The final fight
Director Tim Rone Bagnas Villanueva
Produced by Outplay Media Production
Cinematographer 🤚
Camera Operator Wence Trajano
ACs Mark Linsangan EM J Guzman
Colorist Adrielle Esteban
Equipment provided by RSVP FILM Studios, Phils. Rafa Laperal
Reality: Leica Summicron
Fantasy scenes:
Cooke S5i, Angenieux Optimo 24-290mm
#Cinemala2021 #ChildNo82 #ChildNo82AnakniBoyKana
Boy Kana vs Planet Darling
Swipe to the last slide to see the peg for the treatment
Director Tim Rone Bagnas Villanueva
Produced by Outplay Media Production
Cinematographer 🤚
Camera Operator Wence Trajano
ACs Mark Linsangan EM J Guzman
Colorist Adrielle Esteban
Equipment provided by RSVP FILM Studios, Phils. Rafa Laperal
Reality: Leica Summicron
Fantasy scenes:
Cooke S5i, Angenieux Optimo 24-290mm
#Cinemala2021 #ChildNo82 #ChildNo82AnakniBoyKana
The musical part
This is probably my favorite part of the film. It's also where we also had the most fun shooting. Probably the campiest part of the film.
Boy Kana: Sa Mundo ng mga Duwende
Swipe to the last slide to see the peg
Director Tim Rone Bagnas Villanueva
Produced by Outplay Media Production
Cinematographer 🤚
Camera Operator Wence Trajano
ACs Mark Linsangan EM J Guzman
Colorist Adrielle Esteban
Equipment provided by RSVP FILM Studios, Phils. Rafa Laperal
Reality: Leica Summicron
Fantasy scenes:
Cooke S5i, Angenieux Optimo 24-290mm
#Cinemala2021 #ChildNo82 #ChildNo82AnakniBoyKana
Child No. 82 has to be the most challenging project I’ve had as a DP so far.
Creating five different visual treatments for fantasy sequences — each one a homage to the 80s and 90s era of Pinoy fantasy, action, comedy, horror, and musical films.
Boy Kana: Aswang Killer
Swipe to the last slide to see the peg
Director Tim Rone Bagnas Villanueva
Produced by Outplay Media Production
Cinematographer 🤚
Camera Operator Wence Trajano
ACs Mark Linsangan EM J Guzman
Colorist Adrielle Esteban
Equipment provided by RSVP FILM Studios, Phils. Rafa Laperal
Reality: Leica Summicron
Fantasy scenes:
Cooke S5i, Angenieux Optimo 24-290mm
#Cinemala2021 #ChildNo82 #ChildNo82AnakniBoyKana
Child No. 82 has to be the most challenging project I’ve had as a DP so far.
Creating five different visual treatments for fantasy sequences — each one a homage to the 80s and 90s era of Pinoy fantasy, action, comedy, horror, and musical films.
Boy Kana: Hari ng Disyerto
Swipe to the last slide to see the peg for the treatment
Director Tim Rone Bagnas Villanueva
Produced by Outplay Media Production
Cinematographer 🤚
Camera Operator Wence Trajano
ACs Mark Linsangan EM J Guzman
Colorist Adrielle Esteban
Equipment provided by RSVP FILM Studios, Phils. Rafa Laperal
Reality: Leica Summicron
Fantasy scenes:
Cooke S5i, Angenieux Optimo 24-290mm
#Cinemala2021 #ChildNo82 #ChildNo82AnakniBoyKana
Child No. 82 has to be the most challenging project I’ve had as a DP so far.
Creating five different visual treatments for fantasy sequences. Each one a homage to the 80s and 90s era of Pinoy fantasy, action, comedy, horror, and musical films.
The biggest challenge? Creating a lighting treatment for Max’s delusions every time he sees his father, Boy Kana.
Director @t.r.villanueva
Produced by Outplay Media Production
Cinematographer 🤚
Camera Operator @wence.trajano
ACs Mark Linsangan EM J Guzman
Colorist @adrielle.esteban
Equipment provided by RSVP FILM Studios, Phils. Rafa Laperal
Shot on :
Reality scenes:
Leica Summicron
Fantasy scenes:
Cooke S5i, Angenieux Optimo 24-290mm
#Cinemala2021 #ChildNo82 #ChildNo82AnakniBoyKana
