This was the fifth version of the already famous art circuit fair that take place every year in Bogotá. The project was filmed in Odeon, an old theater in the city center, this place is not only steeped in history but has also become an art gallery, which makes it a very special setting and gives the content an aesthetic image with its architecture, its natural light inputs and high contrast.
It was a project with a lot of research because artists would come from many countries in which Brazil was the guest of honor. With the images, what we did was try to provide subtle clues of what would later be exhibited in the framework of the fair, and we found that by choosing some elements of the works of the artists who would participate in this edition, we could build the number '15 ' on the opening day in October. We created a visual narrative to give very specific information, the date of an event.

Filming music videos is a leap into creativity because of the freedom to come up with new ideas, this is a great responsibility at the same time as the need arises to give production order to unconventional narratives. A dance contest and a bank robbery are two events that can hardly coexist, however, we managed to tell this unreal story with several sequence shots and color changes to reinforce the different moments of this story.
We started with the yellows and the warm tones to tell the story together with the grandmother, the green tones for the start of the robbery in the bank, the reds and blues with the arrival of the police, and we ended with an explosion of colors to go to the moment where the dance contest breaks out. We use the arrival of the police and the flashing of the siren lights as a connecting element to go from reality to fiction, and delve into color exploration through LED lights.

In this commercial, we created a fun narrative with a bit of black humor. The ICBF sought to raise awareness of the premise "what seems like one thing is sometimes another" using superficial value judgments to motivate employers to search a database of sex offenders, before hiring their staff. Filming in the center of Bogotá is always exciting due to its historical content but at the same time challenging for the production due to the necessary logistics. The only alternative we had was to shoot the exteriors in an documentary format, with a single camera. In the interiors we were able to have more control so, together with Andrés Buitrago, the production designer, we worked together to create a color palette that gave the project the universal and timeless fell that it required.

For this commercial we were inspired by the aesthetics of some sports campaigns, showing the effort and subsequent muscle fatigue which high-performance athletes undergo when performing their physical activities. The images are loaded with vigor and strength, highlighting the performance of the athletes with whom we worked in this campaign.

I am very fond of this project, since with it I filmed with my Alexa mini LF for the first time. Together with the Leica R lenses it allowed us to obtain the aesthetics we were looking for, where light, color and smoke played a very important role in creating different atmospheres. Perhaps one of our biggest challenges was the internal displacement in the location, due to the size of the space which involved moving the entire setting several times in a very long day of filming.

For the brand it was important to show the process from the harvest, which allowed me to film in places in the country such as Caquetá and experience the transformation of those areas in the postwar period, offering a closer look at our coffee growers, the people who, with love and care produce the Colombian coffee that is enjoyed all over the world. These trips and these people confront me and teach me how to create new criteria and new ways of understanding my country.
Part of the campaign was filmed in the Juan Valdez store in the Zona G in Bogotá with an Alexa Mini camera and Cooke S5i lenses, while on the trips to the different coffee plantations in the country we used a Canon C200. The challenge was to combine two worlds, filmed differently, in one piece.

The video talks to us about a transformation, an artistic process in which the fabric becomes a dress. Precisely, dance represents that fusion between the beautiful and the functional, highlighting the garments as the protagonists of a dance where they exhibit their texture, movement and comfort. Since we wanted to explore the space and accompany the dance with a steadycam, it was necessary to illuminate everything from the ceiling so as not to reveal the lights or the crew while the camera moved freely through the space. This led me to design a grid of lights connected to a console of dimmers that gave me not only the freedom of camera movements but also the possibility to modify the contrast live, monitoring the entry and exit of light in the shot.

I joined this project with great emotion, honoring a pact that we had between Solomon Simhon, the director, Salomon Beda the artist and myself. It was a chain of favors, where Beda serenaded my wife and then I helped Simhon with the cinematography of the video clip.
This video exposes a typical chain of heartbreak in several sequences in which a continuous breakdown of love relationships is revealed. We use the steadycam to move from story to story in a fluid way and explore the different contrasts and nuances of the characters in their locations.

I always want to enter the head of the director to understand in the most precise way what he wants to tell and this time, in addition, he had to enter the head of the designer of the Olga Piedrahita collection, who in turn had been inspired by some botanical illustrations from the 19th century.
I had to understand different universes, so it is key to always be developing communication skills and be able to flow when there are creative tables. Each of these universes ended up becoming a different staging and scenery. Thanks to the work of Sofia Reyes, the production designer, we made the fabricthe protagonist in each of these spaces, which at the end becomes a forest and the model merges with it, transporting to that real natural space.

The Punto Blanco commercial had an abstract narrative, an imaginary that was only in the mind of Juan Ruy, who was discovering it on the set and as we recorded, with great input on the shot he started to find what he was looking for. My challenge was to support him in this search and find solutions in real time for the lighting and camera movements.
The experience of filming in other cities, in this case Medellín, is that I don’t always have the possibility of transporting all the technical equipment or traveling with my usual crew, which at first worried me because our proposal was that everything should be shot in simultaneous movement, the models, the lights, and the camera. For this we needed several dollys running at the same time, which is already a very high technical challenge; In these cases what I try is to be more thorough with the details of the pre-production and to make the communication with the crew of this shoot very effective.

As a father I felt very identified with this commercial through its universal narrative, which managed to convey that regardless of your reality or where you come from, all parents face the challenge of parenting; the video shows us this concern and offers a comprehensive and consistent response from the children.
For this commercial we had to make smart decisions, since we had to travel to different locations we had to choose the lightest equipment. We used a Sony Venice (anamorphic Hawk lenses) and its possibility of filming on very high ASAs allowed us to use few lights, and thus achieve the versatility that our shoot needed.

This project with Cultura Profetica was very exciting. We literally set a person on fire! What the band wanted to capture was a complaint towards the government and its actions, an open idea that went through a process of metamorphosis starting from a collective demonstration, going through indifference, finally to become a direct confrontation between the people and the state who doesn’t care even when it is engulfed in flames.
I am very satisfied with the final result, it was a great production, we had access to various resources and we carried out a top level technical execution of the elements, making everything look very real, but above all, safe. For this project it was very important that we had efficient and coordinated use to each of the tools used, such as techno-crane, steadycam and special effects team, in order to film everything in one day.

This project had to be done with natural light, including indoors / night, which forced us to carry out a very rigorous scouting process in many bars throughout Bogotá, which had to have enough light for the Canon C200 sensor. In the end we chose the locations with more neons and fluorescent lights to give the video clip the result we were looking for, an urban, colorful, but natural look.
In recent years it is the project in which I have spent the most time doing pre-production, I had a lot of time to talk with Juan Ruy, and try different lenses and camera movements. In this project I learned that in the absence of a big budget, having the resource of time allows, through creativity, to solve the technical aspects and in the end deliver pieces with a cinematography of international standards.