Visual Stories

A collection of behind-the-scenes stories revealing the visual process of filmmaking, frame by frame.

Behind the Cinematography of Spiderdust: A Visual Journey

From the moment I first laid eyes on the Spiderdust script, I knew this was going to be a journey unlike any other. The story was steeped in psychological tension and surrealism, demanding a visual approach that could capture the delicate balance between reality and a fractured reality of traumas carried from childhood into adult life. As the Director of Photography, I was excited to dive headfirst into this challenge, transforming these haunting words on paper into a living, breathing visual experience.

The vision for Spiderdust was clear in my mind—a world that felt both familiar and eerily alien, where shadows and light danced together to reflect the protagonist Milly’s fragmented psyche. I knew that the lighting would be key in achieving this. I wanted to create a world where light and shadow weren’t just visual elements but active participants in the story, reflecting Milly’s internal struggles and the haunting echoes of her past.

To create this atmosphere, the lighting needed to be carefully controlled, with sharp contrasts between light and darkness. The shadows were intentionally deep and pronounced, designed to evoke a sense of unease and disorientation. Soft, diffused light was used sparingly, primarily to highlight moments of fleeting clarity or introspection. In contrast, harsh, directional lighting was employed to emphasize the scenes where Milly’s reality fractures, casting eerie, elongated shadows that seemed to creep along the walls, following her every move.

In some scenes, the light was designed to feel almost unnatural, as if it were an entity of its own, intruding into Milly’s space. This was particularly effective in the film’s dance sequences, where the light guided the rhythm of Milly’s movements, casting her in and out of shadow, reflecting her shifting emotions and the pull between her childhood traumas and her adult reality. The goal was to create a visual metaphor for Milly’s fractured mind, where light and dark were constantly at odds, mirroring her internal conflict.

The creation of this visual language wasn’t something that happened only on the shooting days; it was the result of countless conversations and brainstorming sessions with Director Ash Kash and the rest of the team. We spent hours discussing how the cinematography could connect deeply with the story—how every lighting choice, every shadow, could serve as a visual extension of Milly’s psychological state. These discussions were crucial in developing a cohesive visual narrative that truly captured the essence of the film.

Our producers, Kasey Medeiros and Alex Moore, were instrumental in these creative discussions, providing insights and ensuring that the visual style aligned with the film’s thematic elements. The collaboration didn’t stop there; Mitch Clark, our 1st Assistant Camera, and Shervin Adeli, the 2nd Assistant Camera, played key roles in executing our vision, translating our ideas into tangible, impactful shots.

The sound department, led by Marvi Pathania as Sound Mixer, worked tirelessly to capture the subtle audio nuances that would complement the visuals, while Lucinda and Kevin Wang, our Gaffers, helped bring my vision to life with their expertise in crafting the perfect lighting setups. Karli handled the Hair and Makeup, creating looks that enhanced the characters’ otherworldly appearances, particularly in the film’s more surreal moments. Behind the scenes, Nina Franova captured the magic unfolding on set as the BTS Photographer, preserving the process that led to the film’s haunting visuals.

Our choreographer, Hannah Macaulay, played a vital role in the dance sequences, translating Milly’s internal turmoil into movement that was both beautiful and disturbing. Her work, combined with the cinematography, created some of the most memorable and emotionally charged scenes in the film.

Working on Spiderdust was more than just a job—it was a chance to push the boundaries of cinematography and explore new ways of visual storytelling. This film is a testament to what can be achieved when a dedicated team comes together with a shared vision. Every frame of Spiderdust reflects our collective passion and commitment to creating something truly special.

Spiderdust is a film that stays with you, not just because of its haunting narrative but because of the way it is visually told. As the Director of Photography, I poured my heart into every aspect of its cinematography, using light, lenses, and composition to draw viewers into Milly’s fractured world. This film is a personal journey for me, one that reflects my deep passion for visual storytelling and my commitment to creating cinematic experiences that resonate on a deeper level.

For those interested in the art of cinematography, Spiderdust offers a rich example of how visual elements can elevate a film beyond the ordinary. My work on this film is a reflection of my belief that cinematography is not just about capturing images, but about creating experiences that linger in the mind and soul.

Credits:

  • Director: Ash Kash
  • Producers: Kasey Medeiros, Alex Moore
  • Director of Photography: William Pinto
  • 1st Assistant Camera: Mitch Clark
  • 2nd Assistant Camera: Shervin Adeli
  • Sound Mixer: Marvi Pathania
  • Gaffers: Lucinda, Kevin Wang
  • Hair/Makeup: Karli
  • Choreographer: Hannah Macaulay
  • BTS Photographer: Nina Franova

Cast:

  • Franca as Milly
  • Nyssa Burrells as Grey Woman
  • Tahlia Crinis as Mother/Witch
  • Liam Finlayson as Grey Man

Behind the Cinematography of The Other Car: Crafting Suspense and Atmosphere

When I first read the script for The Other Car, written and directed by Alex Moore, I knew we were in for a challenging shoot. The story is a psychological thriller that demanded a visual style as intense as the plot. My job was to create a look that would immerse the audience in the tension and uncertainty that drives the film

The Realities of Independent Filmmaking

Working on The Other Car had its challenges, typical of independent filmmaking. With a tight budget and only two nights to shoot, every decision had to be spot-on. We didn’t have the luxury of time or extensive resources, so we had to be smart and creative in how we approached every aspect of production. This meant making the most of our equipment and locations and ensuring that every moment on set was productive.

The Importance of a Skilled Crew

In a project like this, having a skilled, hardworking team is crucial. Each person’s contribution made a big difference. A particular challenge was pulling focus at a very shallow depth of field, especially when shooting at T1.3 on the 50mm lens. Fast lenses are fantastic for capturing detail in low light, which was essential for our night shoots, but they also make the life of an Assistant Camera (AC) much more challenging. Ben Lawford, our 1st Assistant Camera, was key in this area. Using the DJI LiDAR focus system, Ben ensured that every shot was sharp, even in the toughest conditions. His expertise allowed me to concentrate on composition and lighting, knowing that the technical side was in good hands.

Creating the Film's Look

Alex Moore and I shared a clear vision for The Other Car. We wanted the film to feel both intimate and expansive—a story confined to the space of a car, yet touching on broader, more ominous themes. To achieve this, we used the Red Komodo camera paired with Canon Sumire Prime lenses—20mm, 35mm, and 50mm. These lenses were perfect for capturing the low-light, moody atmosphere that the story required. The fast lenses allowed us to keep the focus tight on the characters, making the surrounding darkness feel even more threatening.

Lighting for Suspense

Lighting was a crucial element in building the suspense of the film. Since most of the story takes place at night, we needed to use light carefully to heighten the tension. We used Aputure INFINIBAR LED lights to mimic streetlights and car interiors, creating a natural yet eerie glow. This approach allowed us to shape the scenes with light, adding depth and making the shadows feel almost like characters in the story.

In the car scenes, we aimed to capture the feeling of claustrophobia—the sense of being trapped on a dark road with danger just outside. 

The Role of Storyboarding

Storyboarding was a crucial part of our preparation. It allowed us to visualize key moments and plan the composition, lighting, and camera movements in advance. Given the tight shooting schedule, these detailed storyboards ensured that we were ready for each shot, minimizing downtime and keeping the production on track.

Tackling the Car Scenes

One of the toughest parts of the shoot was the driving sequences. Instead of filming on location, which can be risky and complicated at night, we used an LED TV to simulate the moving environment outside the car. This allowed us to maintain control over the lighting and timing, making sure every take was consistent and realistic. The LED TV projected street scenes that, combined with our lighting setup, created a convincing sense of movement without the need for actual driving scenes.

The Power of Collaboration

The visual style of The Other Car was a result of close collaboration across the entire team. Alex Moore and I spent a lot of time discussing how to use cinematography to support the story. Our producers, Ashkan Hashemi and Dylan Mitchell Duplessis, were instrumental in supporting our creative decisions, while Ben Lawford and Gwilym Young, our 2nd Assistant Camera, executed the shots with precision. Kevin Wang and Willow, our gaffers, played a key role in bringing the lighting design to life.

Reflecting on the Experience

Working on The Other Car was an opportunity to push the limits of what we could achieve with limited resources and time. Every choice, from the lenses to the lighting, was made with the goal of pulling the audience deeper into the story and making them feel the tension that the characters experience. This film is a testament to what a dedicated team can accomplish when everyone is working towards the same vision.

As we approach the release of The Other Car, I’m excited to see how audiences react to the visual journey we’ve created. It’s a film that stays with you, not just because of its story, but because of how it’s told visually.

Credits:

  • Director: Alex Moore
  • Producers: Ashkan Hashemi, Dylan Mitchell Duplessis
  • Director of Photography: Williams Pinto
  • 1st Assistant Camera: Ben Lawford
  • 2nd Assistant Camera: Gwilym Young
  • Gaffers: Kevin Wang, Willow
  • Sound Recording Engineer: Chewy Temel
  • Continuity Supervisor: Katrina Magat
  • BTS Photographer: Nina Franova

Cast:

  • Jade: Franca
  • Adam: Troy Nankervis
  • Mystery Woman: Tahlia Crinis

Capturing Fear: A Cinematographer’s Journey on The Fear Inside

The Fear Inside started as a passion project, driven by long hours, dedication, and a crew deeply committed to their craft. One of the most exciting parts of the journey was working with Oscar-winning composer Joseph Renzetti, who joined us in post-production to create a haunting, powerful score that elevated the story in ways we could never have imagined.

The Power of Passion

Making a film is always a challenge. It’s about overcoming obstacles, thinking on your feet, and finding creative solutions when things don’t go as planned. What keeps you going through those long days and nights is the belief in the story and the shared vision of the team. That’s what The Fear Inside represents: a group of people coming together with passion and purpose.

As the Director of Photography, my role was to make sure the visuals told our story in the most compelling way possible. We didn’t rely on elaborate sets or special effects; instead, we focused on the essentials—lighting, framing, and camera movement—to create the tension and atmosphere that pull viewers into the film.

 

Lighting the Way

Lighting was a crucial tool in shaping the mood of The Fear Inside. We used Astera tubes to craft a low-key, atmospheric setup that made the warehouse setting feel alive, like it was hiding secrets. The interplay of shadows and light was designed to keep the audience on edge, revealing just enough while leaving much to the imagination.

The Camera as a Storyteller

We chose Atlas Orion anamorphic lenses to give the film its distinctive, cinematic look. These lenses helped us convey both the vastness of the warehouse and the claustrophobia of the characters’ situation. Every shot was crafted to pull the audience deeper into the experience, and our 1st AC, Christopher Daw, played a crucial role in ensuring that each shot was sharp and executed flawlessly.

Christopher’s expertise in focus pulling and rigging allowed us to move efficiently while maintaining a high level of precision in every frame.

 

A Labor of Love

This film was a true team effort. Alex Moore, our director, led the project with a clear vision, while Josip Knezevich, our 1st Assistant Director, kept everything running smoothly and on schedule.

Kevin Wang, our gaffer, was responsible for creating the lighting setups that were so essential to the film’s atmosphere. Igor Melo documented the behind-the-scenes process, capturing the creativity, hard work, and collaboration that went into making The Fear Inside.

But it was in post-production that the film truly came together. Joseph Renzetti, an Oscar-winning composer, joined us and brought a depth to the film with his music that we hadn’t anticipated. His score amplified the tension, giving voice to the fear and emotion that runs through every scene.

 

Looking Back

The Fear Inside is more than just a film—it’s the result of passion, creativity, and a team committed to telling a gripping story. The process was intense, but the final product is something we’re all proud of.

I’m excited for audiences to experience this film and feel the suspense and tension that we worked so hard to create.