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Blood Orange
Short Film

Blood Orange

A blind man tormented by the mysterious disappearance of his guide dog, is one day visited by a sadistic childhood friend, igniting a disturbing journey of self-discovery.

Director of Photography: Kieran Fowler NZCS ACS

Production and Technical information

Lens/Camera Information
Lens series: Cooke Anamorphic/i
Focus length: 25mm, 32mm, 40mm, 50mm, 75mm, 100mm
Original Aspect Ratio: 2.40
Cameras: ARRICAM Lite (LT), ARRIFLEX 435
Format: Film
Rental Company: Panavision https://asia.panavision.com/

DOP Information
Director of Photography: Kieran Fowler NZCS ACS https://www.kieranfowler.com/
Instagram: https://www.instagram.com/kieranfowlers/
Vimeo: https://vimeo.com/user5704498

Production Information
Production: Blood Orange
Producer: Shank Galé
Director: M.P. Wills
Colourist: Matt Fezz
Production Company: Blunt Gorilla http://www.bluntgorilla.com/
IMDB: https://www.imdb.com/title/tt7661992/

DOP Kieran Fowler on his format, camera and lens choices
“The vision that Markus and I talked about was to create this timeless, nostalgic texture to the images and really being simplistic and almost William Eggleston-esque in our approach. We wanted to create this unsettling feeling within the seemingly ordinary. We shot Blood Orange on 35mm film with Cooke Anamorphic lenses. When shooting on film I find it’s important to use sharper glass, the Cooke Anamorphic lenses gave me this perfect balance as they are sharp, but inherit this lovely softening at the edges of the frame, particularly shooting near T2.8. I found this added a poetic quality to the images as if you were observing the every day through a unique filter and perspective. I only used Kodak Vision 3 5219 500T stock. This is probably my favorite stock, especially when peered with Anamorphic, as I love seeing more of the grain that the higher 4 perf resolution tends to take away, so it becomes this really nice combination of resolution and texture. With my approach to filtration, for exteriors, I didn’t want to correct the stock to full 5600º and rather I used an 81EF filter to go halfway, to have a cooler more stark exterior feel. I would also do this on a lot of day interiors, with my night work usually without correction as I was needing every bit of exposure I could get. Being confident that I could run T2.3 on the lenses without losing central sharpening was also a big part of why I chose these lenses. There were also a couple of occasions where I pushed the stock a stop, rating it at 800ASA, with 4 perf 500T you get this really lovely level of grain that adds a little more texture and life to the image. I feel like with lower sensitive stocks this format may get a little too clean looking.”

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