Tyger

Tyger

Directed by Alexander Milo Bischof
Featuring Dylan Edwards, Natasha O’Keeffe, Laura Haddock, Ben Aldridge, Shaun Dooley, Montserrat Lombard, Pearl Mackie, Colin Michael Carmichael, Gerald Kyd, Alfie Stewart

Stave Hill Films

Poster for the feature film Tyger, filmed with Canon EOS C500 Mark II 5.9K Full Frame and Sigma FF Classic Prime lenses by London Cinematographer / DoP Ariel Artur.
Laura Haddock on a close up-shot with Dylan Edwards from the feature film Tyger, filmed with Canon EOS C500 Mark II 5.9K Full Frame and Sigma FF Classic Prime lenses by London Cinematographer / DoP Ariel Artur.
Dylan Edwards on a tracking shot from the feature film Tyger, filmed with Canon EOS C500 Mark II 5.9K Full Frame and Sigma FF Classic Prime lenses by London Cinematographer / DoP Ariel Artur.
Gerald Kyd and Dylan Edwards on a wide shot from the feature film Tyger, filmed with Canon EOS C500 Mark II 5.9K Full Frame and Sigma FF Classic Prime lenses by London Cinematographer / DoP Ariel Artur.
Natasha O’Keeffe and Ben Aldridge on a two-shot from the feature film Tyger, filmed with Canon EOS C500 Mark II 5.9K Full Frame and Sigma FF Classic Prime lenses by London Cinematographer / DoP Ariel Artur.
Alfie Stewart on a medium shot from the feature film Tyger, filmed with Canon EOS C500 Mark II 5.9K Full Frame and Sigma FF Classic Prime lenses by London Cinematographer / DoP Ariel Artur.
Pearl Mackie and Dylan Edwards on a long shot from the feature film Tyger, filmed with Canon EOS C500 Mark II 5.9K Full Frame and Sigma FF Classic Prime lenses by London Cinematographer / DoP Ariel Artur.

featured work

Dylan Edwards on a mid-wide shot from the feature film Tyger, filmed with Canon EOS C500 Mark II 5.9K Full Frame and Sigma FF Classic Prime lenses by London Cinematographer / DoP Ariel Artur.
Shot from the feature film 10 Swords and the Moon, filmed with RED V-Raptor by London Cinematographer / DoP Ariel Artur.
Cinematography by London DoP / Cinematographer Ariel Artur for the short film The Sands of Time. Shot on Canon Cinema Cameras with Fogal champagne netting behind the lens.
Profile shot from the narrative short film A Watchmakers Wish, filmed with RED V-Raptor by London Cinematographer / DoP Ariel Artur.
Shot with heavy haze from the short film The Golden Temple, filmed with RED V-Raptor by London Cinematographer / DoP Ariel Artur.
Amelia Eve on a shot from the feature film The Darkness, filmed with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur.
Wide shot from the feature film Trouble Will Find Us, filmed with Canon Cinema Cameras in 4:3 aspect ratio by London Cinematographer / DoP Ariel Artur.
Shot from the short film White Rabbit, filmed with RED V-Raptor and Vintage Helios Lenses by London Cinematographer / DoP Ariel Artur.
Black and White wide shot from the narrative film Three Fat Men, filmed by London Cinematographer Ariel Artur. Noir Lighting.
Shot from the short film Boy Blue, filmed with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur.
Dawn shot from the short film Brothers, filmed with Canon EOS C500 Mark II 5.9K Full Frame and Atlas Orion Anamorphic lenses by London Cinematographer / DoP Ariel Artur.
Shot from the feature film Invincible, filmed with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur.
Black and white mirror shot from the short film Fade, filmed with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur.
Medium low angle shot from the short film Bone by Bone, filmed with RED V-Raptor by London Cinematographer / DoP Ariel Artur.
Medium shot from the short film The Good Boy, filmed with RED V-Raptor and Atlas Orion Anamorphic lenses by London Cinematographer / DoP Ariel Artur.
Low angle dutch shot from the feature film The Ant Farm, filmed with Canon Cinema Cameras and Schneider-Kreuznach's Xenon FF Prime lenses by London Cinematographer / DoP Ariel Artur.
Black and white shot with negative space from the feature film The New Normal, filmed with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur, graded by Michał Herman.
Shot from the feature film Lucy 2.0, filmed with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur.
Low angle shot from the short film Team Building filmed with RED V-Raptor by London Cinematographer / DoP Ariel Artur.
Shot from the short film A Certain Night, filmed with RED V-Raptor by London Cinematographer / DoP Ariel Artur.
Shot from the feature film The Underdog, filmed with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur.
Silhouette shot from the feature film Wolf Garden, filmed with RED V-Raptor by London Cinematographer / DoP Ariel Artur.
Counter-zoom shot from the short film Midnight Pharmacy, filmed with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur.
Close-up shot from the feature film Chasing Shadows, filmed with ARRI Alexa and Zeiss lenses by London Cinematographer / DoP Ariel Artur.
Shot from the feature film Loves Spell, filmed with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur.
Wide two-shot from the short film The Sands of Time, filmed with Canon Cinema Cameras and Fogal champagne nettings by London Cinematographer / DoP Ariel Artur.
Black and white mirror shot from the short film El Ultimo Beso, filmed with Canon Cinema Cameras and Cokin B&W filters by London Cinematographer / DoP Ariel Artur.
Shot from the feature film On The Other Foot, filmed with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur.
Medium black and white shot from the short film Razzmartazz, filmed with Canon Cinema Cameras and Cokin B&W filters by London Cinematographer / DoP Ariel Artur.
Shot from the feature film Borderline, filmed in Italy with Canon Cinema Cameras by London Cinematographer / DoP Ariel Artur.