The Dream Sequence

Lens/Camera Information
Lens series: Cooke Panchro/i Classic FF
Focus lengths: 21-25-32-50-75-100
Camera: Sony FX6
Format: Digital

Production information:
Director of Photography: Sedat Taşkan
DOP website: sedattaskan.com
Producers: Esquiere Türkiye
Director: Pelin Kaçar
Colourist: Emre Karagöz
Rental company: Kamera Frame

Fashion Editor: Şeyda Sözüer
Gaffer: Sezgin Keriş
Project Manager: Özge Dinç
Production: Murat Gül, Sena Kaynakin
Set Coordination: Derin Övgü Öğün
Technical Coordination: Ayşe Gülru Sarpel
Assistant Director: İlayda Aşık

Focus Puller: Evliya Devrim Demir
3rd AC: Cem Özaktaş
Dit: Kemal Şahin Durak
Bestboy: Tolga Tönel

Hair: Remzi Ateş, İsmail İnan
Makeup: Zeynep Dombaycıoğlu, Bedirhan Aydın
Set Assistant: Begüm Şenkara
Fashion Editor Assistant: Leyla Yılmaztekin
Hair Assistant: Mehmet İyi , Burak Kuzgun
Makeup Assistant: Helin Özbek , Valbona Şaban

Editing: İlayda Aşık
Sound Design: Emir Ongun
Title Design: Stescoe Phantom

Cast:

TANKS MANAGEMENT
Anastasia Shumilova as Betty Elms
Dasha Gaechka as Laura Palmer
Weronika Wiśniewska as Lil The Dancer
Mira Majchrzak  as Camilla Rhodes
Burak Bıçak as The Magician

TRUE MODELS
Alexa Schap as Dorothy Vallens

DAMAN MANAGEMENT
Arnau Verdaguer as Adam Kesher
Selim Aslan & Süleyman Aslan
as Special Agent Dale Cooper & Jeffrey Beaumont
Vitaly Bezubiak as Ben
Slava Sikorski  as Henry Spencer

FLASH MODEL
Kamila Jakubczak  as Rita

For this project, we aimed to create a soft, nostalgic, and emotionally textured visual world. In line with that vision, we chose to work with the Cooke Panchro/i Classic FF lens set. Known for their signature “Cooke Look”—a subtle warmth, gentle contrast, and organic bokeh—these lenses offer a visual softness that complements the film’s emotional atmosphere. They help temper the clinical sharpness of modern digital sensors, lending a more human, tactile feel to the image.

Technically, the full-frame coverage of the Cooke Classic FF lenses allowed us to utilise a wider field of view without sacrificing intimacy or depth. This capability was essential in supporting the film’s character-driven and introspective tone, enabling a more intuitive connection between the audience and the protagonists.

We were also inspired by the fact that filmmakers like David Lynch have favoured Cooke lenses in many of their works. Lynch’s use of dreamy, subtly distorted imagery aligns closely with the mood we are striving to achieve. This artistic parallel further reinforced our decision.

In summary, the Cooke Classic FF lenses were the most fitting choice for our visual language—both for their technical characteristics and their cinematic expressiveness.

We chose the Sony FX6 for its strong low-light performance and budget-friendly nature. Its high ISO capability allowed us to work with minimal lighting, helping us create a moody, shadow-heavy atmosphere while keeping the set simple and focused on the characters.

The full-frame sensor provided not only high image quality but also a shallow depth of field, which brought emotional intimacy and helped strengthen the audience’s connection to the characters.