2026.1.29
- As a loyal user of DZOFILM lenses.How did you start using your first dzofilm lens?
I started working with DZO in 2020. I purchased the Pictor zoom lens set (20-55 & 55-125) for documentaries and a few narrative films I was currently working on that year. Once I finally received them, they’ve become my main production lenses and I’ve been shooting on them since then. When it came to using the other lenses, I’ve always suggested DZO for my projects since I really love my pictors. The vespids were great and now the Pavo and Arles I’m excited to continue working with on future projects.
- When choosing the lenses for different shooting projects, which features of lens do you particularly consider?
Weight, aperture and focal length and the overall “look”. When I chose the Pavos for “Savage" our action feature, we really wanted anamorphic to give us that action look and it paired nicely with our Red due to the form factor.
- When you first saw the script of Tiffy's Playhouse, why did you want to choose the Arles lens?
As the producer of Tiffy’s Playhouse and a longtime DZO user, I knew when the Arles lenses were announced that they were going to be impressive. This is a crazy horror film, so the fast aputure and very professional look is what I wanted and the Arles lenses delivered that. We wanted to keep the lenses all the same brand if possible, since we were already using the DZO Pictor lenses for some “zooming” shots in the film.
- In shooting the project Tiffy's Playhouse, we know the cameras in this project are Alexa 35 and Sony FX3. Have Arles Primes been used in both of Alexa 35 and FX3 camera? How does Arles Prime work with these two cameras? Any difference?
So we actually used the Alexa 35 as our A camera and a Red Komodo X as the B camera. We opted for the Red since we were doing some visual effects shots and some creative shots where we needed a smaller camera under a bed or in tight places. The Arles lenses worked great on both cameras! The only difference was needing lens support for the smaller body of the Red.
- What do you think was the most difficult part in the shooting of this project?
In Tiffy's playhouse we have a character, Mister Mascot which is a 7FT tall pink fuzzy Mascot. Dealing with the suit of that character, and how big and tedious it is to work with definitely made shooting sometimes difficult. The character does quite a few stunts in the film and doing that safely and visually appealing took more shooting time than we had hoped. The camera would have to go really low, or really high to match close ups with other actors.
- As the team's plan, the film will start to enter film festivals this fall. What kind of screen do you most want to see this film on when it is released?
We shot this for a theater. Our goal is to screen it on the biggest screens at any festival that we are official selections of. We’re excited to share Tiffy's Playhouse with the world.
CREDITS
Producer: Tony Ahedo
Cinematographer: Jeremy Teran
Starring: Laura Palacio, Sarah Brine, Jacob Sidhom, Parker Padgett, Andrew Murillo
Visual Effects: Little Shop of Gore FX
Production Design: Nick Lennon & @mossiepants
1st Assistant Director: Ian Longen
Colorist: Away Team
Editor: Ryan Robert Minford