Didn’t Think I’d See You Here’ // this place is really expensive

from the vault // sundance #2 (2024) with ‘Didn’t Think I’d See You Here’ // this place is really expensive

from the vault // sundance #2 (2024) with ‘Didn’t Think I’d See You Here’ // this place is really expensive

from the vault // sundance #2 (2024) with ‘Didn’t Think I’d See You Here’ // this place is really expensive

from the vault // sundance #2 (2024) with ‘Didn’t Think I’d See You Here’ // this place is really expensive