Camera Setup:
🔎 ARRI/ZEISS Master Prime T1.3
📹 ARRI Arriflex 435
• Film stock: 500T, 200T
• Shooting days: 1
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Love the look of your project. Can you tell us about the references you had in mind and how the conversation with the director developed?
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Director Sophie Hall-Mochkatel wanted the look and feeling of this piece to be grounded in femininity, with a constant undertone of tension. Domestic 1950s “housewife”advertisements were a big reference for us. The visual language of idealized perfection with something unsettling beneath the surface.
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Our frames were shaped, in a very real way, by the John Lautner home we shot in. Lautner’s architecture has been a favorite of ours for years, so getting to build intimate vignettes within that space and letting it guide composition, rhythm, and mood felt like a once in a lifetime gift.
In prep, Sophie and I kept coming back to the same tension: creating images to feel beautiful and fashion forward, while using lines, angles, and textures to convey a sense of perfectionism gone wrong. That visual edge mattered because it mirrors the character’s chaos and volatility, while still living in a world that feels domestic, feminine, and natural.
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Let’s talk about the Master Primes. How do you like working with them, and how would you describe their character?
I find Master Primes to be incredibly reliable in every sense. They offer unmatched flexibility thanks to their minimal distortion, exceptional sharpness, clean rendering, and...
