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@arrowhead.cinepoint

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One of the first conversations I had with Sean was the use of the Canon FD primes and the open gate sensor. It was a creative choice from the very beginning to build a period-specific visual language. We kept coming back to 24mm, 35mm, and 50mm, which gave us a consistent way of staying close to the characters. When @yanihatesu and sir Joel’s characters are on screen, it often feels cramped, with very little personal space. The tights resonates with the tension between their relationship and the pain they carry. Camera was mostly on sticks, 1 slider, and floaty during the tense scenes. Composition and visual language were heavily inspired by Mike De Leon's Itim (1976) and Kisapmata (1981). And kind of ironic that these films came out around the same period when the Canon New FD prime lens series was being introduced, from 1978 to 1989. 
🔎 1 Canon New FD Prime 35mm f/2 🔎 2 Canon New FD Prime 50mm f/1.4 🔎 3 Canon New FD Prime 24mm f/2.8 🔎 4 Canon New FD Prime 24mm f/2.8 🔎 5 Canon New FD Prime 35mm f/2 🔎 6 Canon New FD Prime 85mm f/1.8 🔎 7 Canon New FD Prime 50mm f/1.4 🔎 8 Canon New FD Prime 24mm f/2.8 🔎 9 Canon New FD Prime 35mm f/2 🔎 10 Canon New FD Prime 24mm f/2.8 🔎 11 Canon New FD Prime 35mm f/2
🔎 12 Canon New FD Prime 50mm f/1.4

📹 Blackmagic Cinema Camera 6K FF 
Dir. @cinematicsaint DP @allensaflor 
Light Dir. @adam_dmgn 
Color @jsdamiles 
Cam Op @jmbasiwa 1st AC @danetapan 2nd AC @djaguillon 
Key Grip @angelo.oliveria 
BTS @leander_balmori 
DIT @keithkyleepage Best Boy Electric & Grip, Gaffer @arrowhead.cinepoint Equipments and Lights powered by @arrowhead.cinepoint STREAM ‘SA ORAS NG PAGHUHUKOM’ now on YOUTUBE! #filmmaking #cinematography #shortfilm #lensaddiction by @arrowhead.cinepoint
For New Moon, Lexter Laguinday’s cinematography leans into a polished, pop-driven commercial look—clean framing, soft highlights, and controlled movement built around performance. Shot on the Blackmagic Pyxis 6K with Arles primes, the visuals remain bright and refined while maintaining consistent composition across scenes. The recurring use of 35mm and 50mm supports a smooth visual flow, keeping attention on expression, texture, and light rather than dramatic spatial change. Lens progression used on set: Blackmagic Pyxis 6K + Arles 50mm Blackmagic Pyxis 6K + Arles 35mm Blackmagic Pyxis 6K + Arles 35mm Blackmagic Pyxis 6K + Arles 50mm Blackmagic Pyxis 6K + Arles 50mm Project: New Moon Production: Pizzabox Production Director: Daniel Roxas Cinematographer: John Lexter Laguinday Camera Operator: Adam Dumaguin AC: Jah Enero Gaffer: Michael Enriquez Equipment: Arrowhead Cinepoint by @arrowhead.cinepoint
2/2 Another look at JRLDM’s “Masasanay Din,” shot on the Blackmagic Pyxis with Canon FD lenses. This set moves between wider and tighter focal lengths to adjust framing and proximity while keeping the visual approach consistent across scenes. Lens selection remains restrained, supporting performance and blocking without drawing attention away from the moment. Lens progression used in this sequence: Blackmagic Pyxis + Canon FD 85mm SSC Blackmagic Pyxis + Canon FD 17mm Blackmagic Pyxis + Canon FD 35mm Blackmagic Pyxis + Canon FD 28mm Blackmagic Pyxis + Canon FD 50mm Project: Masasanay Din by JRLDM Production: FRGMNT Manila Direction: Gian Mawo Cinematography: Ardan Arcega Gaffer: JB Regala Equipment: Arrowhead Cinepoint by @arrowhead.cinepoint
1/2 For JRLDM’s “Masasanay Din,” Ardan Arcega shot the video on the Blackmagic Pyxis using Canon FD lenses, moving between wide and tight frames to support the song’s steady pace. The visuals stay controlled and minimal, allowing performances and blocking to lead the scene. Lens progression used on set: Blackmagic Pyxis + Canon FD 85mm SSC Blackmagic Pyxis + Canon FD 85mm SSC Blackmagic Pyxis + Canon FD 20mm Blackmagic Pyxis + Canon FD 50mm Project: Masasanay Din by JRLDM Production: FRGMNT Manila Direction: @gianmawo7 Cinematography: @ardanarcega Gaffer: @jbregala_ Equipment: Arrowhead Cinepoint by @arrowhead.cinepoint
For ALAMAT’s “Luzviminda,” Ian Guevara LPS approached the video with an emphasis on movement and physical energy. Shot on the Blackmagic Pyxis, the use of Canon FD lenses supported a visual language that stays close to the action. Wider focal lengths were used to remain inside group movement and choreography, while longer lenses compress space during high-impact moments. The shifts in focal length help maintain momentum across scenes, aligning the visuals with the hip-hop and punk-coded tone of the music video. Lens progression used on set: Blackmagic Pyxis + Canon FD 20mm Blackmagic Pyxis + Canon FD 28mm Blackmagic Pyxis + Canon FD 35mm Blackmagic Pyxis + Catta Zoom 70–135mm Blackmagic Pyxis + Canon FD 35mm Blackmagic Pyxis + Canon FD 28mm Blackmagic Pyxis + Catta Zoom 70–135mm Project: Luzviminda by @alamat_official Production: @frgmnt.mnl Direction: @subicbae Cinematography: @ianguevara_ Camera Operator: Ramon Cabreira Assistant Cameraman: Jestoni Negradas AC @churchiedeathbro 2nd AC: Mark Relao Gaffer: Leonidas Caspe III Equipment: Arrowhead Cinepoint by @arrowhead.cinepoint
In this next feature from our DP spotlight, Ardan Arcega brings us deeper into Project Run for Sunnies Flask. For this sequence, the challenge was to capture both the speed of the race and the closeness of the athletes. Ardan made shots that moved with the runners, giving the audience the rush of momentum while still keeping the human connection at the heart of the frame. 🎥 Gears Used Frame 1: Pyxis 6k + Canon nFD 50mm + DJI RS4 + ATV Frame 2: Pyxis 6k + Canon nFD 35mm Frame 3: Pyxis 6k + Sigma ART 24-70mm Frame 4: Insta360 X4 Frame 5: Pyxis 6k + Canon nFD 24mm Frame 6: Pyxis 6k + Canon nFD 20mm Frame 7: Pyxis 6k + Canon nFD 35mm Production: Manilaman Client: Sunnies Flask Director: @giopuyat AD: Manuel Tinio Editor: Abby Puyat Cinematographer: @ardanarcega AC: @guntherdeguzman Gaffer: @jbregala_ Full Unit Equipment: Arrowhead Cinepoint by @arrowhead.cinepoint
Carrying on with our DP spotlight, here’s Project Run for Sunnies Flask, captured by DOP Ardan Arcega. To bring the runner’s energy to life, Ardan designed a high-moving shot that floats above the track. Using 2x Hi Roller Stands, 2x Matthelini Clamps, 2x 9ft Speed Rails, and the Movmax Grip Dolly, our setup gave the camera both height and motion—enhancing the story with dynamic perspective. Grip: @kupogrip Dolly: @movmaxglobal Production: Manilaman Client: Sunnies Flask Director: @giopuyat AD: Manuel Tinio Editor: Abby Puyat Cinematographer: @ardanarcega AC: @guntherdeguzman Gaffer: @jbregala_ Key Grip: Darryl Jabon Full Unit Equipment: Arrowhead Cinepoint by @arrowhead.cinepoint
Continuing our spotlight on “Ano Ba Talaga Tayo” by The Juans, we dive deeper into the quiet moments between Elijah Canlas and Miles Ocampo. With the Blackmagic Pyxis 6K and Canon FD lenses, DP Ardan Arcega captures the subtleties—the pauses, the distance, the unspoken questions that linger long after the music fades. 🎥 Gears Used: Frame 1: Pyxis 6K + Canon FD 85mm SSC Frane 2: Pyxis 6K + Canon FD 50mm 1.4 Frame 3: Pyxis 6K + Canon FD 20mm Frame 4: Pyxis 6K + Canon FD 85mm SSC Frame 5: Pyxis 6K + NISI Athena 85mm Frame 6: Pyxis 6K + Canon FD 85mm SSC Frame 7: Pyxis 6K + Canon FD 35mm + Ronin RS4 Pro + Tilta Nucleus Nano II 👥 Team: Directed by: @manalojohn Production: Seamless Creatives Director of Photography: @ardanarcega Gaffer: @jbregala_ Producer: Iris Manzano Asst. Director: XY Pintoy Scriptwriters: Anton Umali, John Manalo Camera Operators: Lorenz Morales, Karlo Calingao AC: Jeffrey Ulila Key Grip: Daryl Jabon Equipment: @arrowhead.cinepoint by @arrowhead.cinepoint
Love, confusion, and longing—“Ano Ba Talaga Tayo” by The Juans, featuring Elijah Canlas and Miles Ocampo, beautifully captures the push and pull of relationships. Through the eyes of DP Ardan Arcega, the Blackmagic Pyxis 6K paired with Canon FD lenses brought warmth, intimacy, and nostalgia into every frame. 🎥 Gears Used: Frame 1: BM Pyxis 6k + Canon FD 85mm SSC Frame 2: BM Pyxis 6k + Canon FD 85mm SSC Frame 3: BM Pyxis 6k + Canon nFD 50mm 1.4 Frame 4: BM Pyxis 6k + Canon nFD 35mm 2 Frame 5: BM Pyxis 6k + Canon FD 85mm SSC Frame 6: BM Pyxis 6k + Canon FD 85mm SSC Frame 7-8: BM Pyxis 6k + Canon nFD 50mm 1.4 👥 Team: Directed by: @manalojohn Production: Seamless Creatives Director of Photography: @ardanarcega Gaffer: @jbregala_ Producer: Iris Manzano Asst. Director: XY Pintoy Scriptwriters: Anton Umali, John Manalo Camera Operators: Lorenz Morales, Karlo Calingao AC: Jeffrey Ulila Key Grip: Daryl Jabon Equipment: @arrowhead.cinepoint by @arrowhead.cinepoint
For the music video “Numbers” by KZ Tandingan featuring Catriona Gray, DP Lexter Laguinday leaned on the Sony FX6 and NiSi Athena 35mm to create a balance of intimacy and grandeur—bringing out emotions as powerful as the song itself. 🎥 Gears Used: Frame 1-4: Sony FX6 + NiSi Athena 35mm 👥 Team: Production House: @mawstudiopmp Director & Colorist: @jaydeealberto Producer: @romerokeyooo Cinematographer: @johnlexterrr 1st AC: @jahelijahenero Grips: Jayr Delavin, William Calado, Patrick Hernandez, Enrico Juan Rental: @arrowhead.cinepoint by @arrowhead.cinepoint
Carrying on with our DP spotlight, here’s Dilaw—captured by John Lexter Laguinday through the Sony FX6 + Sigma ART Lineup 🎥 Gears Used: Frame 1: FX6 + Sigma ART 35mm Frame 2: FX6 + Signa ART 20mm Frame 3: FX6 + Sigma ART 35mm Frame 4: FX6 + Sigma ART 35mm 👥 Team Production House: @mawstudiopmp Director: @jaydeealberto Co-Director: @clfrnia_maki Cinematographer: @lexterlaguinday Gaffer: Michael Enriquez Key Grip: Marvin Enriquez Grip: William Calado Colorist: @jaydeealberto Rental: Arrowhead Cinepoint by @arrowhead.cinepoint
🎥 DOP Spotlight: John Lexter Laguinday For the music video “Dilaw” featuring Maki and Maloi of BINI, John Lexter captured heartfelt and cinematic moments with the right camera and lens pairing. 📸 Gear Used Frame 1-5: Sony FX6 + Sigma Art 35mm 1.4 🎵 Dilaw by @clfrnia_maki featuring @bini_maloi 👥 Team Credits Production House: @mawstudiopmp Director: @jaydeealberto Co-Director: @clfrnia_maki Cinematographer: @lexterlaguinday Gaffer: Michael Enriquez Key Grip: Marvin Enriquez Grip: William Calado Colorist: @jaydeealberto Rental: @arrowhead.cinepoint by @arrowhead.cinepoint

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