"Tilly"

"Tilly" actually has two Directors of Photography because the director wanted two distinct aesthetics to contrast how Tilly feels in various scenes. I mostly handled the moments that leaned more toward the experimental, typically with Tilly alo

Part of the experimental nature of the film was that the director didn't want to enforce too many of the typical filmmaking conventions with regard to covering a scene. We always sought atypical shot choices like watching Tilly from behind. We

This shot was one of those impromptu moments on set when someone has an idea that immediately equates to a striking image. The shooting environment on this film was really supportive of that kind of thinking and we always tried to stay as flexible a

Tilly is a bit precocious for a young girl so we had to get her outside at night. We tried different ways of working in her environment. In this shot we used the foreground to try to say a little bit about her. The foreground elements help to emphas

This was the only scene in the film that I shot wherein people actually talk! Here Tilly's mother paints her nails while sharing a story of when she was Tilly's age. I chose to light them with a soft, saturated magenta light to make the sc

After Tilly's mom leaves the room, she turns off the lights and just the moonlight comes through. It shows Tilly coming back into the real world after checking out for a moment to reminisce with her mom. The dreamcatcher prop was featured

"Tilly" actually has two Directors of Photography because the director wanted two distinct aesthetics to contrast how Tilly feels in various scenes. I mostly handled the moments that leaned more toward the experimental, typically with Tilly alo

Part of the experimental nature of the film was that the director didn't want to enforce too many of the typical filmmaking conventions with regard to covering a scene. We always sought atypical shot choices like watching Tilly from behind. We

This shot was one of those impromptu moments on set when someone has an idea that immediately equates to a striking image. The shooting environment on this film was really supportive of that kind of thinking and we always tried to stay as flexible a

Tilly is a bit precocious for a young girl so we had to get her outside at night. We tried different ways of working in her environment. In this shot we used the foreground to try to say a little bit about her. The foreground elements help to emphas

This was the only scene in the film that I shot wherein people actually talk! Here Tilly's mother paints her nails while sharing a story of when she was Tilly's age. I chose to light them with a soft, saturated magenta light to make the sc

After Tilly's mom leaves the room, she turns off the lights and just the moonlight comes through. It shows Tilly coming back into the real world after checking out for a moment to reminisce with her mom. The dreamcatcher prop was featured

Directed by Jesy Rae Buhl
When a 13 year old girl's boyfriend dies unexpectedly she has to juggle the conflicting advice and reactions from those around her.

Sony F5 | Uncoated Cooke Panchro S2, Zeiss CP. 2 Lenses