英文

Can you introduce yourself and your film career?

My name is Isaac Yowman. I’m a Grammy-nominated, 12x Platinum music producer turned award-winning filmmaker. As the Founder and Creative Director of IYO Visuals, I’ve had the privilege of directing for brands like Adidas, Marvel, the NBA, Nike, Netflix, and Pepsi, as well as collaborating with artists such as Beyoncé, SZA, and Megan Thee Stallion. My mission has always been to tell powerful, culturally rooted stories that amplify underrepresented voices. From my short film All Screwed Up — acquired by Sony Pictures — to my Tribeca-winning Adidas project Rides & Hides, I’m constantly pushing to merge cinematic storytelling with purpose-driven creativity.

 

 

Can you tell us about the film you recently worked on and the project name?

Yes, Sincerely, Brad has been a true labor of love. I wore many hats on this one as the Director, Writer, DP, and Editor. It took a few years to fully develop the short film, and now we’re on the film festival circuit, hoping to secure funding to develop it into a feature-length film. The story follows a biracial couple whose love is tested when the wife becomes pregnant and her fiancé, Brad, must choose between embarking on a dangerous NASA mission that could save Earth or staying home to protect his family’s future. One of the core themes of the film is how vital fatherhood is to a man’s sense of purpose.

 

 

 

 

What specific camera did you choose for your latest film, and why did PAVO lenses influence your decision?

I shot the film on a RED Scarlet-W. I chose PAVO lenses because they’re perfect for S35 sensors, capturing 2x Anamorphic on a 6:5 sensor. Pairing them with R3D RAW gave me the flexibility in post to control highlight roll-off and achieve the soft, cinematic feel I wanted. That combination gave me the freedom to lean into the emotional tone of Sincerely, Brad without sacrificing image quality.

 

 

In what ways do you believe the choice of PAVO affects the storytelling in your films?

The PAVO lenses allowed me to fully lean into the time-period-appropriate stylistic approach I envisioned. I love their soft, vintage characteristics; they take the digital edge off modern sensors and make the image feel more organic. The barrel distortion was a key part of the visual texture I wanted. And the bokeh? Honestly, it’s one of my favorite aspects of the glass… the way it falls off feels like a visual waterfall: beautiful and natural.

 

What challenges did you face when using PAVO, and how did you address them? What initially drew you to them?

The lack of extreme sharpness concerned my AC at first, so we had to prep carefully and calibrate with focus charts. But what I love about the PAVOs, unlike most anamorphics on the market, is their built-in back-focus calibration. That feature is a game-changer. Taking lenses apart and shimming them can get exhausting when working with multiple primes, so DZOFILM’s integrated locking system is honestly revolutionary. It’s one of those under-hyped design details that makes a real difference on set.

 

 

 

 

What have you learned about cinematic products through your experiences? Any surprising insights?

I’ve learned that cinema lenses do matter, not just for image quality, but for workflow and consistency. Smoother focus pulls and more precise mechanics go a long way. The PAVOs were my first true set of cinema glass, as most of my earlier projects were shot on vintage photography lenses that were either rehoused or modified. There’s a warmth and character to older glass that’s hard to beat, and I think DZOFILM has done a great job of capturing that same soul while modernizing the design and making it more accessible to filmmakers like me.

 

 

 

What advice would you give to new filmmakers regarding the selection and use of camera equipment to enhance their films?

As an artist, you’re the carpenter… and your tools will either help you or hold you back. Always start with the story and your artistic approach, then choose tools that help you achieve that vision. Technology today is so advanced that you can do a lot with a little, but as you grow, you’ll notice the value of investing in quality equipment that elevates your work rather than limiting it.

 

 

 

Are there any emerging trends in cinematic lenses that you find exciting or promising for future projects?

I love that visual character is making a comeback. Lenses with unique looks and imperfections are being celebrated again. The era of every brand chasing clinical sharpness is over; now it’s about creative distortion, distinctive bokeh, and tonal personality. Those qualities push storytelling forward because they allow filmmakers to craft a signature visual identity. And with technology lowering the barrier to entry, what really stands out now is taste and intentionality.

 

Official Teaser: https://youtu.be/qinkpgahMzc