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nicolasnicolby
Nico Aguilar AMC
Cinematographer - 9AM | CAA
El videoclip "Anxiety" de la rapera estadounidense Doechii recibió el Grammy al Mejor Video Musical de 2025, una de las categorías más relevantes de la gala 68 de estos premios otorgados por la Academia Nacional de Artes y Ciencias de la Grabación de Estados Unidos.
El audiovisualfue dirigido por James Mackel y fotografiado por nuestro colega Nico Alguilar AMC 🇲🇽🎥 a quien enviamos una calurosa felicitación 🏆🎬👏🏼 @nicolasnicolby
🎥 Cámara: Arriflex 435 y Sony CineAlta Venice 2
🔎 Óptica: Panavision VA y Zeiss Super Speed MKII
🎦 Formato: Negativo 35mm
🎞️ Película: Kodak Vision3 250D 5207 y Vision3 500T 5219
▶️ Disponible en YouTube
El videoclip "Anxiety" de la rapera estadounidense Doechii recibió el Grammy al Mejor Video Musical de 2025, una de las categorías más relevantes de la gala 68 de estos premios otorgados por la Academia Nacional de Artes y Ciencias de la Grabación de Estados Unidos.
El audiovisualfue dirigido por James Mackel y fotografiado por nuestro colega Nico Alguilar AMC 🇲🇽🎥 a quien enviamos una calurosa felicitación 🏆🎬👏🏼 @nicolasnicolby
🎥 Cámara: Arriflex 435 y Sony CineAlta Venice 2
🔎 Óptica: Panavision VA y Zeiss Super Speed MKII
🎦 Formato: Negativo 35mm
🎞️ Película: Kodak Vision3 250D 5207 y Vision3 500T 5219
▶️ Disponible en YouTube
El videoclip "Anxiety" de la rapera estadounidense Doechii recibió el Grammy al Mejor Video Musical de 2025, una de las categorías más relevantes de la gala 68 de estos premios otorgados por la Academia Nacional de Artes y Ciencias de la Grabación de Estados Unidos.
El audiovisualfue dirigido por James Mackel y fotografiado por nuestro colega Nico Alguilar AMC 🇲🇽🎥 a quien enviamos una calurosa felicitación 🏆🎬👏🏼 @nicolasnicolby
🎥 Cámara: Arriflex 435 y Sony CineAlta Venice 2
🔎 Óptica: Panavision VA y Zeiss Super Speed MKII
🎦 Formato: Negativo 35mm
🎞️ Película: Kodak Vision3 250D 5207 y Vision3 500T 5219
▶️ Disponible en YouTube
El videoclip "Anxiety" de la rapera estadounidense Doechii recibió el Grammy al Mejor Video Musical de 2025, una de las categorías más relevantes de la gala 68 de estos premios otorgados por la Academia Nacional de Artes y Ciencias de la Grabación de Estados Unidos.
El audiovisualfue dirigido por James Mackel y fotografiado por nuestro colega Nico Alguilar AMC 🇲🇽🎥 a quien enviamos una calurosa felicitación 🏆🎬👏🏼 @nicolasnicolby
🎥 Cámara: Arriflex 435 y Sony CineAlta Venice 2
🔎 Óptica: Panavision VA y Zeiss Super Speed MKII
🎦 Formato: Negativo 35mm
🎞️ Película: Kodak Vision3 250D 5207 y Vision3 500T 5219
▶️ Disponible en YouTube
El videoclip "Anxiety" de la rapera estadounidense Doechii recibió el Grammy al Mejor Video Musical de 2025, una de las categorías más relevantes de la gala 68 de estos premios otorgados por la Academia Nacional de Artes y Ciencias de la Grabación de Estados Unidos.
El audiovisualfue dirigido por James Mackel y fotografiado por nuestro colega Nico Alguilar AMC 🇲🇽🎥 a quien enviamos una calurosa felicitación 🏆🎬👏🏼 @nicolasnicolby
🎥 Cámara: Arriflex 435 y Sony CineAlta Venice 2
🔎 Óptica: Panavision VA y Zeiss Super Speed MKII
🎦 Formato: Negativo 35mm
🎞️ Película: Kodak Vision3 250D 5207 y Vision3 500T 5219
▶️ Disponible en YouTube
Visionary #DOP @nicolasnicolby took us #behindthescenes of @doechii’s stunningly chaotic music video for ‘Anxiety’.
Aguilar tells us: “It was definitely a big collaboration between me and the director @jamesmackel, who is so incredibly talented. On this schedule, most of the shots you see there are the only takes takes we got – #Panavision was pivotal in making sure that the equipment was flawless. It was nice to have Amanda and Dan Sasaki involved from the beginning, helping us choose the right equipment and personally making sure we would be set up for success. There wasn't any other place I could have gone because there were a lot of technically very hard to achieve shots that required very specific looks and well-maintained equipment, there's just no other way to do it. It was also so important to have the support of my camera team, @connorlambert.ac, Jordan Oglesby, McKay Todd, my operator @chrislohsoc, colorist @bryansmaller, gaffer Tony Varuola, and key grip John Day in making it possible.
The idea is that every time she goes through this place, things and people are doing things that are like a machine, and she's repeating this dream. And then when you're outside, we wanted to pay homage to the big Hollywood musicals – that #Spielberg sense. So we ended up shooting with a diffusion filter, similar lenses to West Side Story like G and T-Series anamorphics, on 4 perf film, and all on big TechnoCrane sweeping motions. We're shooting #anamorphic, #spherical, film, digital, we're using the brand new @sonycine Rialto system, we're combining Super Speeds... but those decisions really came in order to support this idea of disorientation and anxiety.
We tried our best to use the tools in a way that would contribute to making this vision that James and Doechii had come true that wasn't strictly music video-y, but that was also narrative. I come influenced by art, photography, other narrative filmmaking techniques and filmmakers. As an artist, you need to have such a deep cultivation of art history and the past and culture in order to produce something now that isn't just derivative but that is also inspired by greater minds from the past.”
Visionary #DOP @nicolasnicolby took us #behindthescenes of @doechii’s stunningly chaotic music video for ‘Anxiety’.
Aguilar tells us: “It was definitely a big collaboration between me and the director @jamesmackel, who is so incredibly talented. On this schedule, most of the shots you see there are the only takes takes we got – #Panavision was pivotal in making sure that the equipment was flawless. It was nice to have Amanda and Dan Sasaki involved from the beginning, helping us choose the right equipment and personally making sure we would be set up for success. There wasn't any other place I could have gone because there were a lot of technically very hard to achieve shots that required very specific looks and well-maintained equipment, there's just no other way to do it. It was also so important to have the support of my camera team, @connorlambert.ac, Jordan Oglesby, McKay Todd, my operator @chrislohsoc, colorist @bryansmaller, gaffer Tony Varuola, and key grip John Day in making it possible.
The idea is that every time she goes through this place, things and people are doing things that are like a machine, and she's repeating this dream. And then when you're outside, we wanted to pay homage to the big Hollywood musicals – that #Spielberg sense. So we ended up shooting with a diffusion filter, similar lenses to West Side Story like G and T-Series anamorphics, on 4 perf film, and all on big TechnoCrane sweeping motions. We're shooting #anamorphic, #spherical, film, digital, we're using the brand new @sonycine Rialto system, we're combining Super Speeds... but those decisions really came in order to support this idea of disorientation and anxiety.
We tried our best to use the tools in a way that would contribute to making this vision that James and Doechii had come true that wasn't strictly music video-y, but that was also narrative. I come influenced by art, photography, other narrative filmmaking techniques and filmmakers. As an artist, you need to have such a deep cultivation of art history and the past and culture in order to produce something now that isn't just derivative but that is also inspired by greater minds from the past.”
Visionary #DOP @nicolasnicolby took us #behindthescenes of @doechii’s stunningly chaotic music video for ‘Anxiety’.
Aguilar tells us: “It was definitely a big collaboration between me and the director @jamesmackel, who is so incredibly talented. On this schedule, most of the shots you see there are the only takes takes we got – #Panavision was pivotal in making sure that the equipment was flawless. It was nice to have Amanda and Dan Sasaki involved from the beginning, helping us choose the right equipment and personally making sure we would be set up for success. There wasn't any other place I could have gone because there were a lot of technically very hard to achieve shots that required very specific looks and well-maintained equipment, there's just no other way to do it. It was also so important to have the support of my camera team, @connorlambert.ac, Jordan Oglesby, McKay Todd, my operator @chrislohsoc, colorist @bryansmaller, gaffer Tony Varuola, and key grip John Day in making it possible.
The idea is that every time she goes through this place, things and people are doing things that are like a machine, and she's repeating this dream. And then when you're outside, we wanted to pay homage to the big Hollywood musicals – that #Spielberg sense. So we ended up shooting with a diffusion filter, similar lenses to West Side Story like G and T-Series anamorphics, on 4 perf film, and all on big TechnoCrane sweeping motions. We're shooting #anamorphic, #spherical, film, digital, we're using the brand new @sonycine Rialto system, we're combining Super Speeds... but those decisions really came in order to support this idea of disorientation and anxiety.
We tried our best to use the tools in a way that would contribute to making this vision that James and Doechii had come true that wasn't strictly music video-y, but that was also narrative. I come influenced by art, photography, other narrative filmmaking techniques and filmmakers. As an artist, you need to have such a deep cultivation of art history and the past and culture in order to produce something now that isn't just derivative but that is also inspired by greater minds from the past.”
Visionary #DOP @nicolasnicolby took us #behindthescenes of @doechii’s stunningly chaotic music video for ‘Anxiety’.
Aguilar tells us: “It was definitely a big collaboration between me and the director @jamesmackel, who is so incredibly talented. On this schedule, most of the shots you see there are the only takes takes we got – #Panavision was pivotal in making sure that the equipment was flawless. It was nice to have Amanda and Dan Sasaki involved from the beginning, helping us choose the right equipment and personally making sure we would be set up for success. There wasn't any other place I could have gone because there were a lot of technically very hard to achieve shots that required very specific looks and well-maintained equipment, there's just no other way to do it. It was also so important to have the support of my camera team, @connorlambert.ac, Jordan Oglesby, McKay Todd, my operator @chrislohsoc, colorist @bryansmaller, gaffer Tony Varuola, and key grip John Day in making it possible.
The idea is that every time she goes through this place, things and people are doing things that are like a machine, and she's repeating this dream. And then when you're outside, we wanted to pay homage to the big Hollywood musicals – that #Spielberg sense. So we ended up shooting with a diffusion filter, similar lenses to West Side Story like G and T-Series anamorphics, on 4 perf film, and all on big TechnoCrane sweeping motions. We're shooting #anamorphic, #spherical, film, digital, we're using the brand new @sonycine Rialto system, we're combining Super Speeds... but those decisions really came in order to support this idea of disorientation and anxiety.
We tried our best to use the tools in a way that would contribute to making this vision that James and Doechii had come true that wasn't strictly music video-y, but that was also narrative. I come influenced by art, photography, other narrative filmmaking techniques and filmmakers. As an artist, you need to have such a deep cultivation of art history and the past and culture in order to produce something now that isn't just derivative but that is also inspired by greater minds from the past.”
Visionary #DOP @nicolasnicolby took us #behindthescenes of @doechii’s stunningly chaotic music video for ‘Anxiety’.
Aguilar tells us: “It was definitely a big collaboration between me and the director @jamesmackel, who is so incredibly talented. On this schedule, most of the shots you see there are the only takes takes we got – #Panavision was pivotal in making sure that the equipment was flawless. It was nice to have Amanda and Dan Sasaki involved from the beginning, helping us choose the right equipment and personally making sure we would be set up for success. There wasn't any other place I could have gone because there were a lot of technically very hard to achieve shots that required very specific looks and well-maintained equipment, there's just no other way to do it. It was also so important to have the support of my camera team, @connorlambert.ac, Jordan Oglesby, McKay Todd, my operator @chrislohsoc, colorist @bryansmaller, gaffer Tony Varuola, and key grip John Day in making it possible.
The idea is that every time she goes through this place, things and people are doing things that are like a machine, and she's repeating this dream. And then when you're outside, we wanted to pay homage to the big Hollywood musicals – that #Spielberg sense. So we ended up shooting with a diffusion filter, similar lenses to West Side Story like G and T-Series anamorphics, on 4 perf film, and all on big TechnoCrane sweeping motions. We're shooting #anamorphic, #spherical, film, digital, we're using the brand new @sonycine Rialto system, we're combining Super Speeds... but those decisions really came in order to support this idea of disorientation and anxiety.
We tried our best to use the tools in a way that would contribute to making this vision that James and Doechii had come true that wasn't strictly music video-y, but that was also narrative. I come influenced by art, photography, other narrative filmmaking techniques and filmmakers. As an artist, you need to have such a deep cultivation of art history and the past and culture in order to produce something now that isn't just derivative but that is also inspired by greater minds from the past.”
Visionary #DOP @nicolasnicolby took us #behindthescenes of @doechii’s stunningly chaotic music video for ‘Anxiety’.
Aguilar tells us: “It was definitely a big collaboration between me and the director @jamesmackel, who is so incredibly talented. On this schedule, most of the shots you see there are the only takes takes we got – #Panavision was pivotal in making sure that the equipment was flawless. It was nice to have Amanda and Dan Sasaki involved from the beginning, helping us choose the right equipment and personally making sure we would be set up for success. There wasn't any other place I could have gone because there were a lot of technically very hard to achieve shots that required very specific looks and well-maintained equipment, there's just no other way to do it. It was also so important to have the support of my camera team, @connorlambert.ac, Jordan Oglesby, McKay Todd, my operator @chrislohsoc, colorist @bryansmaller, gaffer Tony Varuola, and key grip John Day in making it possible.
The idea is that every time she goes through this place, things and people are doing things that are like a machine, and she's repeating this dream. And then when you're outside, we wanted to pay homage to the big Hollywood musicals – that #Spielberg sense. So we ended up shooting with a diffusion filter, similar lenses to West Side Story like G and T-Series anamorphics, on 4 perf film, and all on big TechnoCrane sweeping motions. We're shooting #anamorphic, #spherical, film, digital, we're using the brand new @sonycine Rialto system, we're combining Super Speeds... but those decisions really came in order to support this idea of disorientation and anxiety.
We tried our best to use the tools in a way that would contribute to making this vision that James and Doechii had come true that wasn't strictly music video-y, but that was also narrative. I come influenced by art, photography, other narrative filmmaking techniques and filmmakers. As an artist, you need to have such a deep cultivation of art history and the past and culture in order to produce something now that isn't just derivative but that is also inspired by greater minds from the past.”
Visionary #DOP @nicolasnicolby took us #behindthescenes of @doechii’s stunningly chaotic music video for ‘Anxiety’.
Aguilar tells us: “It was definitely a big collaboration between me and the director @jamesmackel, who is so incredibly talented. On this schedule, most of the shots you see there are the only takes takes we got – #Panavision was pivotal in making sure that the equipment was flawless. It was nice to have Amanda and Dan Sasaki involved from the beginning, helping us choose the right equipment and personally making sure we would be set up for success. There wasn't any other place I could have gone because there were a lot of technically very hard to achieve shots that required very specific looks and well-maintained equipment, there's just no other way to do it. It was also so important to have the support of my camera team, @connorlambert.ac, Jordan Oglesby, McKay Todd, my operator @chrislohsoc, colorist @bryansmaller, gaffer Tony Varuola, and key grip John Day in making it possible.
The idea is that every time she goes through this place, things and people are doing things that are like a machine, and she's repeating this dream. And then when you're outside, we wanted to pay homage to the big Hollywood musicals – that #Spielberg sense. So we ended up shooting with a diffusion filter, similar lenses to West Side Story like G and T-Series anamorphics, on 4 perf film, and all on big TechnoCrane sweeping motions. We're shooting #anamorphic, #spherical, film, digital, we're using the brand new @sonycine Rialto system, we're combining Super Speeds... but those decisions really came in order to support this idea of disorientation and anxiety.
We tried our best to use the tools in a way that would contribute to making this vision that James and Doechii had come true that wasn't strictly music video-y, but that was also narrative. I come influenced by art, photography, other narrative filmmaking techniques and filmmakers. As an artist, you need to have such a deep cultivation of art history and the past and culture in order to produce something now that isn't just derivative but that is also inspired by greater minds from the past.”
Visionary #DOP @nicolasnicolby took us #behindthescenes of @doechii’s stunningly chaotic music video for ‘Anxiety’.
Aguilar tells us: “It was definitely a big collaboration between me and the director @jamesmackel, who is so incredibly talented. On this schedule, most of the shots you see there are the only takes takes we got – #Panavision was pivotal in making sure that the equipment was flawless. It was nice to have Amanda and Dan Sasaki involved from the beginning, helping us choose the right equipment and personally making sure we would be set up for success. There wasn't any other place I could have gone because there were a lot of technically very hard to achieve shots that required very specific looks and well-maintained equipment, there's just no other way to do it. It was also so important to have the support of my camera team, @connorlambert.ac, Jordan Oglesby, McKay Todd, my operator @chrislohsoc, colorist @bryansmaller, gaffer Tony Varuola, and key grip John Day in making it possible.
The idea is that every time she goes through this place, things and people are doing things that are like a machine, and she's repeating this dream. And then when you're outside, we wanted to pay homage to the big Hollywood musicals – that #Spielberg sense. So we ended up shooting with a diffusion filter, similar lenses to West Side Story like G and T-Series anamorphics, on 4 perf film, and all on big TechnoCrane sweeping motions. We're shooting #anamorphic, #spherical, film, digital, we're using the brand new @sonycine Rialto system, we're combining Super Speeds... but those decisions really came in order to support this idea of disorientation and anxiety.
We tried our best to use the tools in a way that would contribute to making this vision that James and Doechii had come true that wasn't strictly music video-y, but that was also narrative. I come influenced by art, photography, other narrative filmmaking techniques and filmmakers. As an artist, you need to have such a deep cultivation of art history and the past and culture in order to produce something now that isn't just derivative but that is also inspired by greater minds from the past.”
Visionary #DOP @nicolasnicolby took us #behindthescenes of @doechii’s stunningly chaotic music video for ‘Anxiety’.
Aguilar tells us: “It was definitely a big collaboration between me and the director @jamesmackel, who is so incredibly talented. On this schedule, most of the shots you see there are the only takes takes we got – #Panavision was pivotal in making sure that the equipment was flawless. It was nice to have Amanda and Dan Sasaki involved from the beginning, helping us choose the right equipment and personally making sure we would be set up for success. There wasn't any other place I could have gone because there were a lot of technically very hard to achieve shots that required very specific looks and well-maintained equipment, there's just no other way to do it. It was also so important to have the support of my camera team, @connorlambert.ac, Jordan Oglesby, McKay Todd, my operator @chrislohsoc, colorist @bryansmaller, gaffer Tony Varuola, and key grip John Day in making it possible.
The idea is that every time she goes through this place, things and people are doing things that are like a machine, and she's repeating this dream. And then when you're outside, we wanted to pay homage to the big Hollywood musicals – that #Spielberg sense. So we ended up shooting with a diffusion filter, similar lenses to West Side Story like G and T-Series anamorphics, on 4 perf film, and all on big TechnoCrane sweeping motions. We're shooting #anamorphic, #spherical, film, digital, we're using the brand new @sonycine Rialto system, we're combining Super Speeds... but those decisions really came in order to support this idea of disorientation and anxiety.
We tried our best to use the tools in a way that would contribute to making this vision that James and Doechii had come true that wasn't strictly music video-y, but that was also narrative. I come influenced by art, photography, other narrative filmmaking techniques and filmmakers. As an artist, you need to have such a deep cultivation of art history and the past and culture in order to produce something now that isn't just derivative but that is also inspired by greater minds from the past.”
Visionary #DOP @nicolasnicolby took us #behindthescenes of @doechii’s stunningly chaotic music video for ‘Anxiety’.
Aguilar tells us: “It was definitely a big collaboration between me and the director @jamesmackel, who is so incredibly talented. On this schedule, most of the shots you see there are the only takes takes we got – #Panavision was pivotal in making sure that the equipment was flawless. It was nice to have Amanda and Dan Sasaki involved from the beginning, helping us choose the right equipment and personally making sure we would be set up for success. There wasn't any other place I could have gone because there were a lot of technically very hard to achieve shots that required very specific looks and well-maintained equipment, there's just no other way to do it. It was also so important to have the support of my camera team, @connorlambert.ac, Jordan Oglesby, McKay Todd, my operator @chrislohsoc, colorist @bryansmaller, gaffer Tony Varuola, and key grip John Day in making it possible.
The idea is that every time she goes through this place, things and people are doing things that are like a machine, and she's repeating this dream. And then when you're outside, we wanted to pay homage to the big Hollywood musicals – that #Spielberg sense. So we ended up shooting with a diffusion filter, similar lenses to West Side Story like G and T-Series anamorphics, on 4 perf film, and all on big TechnoCrane sweeping motions. We're shooting #anamorphic, #spherical, film, digital, we're using the brand new @sonycine Rialto system, we're combining Super Speeds... but those decisions really came in order to support this idea of disorientation and anxiety.
We tried our best to use the tools in a way that would contribute to making this vision that James and Doechii had come true that wasn't strictly music video-y, but that was also narrative. I come influenced by art, photography, other narrative filmmaking techniques and filmmakers. As an artist, you need to have such a deep cultivation of art history and the past and culture in order to produce something now that isn't just derivative but that is also inspired by greater minds from the past.”
‘The Monkey’
🔎1- ZEISS Super Speed 18mm T1.3
🔎2- LOMO Anamorphic 50mm T2.5 TLS Rehoused
🔎3- ZEISS Super Speed 18mm T1.3
🔎4- ZEISS Super Speed 25mm T1.3
🔎5- LOMO Anamorphic 35mm T2.5 TLS Rehoused
🔎6- ZEISS Super Speed 50mm T1.3
🔎7- ZEISS Super Speed 25mm T1.3
🔎8- ZEISS Super Speed 50mm T1.3
🔎9- ZEISS Super Speed 18mm T1.3
📹 ARRI Alexa 35
Dir. @osgoodperkins
Dp. @nicolasnicolby
Producers. @creepypuppet @dave_caplan @bkavjones @christopheraferguson
Production Companies. @atomicmonster C2 Motion Picture Group, The Safran Company, @rangemp @starscollective_official
Distributor. @neonrated
A Camera Op. @_jeremycox
Steadicam Op. Leonardo Harim
2nd Unit DPs. @erwinjaquez @jannieklompje, @_jeremycox
1st AC. @rasmussteinfoss
Digital Imaging Technician. Dwight Hartnett
Key Grip. Amrit Bawa
Dolly Grip. Namowan Kirby
Gaffer. @thedaycall
Rigging Gaffer. Gareth Jones
Production Designer. Danny Vermette
Casting Dir. Rich Delia, Erin Elizabeth Lally
Music Composer. Edo Van Breemen
Editors. Greg Ng, Graham Fortin
Makeup Dept. Head. @madelaineartistry
Hair Dept. Head. Christian Holland
Costume Designer. @micakayde
Supervising Sound Editor/Re-recording Mixer. Martin Richard Chappell
Sound Mixer. Jaime Fish
VFX Supervisor. @edwardjdouglas
Colour. @bryansmaller x @company_3
.
.
#lensaddiction #xelmusanamorphic #lomoanamorphic #zeisssuperspeeds #arrialexa35
‘The Monkey’
🔎1- ZEISS Super Speed 18mm T1.3
🔎2- LOMO Anamorphic 50mm T2.5 TLS Rehoused
🔎3- ZEISS Super Speed 18mm T1.3
🔎4- ZEISS Super Speed 25mm T1.3
🔎5- LOMO Anamorphic 35mm T2.5 TLS Rehoused
🔎6- ZEISS Super Speed 50mm T1.3
🔎7- ZEISS Super Speed 25mm T1.3
🔎8- ZEISS Super Speed 50mm T1.3
🔎9- ZEISS Super Speed 18mm T1.3
📹 ARRI Alexa 35
Dir. @osgoodperkins
Dp. @nicolasnicolby
Producers. @creepypuppet @dave_caplan @bkavjones @christopheraferguson
Production Companies. @atomicmonster C2 Motion Picture Group, The Safran Company, @rangemp @starscollective_official
Distributor. @neonrated
A Camera Op. @_jeremycox
Steadicam Op. Leonardo Harim
2nd Unit DPs. @erwinjaquez @jannieklompje, @_jeremycox
1st AC. @rasmussteinfoss
Digital Imaging Technician. Dwight Hartnett
Key Grip. Amrit Bawa
Dolly Grip. Namowan Kirby
Gaffer. @thedaycall
Rigging Gaffer. Gareth Jones
Production Designer. Danny Vermette
Casting Dir. Rich Delia, Erin Elizabeth Lally
Music Composer. Edo Van Breemen
Editors. Greg Ng, Graham Fortin
Makeup Dept. Head. @madelaineartistry
Hair Dept. Head. Christian Holland
Costume Designer. @micakayde
Supervising Sound Editor/Re-recording Mixer. Martin Richard Chappell
Sound Mixer. Jaime Fish
VFX Supervisor. @edwardjdouglas
Colour. @bryansmaller x @company_3
.
.
#lensaddiction #xelmusanamorphic #lomoanamorphic #zeisssuperspeeds #arrialexa35
‘The Monkey’
🔎1- ZEISS Super Speed 18mm T1.3
🔎2- LOMO Anamorphic 50mm T2.5 TLS Rehoused
🔎3- ZEISS Super Speed 18mm T1.3
🔎4- ZEISS Super Speed 25mm T1.3
🔎5- LOMO Anamorphic 35mm T2.5 TLS Rehoused
🔎6- ZEISS Super Speed 50mm T1.3
🔎7- ZEISS Super Speed 25mm T1.3
🔎8- ZEISS Super Speed 50mm T1.3
🔎9- ZEISS Super Speed 18mm T1.3
📹 ARRI Alexa 35
Dir. @osgoodperkins
Dp. @nicolasnicolby
Producers. @creepypuppet @dave_caplan @bkavjones @christopheraferguson
Production Companies. @atomicmonster C2 Motion Picture Group, The Safran Company, @rangemp @starscollective_official
Distributor. @neonrated
A Camera Op. @_jeremycox
Steadicam Op. Leonardo Harim
2nd Unit DPs. @erwinjaquez @jannieklompje, @_jeremycox
1st AC. @rasmussteinfoss
Digital Imaging Technician. Dwight Hartnett
Key Grip. Amrit Bawa
Dolly Grip. Namowan Kirby
Gaffer. @thedaycall
Rigging Gaffer. Gareth Jones
Production Designer. Danny Vermette
Casting Dir. Rich Delia, Erin Elizabeth Lally
Music Composer. Edo Van Breemen
Editors. Greg Ng, Graham Fortin
Makeup Dept. Head. @madelaineartistry
Hair Dept. Head. Christian Holland
Costume Designer. @micakayde
Supervising Sound Editor/Re-recording Mixer. Martin Richard Chappell
Sound Mixer. Jaime Fish
VFX Supervisor. @edwardjdouglas
Colour. @bryansmaller x @company_3
.
.
#lensaddiction #xelmusanamorphic #lomoanamorphic #zeisssuperspeeds #arrialexa35
‘The Monkey’
🔎1- ZEISS Super Speed 18mm T1.3
🔎2- LOMO Anamorphic 50mm T2.5 TLS Rehoused
🔎3- ZEISS Super Speed 18mm T1.3
🔎4- ZEISS Super Speed 25mm T1.3
🔎5- LOMO Anamorphic 35mm T2.5 TLS Rehoused
🔎6- ZEISS Super Speed 50mm T1.3
🔎7- ZEISS Super Speed 25mm T1.3
🔎8- ZEISS Super Speed 50mm T1.3
🔎9- ZEISS Super Speed 18mm T1.3
📹 ARRI Alexa 35
Dir. @osgoodperkins
Dp. @nicolasnicolby
Producers. @creepypuppet @dave_caplan @bkavjones @christopheraferguson
Production Companies. @atomicmonster C2 Motion Picture Group, The Safran Company, @rangemp @starscollective_official
Distributor. @neonrated
A Camera Op. @_jeremycox
Steadicam Op. Leonardo Harim
2nd Unit DPs. @erwinjaquez @jannieklompje, @_jeremycox
1st AC. @rasmussteinfoss
Digital Imaging Technician. Dwight Hartnett
Key Grip. Amrit Bawa
Dolly Grip. Namowan Kirby
Gaffer. @thedaycall
Rigging Gaffer. Gareth Jones
Production Designer. Danny Vermette
Casting Dir. Rich Delia, Erin Elizabeth Lally
Music Composer. Edo Van Breemen
Editors. Greg Ng, Graham Fortin
Makeup Dept. Head. @madelaineartistry
Hair Dept. Head. Christian Holland
Costume Designer. @micakayde
Supervising Sound Editor/Re-recording Mixer. Martin Richard Chappell
Sound Mixer. Jaime Fish
VFX Supervisor. @edwardjdouglas
Colour. @bryansmaller x @company_3
.
.
#lensaddiction #xelmusanamorphic #lomoanamorphic #zeisssuperspeeds #arrialexa35
‘The Monkey’
🔎1- ZEISS Super Speed 18mm T1.3
🔎2- LOMO Anamorphic 50mm T2.5 TLS Rehoused
🔎3- ZEISS Super Speed 18mm T1.3
🔎4- ZEISS Super Speed 25mm T1.3
🔎5- LOMO Anamorphic 35mm T2.5 TLS Rehoused
🔎6- ZEISS Super Speed 50mm T1.3
🔎7- ZEISS Super Speed 25mm T1.3
🔎8- ZEISS Super Speed 50mm T1.3
🔎9- ZEISS Super Speed 18mm T1.3
📹 ARRI Alexa 35
Dir. @osgoodperkins
Dp. @nicolasnicolby
Producers. @creepypuppet @dave_caplan @bkavjones @christopheraferguson
Production Companies. @atomicmonster C2 Motion Picture Group, The Safran Company, @rangemp @starscollective_official
Distributor. @neonrated
A Camera Op. @_jeremycox
Steadicam Op. Leonardo Harim
2nd Unit DPs. @erwinjaquez @jannieklompje, @_jeremycox
1st AC. @rasmussteinfoss
Digital Imaging Technician. Dwight Hartnett
Key Grip. Amrit Bawa
Dolly Grip. Namowan Kirby
Gaffer. @thedaycall
Rigging Gaffer. Gareth Jones
Production Designer. Danny Vermette
Casting Dir. Rich Delia, Erin Elizabeth Lally
Music Composer. Edo Van Breemen
Editors. Greg Ng, Graham Fortin
Makeup Dept. Head. @madelaineartistry
Hair Dept. Head. Christian Holland
Costume Designer. @micakayde
Supervising Sound Editor/Re-recording Mixer. Martin Richard Chappell
Sound Mixer. Jaime Fish
VFX Supervisor. @edwardjdouglas
Colour. @bryansmaller x @company_3
.
.
#lensaddiction #xelmusanamorphic #lomoanamorphic #zeisssuperspeeds #arrialexa35
‘The Monkey’
🔎1- ZEISS Super Speed 18mm T1.3
🔎2- LOMO Anamorphic 50mm T2.5 TLS Rehoused
🔎3- ZEISS Super Speed 18mm T1.3
🔎4- ZEISS Super Speed 25mm T1.3
🔎5- LOMO Anamorphic 35mm T2.5 TLS Rehoused
🔎6- ZEISS Super Speed 50mm T1.3
🔎7- ZEISS Super Speed 25mm T1.3
🔎8- ZEISS Super Speed 50mm T1.3
🔎9- ZEISS Super Speed 18mm T1.3
📹 ARRI Alexa 35
Dir. @osgoodperkins
Dp. @nicolasnicolby
Producers. @creepypuppet @dave_caplan @bkavjones @christopheraferguson
Production Companies. @atomicmonster C2 Motion Picture Group, The Safran Company, @rangemp @starscollective_official
Distributor. @neonrated
A Camera Op. @_jeremycox
Steadicam Op. Leonardo Harim
2nd Unit DPs. @erwinjaquez @jannieklompje, @_jeremycox
1st AC. @rasmussteinfoss
Digital Imaging Technician. Dwight Hartnett
Key Grip. Amrit Bawa
Dolly Grip. Namowan Kirby
Gaffer. @thedaycall
Rigging Gaffer. Gareth Jones
Production Designer. Danny Vermette
Casting Dir. Rich Delia, Erin Elizabeth Lally
Music Composer. Edo Van Breemen
Editors. Greg Ng, Graham Fortin
Makeup Dept. Head. @madelaineartistry
Hair Dept. Head. Christian Holland
Costume Designer. @micakayde
Supervising Sound Editor/Re-recording Mixer. Martin Richard Chappell
Sound Mixer. Jaime Fish
VFX Supervisor. @edwardjdouglas
Colour. @bryansmaller x @company_3
.
.
#lensaddiction #xelmusanamorphic #lomoanamorphic #zeisssuperspeeds #arrialexa35
‘The Monkey’
🔎1- ZEISS Super Speed 18mm T1.3
🔎2- LOMO Anamorphic 50mm T2.5 TLS Rehoused
🔎3- ZEISS Super Speed 18mm T1.3
🔎4- ZEISS Super Speed 25mm T1.3
🔎5- LOMO Anamorphic 35mm T2.5 TLS Rehoused
🔎6- ZEISS Super Speed 50mm T1.3
🔎7- ZEISS Super Speed 25mm T1.3
🔎8- ZEISS Super Speed 50mm T1.3
🔎9- ZEISS Super Speed 18mm T1.3
📹 ARRI Alexa 35
Dir. @osgoodperkins
Dp. @nicolasnicolby
Producers. @creepypuppet @dave_caplan @bkavjones @christopheraferguson
Production Companies. @atomicmonster C2 Motion Picture Group, The Safran Company, @rangemp @starscollective_official
Distributor. @neonrated
A Camera Op. @_jeremycox
Steadicam Op. Leonardo Harim
2nd Unit DPs. @erwinjaquez @jannieklompje, @_jeremycox
1st AC. @rasmussteinfoss
Digital Imaging Technician. Dwight Hartnett
Key Grip. Amrit Bawa
Dolly Grip. Namowan Kirby
Gaffer. @thedaycall
Rigging Gaffer. Gareth Jones
Production Designer. Danny Vermette
Casting Dir. Rich Delia, Erin Elizabeth Lally
Music Composer. Edo Van Breemen
Editors. Greg Ng, Graham Fortin
Makeup Dept. Head. @madelaineartistry
Hair Dept. Head. Christian Holland
Costume Designer. @micakayde
Supervising Sound Editor/Re-recording Mixer. Martin Richard Chappell
Sound Mixer. Jaime Fish
VFX Supervisor. @edwardjdouglas
Colour. @bryansmaller x @company_3
.
.
#lensaddiction #xelmusanamorphic #lomoanamorphic #zeisssuperspeeds #arrialexa35
‘The Monkey’
🔎1- ZEISS Super Speed 18mm T1.3
🔎2- LOMO Anamorphic 50mm T2.5 TLS Rehoused
🔎3- ZEISS Super Speed 18mm T1.3
🔎4- ZEISS Super Speed 25mm T1.3
🔎5- LOMO Anamorphic 35mm T2.5 TLS Rehoused
🔎6- ZEISS Super Speed 50mm T1.3
🔎7- ZEISS Super Speed 25mm T1.3
🔎8- ZEISS Super Speed 50mm T1.3
🔎9- ZEISS Super Speed 18mm T1.3
📹 ARRI Alexa 35
Dir. @osgoodperkins
Dp. @nicolasnicolby
Producers. @creepypuppet @dave_caplan @bkavjones @christopheraferguson
Production Companies. @atomicmonster C2 Motion Picture Group, The Safran Company, @rangemp @starscollective_official
Distributor. @neonrated
A Camera Op. @_jeremycox
Steadicam Op. Leonardo Harim
2nd Unit DPs. @erwinjaquez @jannieklompje, @_jeremycox
1st AC. @rasmussteinfoss
Digital Imaging Technician. Dwight Hartnett
Key Grip. Amrit Bawa
Dolly Grip. Namowan Kirby
Gaffer. @thedaycall
Rigging Gaffer. Gareth Jones
Production Designer. Danny Vermette
Casting Dir. Rich Delia, Erin Elizabeth Lally
Music Composer. Edo Van Breemen
Editors. Greg Ng, Graham Fortin
Makeup Dept. Head. @madelaineartistry
Hair Dept. Head. Christian Holland
Costume Designer. @micakayde
Supervising Sound Editor/Re-recording Mixer. Martin Richard Chappell
Sound Mixer. Jaime Fish
VFX Supervisor. @edwardjdouglas
Colour. @bryansmaller x @company_3
.
.
#lensaddiction #xelmusanamorphic #lomoanamorphic #zeisssuperspeeds #arrialexa35
‘The Monkey’
🔎1- ZEISS Super Speed 18mm T1.3
🔎2- LOMO Anamorphic 50mm T2.5 TLS Rehoused
🔎3- ZEISS Super Speed 18mm T1.3
🔎4- ZEISS Super Speed 25mm T1.3
🔎5- LOMO Anamorphic 35mm T2.5 TLS Rehoused
🔎6- ZEISS Super Speed 50mm T1.3
🔎7- ZEISS Super Speed 25mm T1.3
🔎8- ZEISS Super Speed 50mm T1.3
🔎9- ZEISS Super Speed 18mm T1.3
📹 ARRI Alexa 35
Dir. @osgoodperkins
Dp. @nicolasnicolby
Producers. @creepypuppet @dave_caplan @bkavjones @christopheraferguson
Production Companies. @atomicmonster C2 Motion Picture Group, The Safran Company, @rangemp @starscollective_official
Distributor. @neonrated
A Camera Op. @_jeremycox
Steadicam Op. Leonardo Harim
2nd Unit DPs. @erwinjaquez @jannieklompje, @_jeremycox
1st AC. @rasmussteinfoss
Digital Imaging Technician. Dwight Hartnett
Key Grip. Amrit Bawa
Dolly Grip. Namowan Kirby
Gaffer. @thedaycall
Rigging Gaffer. Gareth Jones
Production Designer. Danny Vermette
Casting Dir. Rich Delia, Erin Elizabeth Lally
Music Composer. Edo Van Breemen
Editors. Greg Ng, Graham Fortin
Makeup Dept. Head. @madelaineartistry
Hair Dept. Head. Christian Holland
Costume Designer. @micakayde
Supervising Sound Editor/Re-recording Mixer. Martin Richard Chappell
Sound Mixer. Jaime Fish
VFX Supervisor. @edwardjdouglas
Colour. @bryansmaller x @company_3
.
.
#lensaddiction #xelmusanamorphic #lomoanamorphic #zeisssuperspeeds #arrialexa35
‘Anxiety’ - @doechii
🔎1- ZEISS Super Speed MKII 18mm T1.3
🔎2- PANAVISION VA 21mm T1.4
🔎3- ZEISS Super Speed MKII 18mm T1.3
🔎4- ZEISS Super Speed MKII 35mm T1.3
🔎5- ZEISS Super Speed MKII 18mm T1.3
📹1- SONY Venice 2 - Rialto Mini
📹2-3-4-5- ARRI Arriflex 435 3-perf
🎞️2-3-4-5- KODAK Vision 3 500T (5219)
Dir. @jamesmackel
Dp. @nicolasnicolby
Production Company. @adele_drive
Executive Producers. @dangerookipawaa @moosatde
EP. @langstonsiebens
Production Company. @moreavenue
Produced by. @jolenemendes @sophsabel @pabs.feldman
Production Designer. @malvivi3nte
Choreo. @itsrobbiesworld_
Stunt Coordinator. @rsbrown75
Creative Dir. @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor. @sammymcentire
VFX. @pendulum.vfx
Colorist. @bryansmaller
Featuring. Courtney Hargrett, Sydney Hargrett
1st AC. Connor Lambert @connorlambert.ac
2nd AC. Jordan Oglesby
Loader. McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Op. Clay Platner
Crane Tech. Ned Hurlbut
Matrix Techs. Simon Shin, Doug McCormick
VTR. Bob Mills
Chief Lighting Technician. Tony Varoula
Assistant Chief Lighting Technician. Don Davidson
Electrics. Fred Palluzi, Nick Arnold
Hyphenate Driver/Electric. Anthony Olmos
Key Grip. John Day
Best Boy Grip. Stu Brumbaugh
Grips. Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip. Kenneth Colbentz
Hyphenate Driver/Grip. Peter Yauri
.
.
#lensaddiction #doechii #zeisssuperspeed #panavisionva #sonyvenice #sonyvenicerialtomini
‘Anxiety’ - @doechii
🔎1- ZEISS Super Speed MKII 18mm T1.3
🔎2- PANAVISION VA 21mm T1.4
🔎3- ZEISS Super Speed MKII 18mm T1.3
🔎4- ZEISS Super Speed MKII 35mm T1.3
🔎5- ZEISS Super Speed MKII 18mm T1.3
📹1- SONY Venice 2 - Rialto Mini
📹2-3-4-5- ARRI Arriflex 435 3-perf
🎞️2-3-4-5- KODAK Vision 3 500T (5219)
Dir. @jamesmackel
Dp. @nicolasnicolby
Production Company. @adele_drive
Executive Producers. @dangerookipawaa @moosatde
EP. @langstonsiebens
Production Company. @moreavenue
Produced by. @jolenemendes @sophsabel @pabs.feldman
Production Designer. @malvivi3nte
Choreo. @itsrobbiesworld_
Stunt Coordinator. @rsbrown75
Creative Dir. @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor. @sammymcentire
VFX. @pendulum.vfx
Colorist. @bryansmaller
Featuring. Courtney Hargrett, Sydney Hargrett
1st AC. Connor Lambert @connorlambert.ac
2nd AC. Jordan Oglesby
Loader. McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Op. Clay Platner
Crane Tech. Ned Hurlbut
Matrix Techs. Simon Shin, Doug McCormick
VTR. Bob Mills
Chief Lighting Technician. Tony Varoula
Assistant Chief Lighting Technician. Don Davidson
Electrics. Fred Palluzi, Nick Arnold
Hyphenate Driver/Electric. Anthony Olmos
Key Grip. John Day
Best Boy Grip. Stu Brumbaugh
Grips. Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip. Kenneth Colbentz
Hyphenate Driver/Grip. Peter Yauri
.
.
#lensaddiction #doechii #zeisssuperspeed #panavisionva #sonyvenice #sonyvenicerialtomini
‘Anxiety’ - @doechii
🔎1- ZEISS Super Speed MKII 18mm T1.3
🔎2- PANAVISION VA 21mm T1.4
🔎3- ZEISS Super Speed MKII 18mm T1.3
🔎4- ZEISS Super Speed MKII 35mm T1.3
🔎5- ZEISS Super Speed MKII 18mm T1.3
📹1- SONY Venice 2 - Rialto Mini
📹2-3-4-5- ARRI Arriflex 435 3-perf
🎞️2-3-4-5- KODAK Vision 3 500T (5219)
Dir. @jamesmackel
Dp. @nicolasnicolby
Production Company. @adele_drive
Executive Producers. @dangerookipawaa @moosatde
EP. @langstonsiebens
Production Company. @moreavenue
Produced by. @jolenemendes @sophsabel @pabs.feldman
Production Designer. @malvivi3nte
Choreo. @itsrobbiesworld_
Stunt Coordinator. @rsbrown75
Creative Dir. @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor. @sammymcentire
VFX. @pendulum.vfx
Colorist. @bryansmaller
Featuring. Courtney Hargrett, Sydney Hargrett
1st AC. Connor Lambert @connorlambert.ac
2nd AC. Jordan Oglesby
Loader. McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Op. Clay Platner
Crane Tech. Ned Hurlbut
Matrix Techs. Simon Shin, Doug McCormick
VTR. Bob Mills
Chief Lighting Technician. Tony Varoula
Assistant Chief Lighting Technician. Don Davidson
Electrics. Fred Palluzi, Nick Arnold
Hyphenate Driver/Electric. Anthony Olmos
Key Grip. John Day
Best Boy Grip. Stu Brumbaugh
Grips. Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip. Kenneth Colbentz
Hyphenate Driver/Grip. Peter Yauri
.
.
#lensaddiction #doechii #zeisssuperspeed #panavisionva #sonyvenice #sonyvenicerialtomini
‘Anxiety’ - @doechii
🔎1- ZEISS Super Speed MKII 18mm T1.3
🔎2- PANAVISION VA 21mm T1.4
🔎3- ZEISS Super Speed MKII 18mm T1.3
🔎4- ZEISS Super Speed MKII 35mm T1.3
🔎5- ZEISS Super Speed MKII 18mm T1.3
📹1- SONY Venice 2 - Rialto Mini
📹2-3-4-5- ARRI Arriflex 435 3-perf
🎞️2-3-4-5- KODAK Vision 3 500T (5219)
Dir. @jamesmackel
Dp. @nicolasnicolby
Production Company. @adele_drive
Executive Producers. @dangerookipawaa @moosatde
EP. @langstonsiebens
Production Company. @moreavenue
Produced by. @jolenemendes @sophsabel @pabs.feldman
Production Designer. @malvivi3nte
Choreo. @itsrobbiesworld_
Stunt Coordinator. @rsbrown75
Creative Dir. @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor. @sammymcentire
VFX. @pendulum.vfx
Colorist. @bryansmaller
Featuring. Courtney Hargrett, Sydney Hargrett
1st AC. Connor Lambert @connorlambert.ac
2nd AC. Jordan Oglesby
Loader. McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Op. Clay Platner
Crane Tech. Ned Hurlbut
Matrix Techs. Simon Shin, Doug McCormick
VTR. Bob Mills
Chief Lighting Technician. Tony Varoula
Assistant Chief Lighting Technician. Don Davidson
Electrics. Fred Palluzi, Nick Arnold
Hyphenate Driver/Electric. Anthony Olmos
Key Grip. John Day
Best Boy Grip. Stu Brumbaugh
Grips. Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip. Kenneth Colbentz
Hyphenate Driver/Grip. Peter Yauri
.
.
#lensaddiction #doechii #zeisssuperspeed #panavisionva #sonyvenice #sonyvenicerialtomini
‘Anxiety’ - @doechii
🔎1- ZEISS Super Speed MKII 18mm T1.3
🔎2- PANAVISION VA 21mm T1.4
🔎3- ZEISS Super Speed MKII 18mm T1.3
🔎4- ZEISS Super Speed MKII 35mm T1.3
🔎5- ZEISS Super Speed MKII 18mm T1.3
📹1- SONY Venice 2 - Rialto Mini
📹2-3-4-5- ARRI Arriflex 435 3-perf
🎞️2-3-4-5- KODAK Vision 3 500T (5219)
Dir. @jamesmackel
Dp. @nicolasnicolby
Production Company. @adele_drive
Executive Producers. @dangerookipawaa @moosatde
EP. @langstonsiebens
Production Company. @moreavenue
Produced by. @jolenemendes @sophsabel @pabs.feldman
Production Designer. @malvivi3nte
Choreo. @itsrobbiesworld_
Stunt Coordinator. @rsbrown75
Creative Dir. @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor. @sammymcentire
VFX. @pendulum.vfx
Colorist. @bryansmaller
Featuring. Courtney Hargrett, Sydney Hargrett
1st AC. Connor Lambert @connorlambert.ac
2nd AC. Jordan Oglesby
Loader. McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Op. Clay Platner
Crane Tech. Ned Hurlbut
Matrix Techs. Simon Shin, Doug McCormick
VTR. Bob Mills
Chief Lighting Technician. Tony Varoula
Assistant Chief Lighting Technician. Don Davidson
Electrics. Fred Palluzi, Nick Arnold
Hyphenate Driver/Electric. Anthony Olmos
Key Grip. John Day
Best Boy Grip. Stu Brumbaugh
Grips. Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip. Kenneth Colbentz
Hyphenate Driver/Grip. Peter Yauri
.
.
#lensaddiction #doechii #zeisssuperspeed #panavisionva #sonyvenice #sonyvenicerialtomini
The end of the music video was made possible by the new Sony Rialto Mini system. We mounted the camera on Doechii using a Doggicam rig she wore on her body, with @chrislohsoc operating a remote panning mechanism. This setup allowed for a seamless transition into her POV as she walks up to the window and sees herself inside her own bedroom. The Rialto system was invaluable—it let us use the Sony Venice on the snoricam, making it possible to shoot into magic hour and deliver a robust file for @bryansmaller to match to 35mm. Thank you @sonycine for supporting us! Credit to @connorlambert.ac @jordan_oglesby John Day @panavisionofficial @jamesmackel #rialtomini #sonycine #sony #panavision #venice2 #anxiety #doechii
The end of the music video was made possible by the new Sony Rialto Mini system. We mounted the camera on Doechii using a Doggicam rig she wore on her body, with @chrislohsoc operating a remote panning mechanism. This setup allowed for a seamless transition into her POV as she walks up to the window and sees herself inside her own bedroom. The Rialto system was invaluable—it let us use the Sony Venice on the snoricam, making it possible to shoot into magic hour and deliver a robust file for @bryansmaller to match to 35mm. Thank you @sonycine for supporting us! Credit to @connorlambert.ac @jordan_oglesby John Day @panavisionofficial @jamesmackel #rialtomini #sonycine #sony #panavision #venice2 #anxiety #doechii
The end of the music video was made possible by the new Sony Rialto Mini system. We mounted the camera on Doechii using a Doggicam rig she wore on her body, with @chrislohsoc operating a remote panning mechanism. This setup allowed for a seamless transition into her POV as she walks up to the window and sees herself inside her own bedroom. The Rialto system was invaluable—it let us use the Sony Venice on the snoricam, making it possible to shoot into magic hour and deliver a robust file for @bryansmaller to match to 35mm. Thank you @sonycine for supporting us! Credit to @connorlambert.ac @jordan_oglesby John Day @panavisionofficial @jamesmackel #rialtomini #sonycine #sony #panavision #venice2 #anxiety #doechii
The end of the music video was made possible by the new Sony Rialto Mini system. We mounted the camera on Doechii using a Doggicam rig she wore on her body, with @chrislohsoc operating a remote panning mechanism. This setup allowed for a seamless transition into her POV as she walks up to the window and sees herself inside her own bedroom. The Rialto system was invaluable—it let us use the Sony Venice on the snoricam, making it possible to shoot into magic hour and deliver a robust file for @bryansmaller to match to 35mm. Thank you @sonycine for supporting us! Credit to @connorlambert.ac @jordan_oglesby John Day @panavisionofficial @jamesmackel #rialtomini #sonycine #sony #panavision #venice2 #anxiety #doechii
The end of the music video was made possible by the new Sony Rialto Mini system. We mounted the camera on Doechii using a Doggicam rig she wore on her body, with @chrislohsoc operating a remote panning mechanism. This setup allowed for a seamless transition into her POV as she walks up to the window and sees herself inside her own bedroom. The Rialto system was invaluable—it let us use the Sony Venice on the snoricam, making it possible to shoot into magic hour and deliver a robust file for @bryansmaller to match to 35mm. Thank you @sonycine for supporting us! Credit to @connorlambert.ac @jordan_oglesby John Day @panavisionofficial @jamesmackel #rialtomini #sonycine #sony #panavision #venice2 #anxiety #doechii
Thanks to everyone that made this possible!
Last two slides with some unreal engine previs I created for this.
Directed by @jamesmackel for @adele_drive
Production Company: @adele_drive
Executive Producers: @dangerookipawaa,@moosatde
EP: @langstonsiebens
Production Company: @moreavenue
Produced by @jolenemendes, @sophsabel, @pabs.feldman
Director of Photography: @nicolasnicolby 👋
Production Designer: @malvivi3nte
Choreographer: @itsrobbiesworld_
Stunt Coordinator: @rsbrown75
Creative Directors: @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor: @sammymcentire
VFX: @pendulum.vfx
Colorist: @bryansmaller
Featuring: Courtney Hargrett, Sydney Hargrett
First Assistant Camera: Connor Lambert @connorlambert.ac
Second Assistant Camera: Jordan Oglesby
Loader: McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Operator: Clay Platner
Crane Tech: Ned Hurlbut
Matrix Techs: Simon Shin, Doug McCormick
VTR: Bob Mills
Chief Lighting Technician: Tony Varoula
Assistant Chief Lighting Technician: Don Davidson
Electrics: Fred Palluzi, Nick Arnold
Hyphenate Driver / Electric: Anthony Olmos
Key Grip: John Day
Best Boy Grip: Stu Brumbaugh
Grips: Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip: Kenneth Colbentz
Hyphenate Driver / Grip: Peter Yauri
Special thanks to @kodak_shootfilm @panavisionofficial @sonycine
Thanks to everyone that made this possible!
Last two slides with some unreal engine previs I created for this.
Directed by @jamesmackel for @adele_drive
Production Company: @adele_drive
Executive Producers: @dangerookipawaa,@moosatde
EP: @langstonsiebens
Production Company: @moreavenue
Produced by @jolenemendes, @sophsabel, @pabs.feldman
Director of Photography: @nicolasnicolby 👋
Production Designer: @malvivi3nte
Choreographer: @itsrobbiesworld_
Stunt Coordinator: @rsbrown75
Creative Directors: @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor: @sammymcentire
VFX: @pendulum.vfx
Colorist: @bryansmaller
Featuring: Courtney Hargrett, Sydney Hargrett
First Assistant Camera: Connor Lambert @connorlambert.ac
Second Assistant Camera: Jordan Oglesby
Loader: McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Operator: Clay Platner
Crane Tech: Ned Hurlbut
Matrix Techs: Simon Shin, Doug McCormick
VTR: Bob Mills
Chief Lighting Technician: Tony Varoula
Assistant Chief Lighting Technician: Don Davidson
Electrics: Fred Palluzi, Nick Arnold
Hyphenate Driver / Electric: Anthony Olmos
Key Grip: John Day
Best Boy Grip: Stu Brumbaugh
Grips: Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip: Kenneth Colbentz
Hyphenate Driver / Grip: Peter Yauri
Special thanks to @kodak_shootfilm @panavisionofficial @sonycine
Thanks to everyone that made this possible!
Last two slides with some unreal engine previs I created for this.
Directed by @jamesmackel for @adele_drive
Production Company: @adele_drive
Executive Producers: @dangerookipawaa,@moosatde
EP: @langstonsiebens
Production Company: @moreavenue
Produced by @jolenemendes, @sophsabel, @pabs.feldman
Director of Photography: @nicolasnicolby 👋
Production Designer: @malvivi3nte
Choreographer: @itsrobbiesworld_
Stunt Coordinator: @rsbrown75
Creative Directors: @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor: @sammymcentire
VFX: @pendulum.vfx
Colorist: @bryansmaller
Featuring: Courtney Hargrett, Sydney Hargrett
First Assistant Camera: Connor Lambert @connorlambert.ac
Second Assistant Camera: Jordan Oglesby
Loader: McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Operator: Clay Platner
Crane Tech: Ned Hurlbut
Matrix Techs: Simon Shin, Doug McCormick
VTR: Bob Mills
Chief Lighting Technician: Tony Varoula
Assistant Chief Lighting Technician: Don Davidson
Electrics: Fred Palluzi, Nick Arnold
Hyphenate Driver / Electric: Anthony Olmos
Key Grip: John Day
Best Boy Grip: Stu Brumbaugh
Grips: Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip: Kenneth Colbentz
Hyphenate Driver / Grip: Peter Yauri
Special thanks to @kodak_shootfilm @panavisionofficial @sonycine
Thanks to everyone that made this possible!
Last two slides with some unreal engine previs I created for this.
Directed by @jamesmackel for @adele_drive
Production Company: @adele_drive
Executive Producers: @dangerookipawaa,@moosatde
EP: @langstonsiebens
Production Company: @moreavenue
Produced by @jolenemendes, @sophsabel, @pabs.feldman
Director of Photography: @nicolasnicolby 👋
Production Designer: @malvivi3nte
Choreographer: @itsrobbiesworld_
Stunt Coordinator: @rsbrown75
Creative Directors: @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor: @sammymcentire
VFX: @pendulum.vfx
Colorist: @bryansmaller
Featuring: Courtney Hargrett, Sydney Hargrett
First Assistant Camera: Connor Lambert @connorlambert.ac
Second Assistant Camera: Jordan Oglesby
Loader: McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Operator: Clay Platner
Crane Tech: Ned Hurlbut
Matrix Techs: Simon Shin, Doug McCormick
VTR: Bob Mills
Chief Lighting Technician: Tony Varoula
Assistant Chief Lighting Technician: Don Davidson
Electrics: Fred Palluzi, Nick Arnold
Hyphenate Driver / Electric: Anthony Olmos
Key Grip: John Day
Best Boy Grip: Stu Brumbaugh
Grips: Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip: Kenneth Colbentz
Hyphenate Driver / Grip: Peter Yauri
Special thanks to @kodak_shootfilm @panavisionofficial @sonycine
Thanks to everyone that made this possible!
Last two slides with some unreal engine previs I created for this.
Directed by @jamesmackel for @adele_drive
Production Company: @adele_drive
Executive Producers: @dangerookipawaa,@moosatde
EP: @langstonsiebens
Production Company: @moreavenue
Produced by @jolenemendes, @sophsabel, @pabs.feldman
Director of Photography: @nicolasnicolby 👋
Production Designer: @malvivi3nte
Choreographer: @itsrobbiesworld_
Stunt Coordinator: @rsbrown75
Creative Directors: @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor: @sammymcentire
VFX: @pendulum.vfx
Colorist: @bryansmaller
Featuring: Courtney Hargrett, Sydney Hargrett
First Assistant Camera: Connor Lambert @connorlambert.ac
Second Assistant Camera: Jordan Oglesby
Loader: McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Operator: Clay Platner
Crane Tech: Ned Hurlbut
Matrix Techs: Simon Shin, Doug McCormick
VTR: Bob Mills
Chief Lighting Technician: Tony Varoula
Assistant Chief Lighting Technician: Don Davidson
Electrics: Fred Palluzi, Nick Arnold
Hyphenate Driver / Electric: Anthony Olmos
Key Grip: John Day
Best Boy Grip: Stu Brumbaugh
Grips: Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip: Kenneth Colbentz
Hyphenate Driver / Grip: Peter Yauri
Special thanks to @kodak_shootfilm @panavisionofficial @sonycine
Thanks to everyone that made this possible!
Last two slides with some unreal engine previs I created for this.
Directed by @jamesmackel for @adele_drive
Production Company: @adele_drive
Executive Producers: @dangerookipawaa,@moosatde
EP: @langstonsiebens
Production Company: @moreavenue
Produced by @jolenemendes, @sophsabel, @pabs.feldman
Director of Photography: @nicolasnicolby 👋
Production Designer: @malvivi3nte
Choreographer: @itsrobbiesworld_
Stunt Coordinator: @rsbrown75
Creative Directors: @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor: @sammymcentire
VFX: @pendulum.vfx
Colorist: @bryansmaller
Featuring: Courtney Hargrett, Sydney Hargrett
First Assistant Camera: Connor Lambert @connorlambert.ac
Second Assistant Camera: Jordan Oglesby
Loader: McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Operator: Clay Platner
Crane Tech: Ned Hurlbut
Matrix Techs: Simon Shin, Doug McCormick
VTR: Bob Mills
Chief Lighting Technician: Tony Varoula
Assistant Chief Lighting Technician: Don Davidson
Electrics: Fred Palluzi, Nick Arnold
Hyphenate Driver / Electric: Anthony Olmos
Key Grip: John Day
Best Boy Grip: Stu Brumbaugh
Grips: Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip: Kenneth Colbentz
Hyphenate Driver / Grip: Peter Yauri
Special thanks to @kodak_shootfilm @panavisionofficial @sonycine
Thanks to everyone that made this possible!
Last two slides with some unreal engine previs I created for this.
Directed by @jamesmackel for @adele_drive
Production Company: @adele_drive
Executive Producers: @dangerookipawaa,@moosatde
EP: @langstonsiebens
Production Company: @moreavenue
Produced by @jolenemendes, @sophsabel, @pabs.feldman
Director of Photography: @nicolasnicolby 👋
Production Designer: @malvivi3nte
Choreographer: @itsrobbiesworld_
Stunt Coordinator: @rsbrown75
Creative Directors: @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor: @sammymcentire
VFX: @pendulum.vfx
Colorist: @bryansmaller
Featuring: Courtney Hargrett, Sydney Hargrett
First Assistant Camera: Connor Lambert @connorlambert.ac
Second Assistant Camera: Jordan Oglesby
Loader: McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Operator: Clay Platner
Crane Tech: Ned Hurlbut
Matrix Techs: Simon Shin, Doug McCormick
VTR: Bob Mills
Chief Lighting Technician: Tony Varoula
Assistant Chief Lighting Technician: Don Davidson
Electrics: Fred Palluzi, Nick Arnold
Hyphenate Driver / Electric: Anthony Olmos
Key Grip: John Day
Best Boy Grip: Stu Brumbaugh
Grips: Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip: Kenneth Colbentz
Hyphenate Driver / Grip: Peter Yauri
Special thanks to @kodak_shootfilm @panavisionofficial @sonycine
Thanks to everyone that made this possible!
Last two slides with some unreal engine previs I created for this.
Directed by @jamesmackel for @adele_drive
Production Company: @adele_drive
Executive Producers: @dangerookipawaa,@moosatde
EP: @langstonsiebens
Production Company: @moreavenue
Produced by @jolenemendes, @sophsabel, @pabs.feldman
Director of Photography: @nicolasnicolby 👋
Production Designer: @malvivi3nte
Choreographer: @itsrobbiesworld_
Stunt Coordinator: @rsbrown75
Creative Directors: @jamesmackel &
@connortingley
@sammymcentire @langstonsiebens
Editor: @sammymcentire
VFX: @pendulum.vfx
Colorist: @bryansmaller
Featuring: Courtney Hargrett, Sydney Hargrett
First Assistant Camera: Connor Lambert @connorlambert.ac
Second Assistant Camera: Jordan Oglesby
Loader: McKay Todd
Steadicam Operator: Chris Loh @chrislohsoc
Crane Operator: Clay Platner
Crane Tech: Ned Hurlbut
Matrix Techs: Simon Shin, Doug McCormick
VTR: Bob Mills
Chief Lighting Technician: Tony Varoula
Assistant Chief Lighting Technician: Don Davidson
Electrics: Fred Palluzi, Nick Arnold
Hyphenate Driver / Electric: Anthony Olmos
Key Grip: John Day
Best Boy Grip: Stu Brumbaugh
Grips: Sara Elia, Adam Baker, Hermexial Drexilus
Dolly Grip: Kenneth Colbentz
Hyphenate Driver / Grip: Peter Yauri
Special thanks to @kodak_shootfilm @panavisionofficial @sonycine
Another look at Pedro Páramo — the iconic Mexican novel reimagined as the directorial debut of cinematographer Rodrigo Prieto, ASC, AMC @rpstam
In the Clubhouse Conversation (link in bio) on the film, Prieto and DP Nico Aguilar, AMC @nicolasnicolby break down the film’s surrealist visuals — from blending day-for-night and night-for-night techniques, to using infrared for dream sequences and crafting the unforgettable “melting-mud” scene with practical effects. They also dive into their collaboration with production designer Eugenio Caballero and more.
Streaming on Netflix. @netflix
Another look at Pedro Páramo — the iconic Mexican novel reimagined as the directorial debut of cinematographer Rodrigo Prieto, ASC, AMC @rpstam
In the Clubhouse Conversation (link in bio) on the film, Prieto and DP Nico Aguilar, AMC @nicolasnicolby break down the film’s surrealist visuals — from blending day-for-night and night-for-night techniques, to using infrared for dream sequences and crafting the unforgettable “melting-mud” scene with practical effects. They also dive into their collaboration with production designer Eugenio Caballero and more.
Streaming on Netflix. @netflix
@campbellrohan back in character for @themonkey_movie @neonrated premiere🐒 Out in theaters now!
‘The Monkey’ 🥁 🐵
Color | @bryansmaller
Finishing Editors | @mattshutup + William Romines IV
Color Producer | Andras Toth
Director | @osgoodperkins
DP | @nicolasnicolby
Editors | Graham Fortin + Greg Ng
Production Design | Danny Vermette
From the minds of Stephen King, James Wan, and Osgood Perkins comes a chilling new nightmare. When twin brothers discover a wind-up monkey, a string of unexplainable tragedies changes their lives forever. Decades later, the curse resurfaces, forcing them to face their past. #TheMonkey is now in theaters. 🔪🎞️
‘The Monkey’ 🥁 🐵
Color | @bryansmaller
Finishing Editors | @mattshutup + William Romines IV
Color Producer | Andras Toth
Director | @osgoodperkins
DP | @nicolasnicolby
Editors | Graham Fortin + Greg Ng
Production Design | Danny Vermette
From the minds of Stephen King, James Wan, and Osgood Perkins comes a chilling new nightmare. When twin brothers discover a wind-up monkey, a string of unexplainable tragedies changes their lives forever. Decades later, the curse resurfaces, forcing them to face their past. #TheMonkey is now in theaters. 🔪🎞️
‘The Monkey’ 🥁 🐵
Color | @bryansmaller
Finishing Editors | @mattshutup + William Romines IV
Color Producer | Andras Toth
Director | @osgoodperkins
DP | @nicolasnicolby
Editors | Graham Fortin + Greg Ng
Production Design | Danny Vermette
From the minds of Stephen King, James Wan, and Osgood Perkins comes a chilling new nightmare. When twin brothers discover a wind-up monkey, a string of unexplainable tragedies changes their lives forever. Decades later, the curse resurfaces, forcing them to face their past. #TheMonkey is now in theaters. 🔪🎞️
‘The Monkey’ 🥁 🐵
Color | @bryansmaller
Finishing Editors | @mattshutup + William Romines IV
Color Producer | Andras Toth
Director | @osgoodperkins
DP | @nicolasnicolby
Editors | Graham Fortin + Greg Ng
Production Design | Danny Vermette
From the minds of Stephen King, James Wan, and Osgood Perkins comes a chilling new nightmare. When twin brothers discover a wind-up monkey, a string of unexplainable tragedies changes their lives forever. Decades later, the curse resurfaces, forcing them to face their past. #TheMonkey is now in theaters. 🔪🎞️
‘The Monkey’ 🥁 🐵
Color | @bryansmaller
Finishing Editors | @mattshutup + William Romines IV
Color Producer | Andras Toth
Director | @osgoodperkins
DP | @nicolasnicolby
Editors | Graham Fortin + Greg Ng
Production Design | Danny Vermette
From the minds of Stephen King, James Wan, and Osgood Perkins comes a chilling new nightmare. When twin brothers discover a wind-up monkey, a string of unexplainable tragedies changes their lives forever. Decades later, the curse resurfaces, forcing them to face their past. #TheMonkey is now in theaters. 🔪🎞️
‘The Monkey’ 🥁 🐵
Color | @bryansmaller
Finishing Editors | @mattshutup + William Romines IV
Color Producer | Andras Toth
Director | @osgoodperkins
DP | @nicolasnicolby
Editors | Graham Fortin + Greg Ng
Production Design | Danny Vermette
From the minds of Stephen King, James Wan, and Osgood Perkins comes a chilling new nightmare. When twin brothers discover a wind-up monkey, a string of unexplainable tragedies changes their lives forever. Decades later, the curse resurfaces, forcing them to face their past. #TheMonkey is now in theaters. 🔪🎞️
‘The Monkey’ 🥁 🐵
Color | @bryansmaller
Finishing Editors | @mattshutup + William Romines IV
Color Producer | Andras Toth
Director | @osgoodperkins
DP | @nicolasnicolby
Editors | Graham Fortin + Greg Ng
Production Design | Danny Vermette
From the minds of Stephen King, James Wan, and Osgood Perkins comes a chilling new nightmare. When twin brothers discover a wind-up monkey, a string of unexplainable tragedies changes their lives forever. Decades later, the curse resurfaces, forcing them to face their past. #TheMonkey is now in theaters. 🔪🎞️
‘The Monkey’ 🥁 🐵
Color | @bryansmaller
Finishing Editors | @mattshutup + William Romines IV
Color Producer | Andras Toth
Director | @osgoodperkins
DP | @nicolasnicolby
Editors | Graham Fortin + Greg Ng
Production Design | Danny Vermette
From the minds of Stephen King, James Wan, and Osgood Perkins comes a chilling new nightmare. When twin brothers discover a wind-up monkey, a string of unexplainable tragedies changes their lives forever. Decades later, the curse resurfaces, forcing them to face their past. #TheMonkey is now in theaters. 🔪🎞️
‘The Monkey’ 🥁 🐵
Color | @bryansmaller
Finishing Editors | @mattshutup + William Romines IV
Color Producer | Andras Toth
Director | @osgoodperkins
DP | @nicolasnicolby
Editors | Graham Fortin + Greg Ng
Production Design | Danny Vermette
From the minds of Stephen King, James Wan, and Osgood Perkins comes a chilling new nightmare. When twin brothers discover a wind-up monkey, a string of unexplainable tragedies changes their lives forever. Decades later, the curse resurfaces, forcing them to face their past. #TheMonkey is now in theaters. 🔪🎞️
‘The Monkey’ 🥁 🐵
Color | @bryansmaller
Finishing Editors | @mattshutup + William Romines IV
Color Producer | Andras Toth
Director | @osgoodperkins
DP | @nicolasnicolby
Editors | Graham Fortin + Greg Ng
Production Design | Danny Vermette
From the minds of Stephen King, James Wan, and Osgood Perkins comes a chilling new nightmare. When twin brothers discover a wind-up monkey, a string of unexplainable tragedies changes their lives forever. Decades later, the curse resurfaces, forcing them to face their past. #TheMonkey is now in theaters. 🔪🎞️
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.