06/15/2026
‘Feast’
Director: Brooklyn Verbeek
Producer: Nathan Ferris .ferris.9083477
DoP: Zachary Clark
Production Designer: Zach Thomas
Gaffer: Connor Hawkins
BBE: Tyler Scanlan .tyler
BBE: Joel Rodgers
1st AC: Joshua Wylie .wylie
2nd AC: Cody Card
Zeiss Super Speed 35mm
‘Feast is a film about body dysmorphia, which, to me, is a topic that requires careful attention to lensing. Any character inherent to the optics of the glass would be applied to the actor – so we had to navigate when and how feelings of self-hallucination – or euphoria – would occur. What makes the Zeiss Super Speeds so essential to a project like this is that they are part of this tradition of cinematic language we all understand, while having a lot of character that doesn’t take audiences out of the story, or say something unwanted about body image.”
Zeiss Super Speed 25mm
‘I found myself drawn to the 25mm lens time and time again. It’s minimal of distortion makes it a versatile tool for close-ups or wides, and it has an impressive amount of character when stopped down to T2 or T2.8. This allowed us to better control highlights, peer out windows, and create wide tableaus that avoided sterility and were full of emotion. These lenses sing throughout the aperture range – there is a lot to love in a Super Speed even when it isn’t wide open.
Zeiss Standard Speed 135mm
‘The rehoused 135 was a delight – it helped us create one of the most striking images from our shoot, where we had to restrict what the audience could and could not see. Being able to play up and down the whole set of six-lens set gave our little indie a ton of freedom and storytelling ability. Being able to go from 18mm to 135mm, have the vintage attributes, Zeiss optical engineering, and a modern housing match all the way through the focal lengths, meant every single piece of glass could be your workhorse.’
