Cola de Leon was shot over a week, in various locations in Paris. This project used documentary elements in the fictional world; it wasn’t only shot on location, but shot in active locations - from an active café to a local Colombian football tournament. It was very interesting to observe the intense process of filming fiction interact with everyday life.

Featuring José Lubier Lopez Corrales, Elio Giusti Carneiro da Cunha, Jorge Guerra, Juan Ochoa and Javier Tabares.

9:37 was shot over a single day in a warehouse.
The plan to shoot a long sequence shot, in between other scenes, in a single day, made it a very intense experience. I learned how to shadow a moving cameraman in order to stay close during the actual shoot.

Featuring Aila Navidi, Clémence Baudouin and Lucas Olmero.

Wonderful Land was my third collaboration with director Léo Boucry. This time, it was two days of shooting in a Parisian Theater. What I remember the most from this film was the discovery of the exercise of choregraphing and filming a pretty intense fight scene.

Featuring Jonas Bachan, Dayana Bellini and Quentin Faure.

The music video for Blindfold was shot entirely in location and using natural light, which is rare. We traveled between different natural parks in France, between Loiret and Normandie.

Featuring the band At Mos.

Somnia Flores was my first time as a set photographer. It was two days of shooting in a manor, close to Paris, with a 1920’s aesthetic, charismatic actors, a beautiful light, and a friendly crew.

Featuring Renan Pacheco, Ludmilla Makowski and Jonas Bachan.

I have been told by many directors and actors that my approach and presence on set is very different from other set photographers.
Maybe it is the training in street photography, but I value being close above all else, and I know how to stay close without existing too strongly. I pay attention to not be in anyone’s way. I don’t mind waiting. I respect other people’s need for concentration.
So most of my collaborators and clients are usually astounded by the number of photographs I send them, and the fact that I was, as I am often told ‘everywhere’. That’s the advantage of using a silent shutter, and simply doing my thing while understanding and respecting other people’s work.