2026.5.25
- Introduction to the Project
--Can you tell us about the films you recently worked on and your role in their production?
I first started using the Arles primes on a film Called "Year of The Rooster" On which I was both the director and the director of photography. After reading the user reviews online, which really praised the quality and value of the set, I ordered th "A" set immediately, to work with the pair of RED monstro VV cameras I had just bought. I absolutely loved the distinguished , clean but characteristic look of the set and ordered the 135mm and 180mm very soon after. I went on tio shoot a film Called razorboy with them afterwards and created some gorgeous images with them on that one as well, in the deep desert next to the Salton Sea in california.
- Choice of Equipment
--What specific camera and lens products did you choose for your latest films, and what influenced your decision?
The RED Monstro VV with DZO FILm Arleas set became part of my Style and look on the films I photographed moving forward. I Photographed many segments of "Seven Tiny Funerals" on which I shot several scenes with Atlas Orion Anamorphics as well, intercut with the Arles Sphericals, to differentiate between past and future in the film. That is when I became interested in the set of 9 2X Pavo anamorphics, as I was sure the optics would be superior with DZO! I Want on to shoot a beautiful Sci- Fi movie Called "Fugitive from Asteron" on the arles set, next this year. The choice to shoot Spherical was based on the fact that it was a heavy VFX film, and the VFX supervisor said that the anamorphic squeeze would complicate their workflow.so, I pushed the boundaries, shooting wide open on the Arles in low light and they still held up, beautifully. Almost immediately after, I photographed a film Called "President Down" on the Arles lenses, an action film and they look fantastic in that "World" as well, So, I used the on a film called "Dragpires" and "My Husband, My enemy" as well!
- Challenges Faced
--Did you encounter any challenges during the filming?
The Challenge I always face in the indie world is money vs time. Typically I will only get between 12-18 days to photograph a feature and very few films that have a budget big enough to support the schedule. So, I have learned to light and frame beautifully under duress.
- Personal Experience
--How did your journey with cinematic products (Arles Prime) begin? What initially drew you to them?
The price point, the reviews and th t1.4 stop drew me to the arles set. I was always renting master primes and I feel like the Arles matched that quality level on large format cameras, for one quarter the price! It's very commendable when a company makes the tools we need for our Art within an artist's financial grasp;)
- Challenges with Products
--What challenges did you face when using these cinematic products, and how did you address them?
I Haven't had the opportunity to work with the PAVO Anamorphics yet, but I am looking forward to having a chance to have the Pavo lens in my next project. on my upcoming projects "Slave" and S.N.A.F.U" , both films that have socially conscious and relevant subject matters form the Sex Traffiking epidemic to Cyber bullying and teenage suicide. I'm hoping to make a difference photographing these stories with these lenses!
- Cinematography Choices
--How did you decide on the visual style of the film? Was there a particular influence or inspiration?
I love this question. Year of the rooster is very much an American mob movie. I grew up watching the greatest mob movies of all time, good Phyllis, Carlitos Way, Untouchables to name a few. So obviously those movies were an inspiration to me and choosing the visual style of year of the rooster. The original thing about the script is it incorporates the Chinese mob with the Italian mob in Los Angeles, so visually I wanted to make it a love letter to Los Angeles and really capture Chinatown and the rest of LA in all of its glory. So the marriage of the dark undertones and high contrast images I created alongside the sunny, colorful LA landscape were perfectly captured with the DZO Arles. The T1.4 allowed me to shoot at a high frame rate and keep the depth of field, very thin and certain scenes where I felt it needed to be, and had a beautiful bokeh. Multiple people came out to me, saying I love the look of these lenses.
- Future Trends
--Are there any emerging trends in cinematic lenses that you find particularly exciting or promising for future projects?
I Would be very interested if DZO were to produce both Spherical and Anamorphic Tilt shift lenses, for PL mount. I would use them all the time!