Si tu n'es pas là - short

One of the latest short I shot in April 2016.

"Si tu n'es pas là" directed by the talented Pierre Ferrière with Lucie Lucas and Gil Alma. Shot in one and only very small location, between two entry doors. Very challenging to light and shoot and to let the room for actors to move. For lighting, I used extensively the Aladdin Biflex 30x30cm, in a lot of configurations: direct lighting, bouncing, very thin book light. Very useful with its own battery into the elevator !  

Camera, a favorite choice:  Arri Alexa XT - Arri Raw and the very good and compact Vantage One T1 lenses set.

Color grading - Baselight - done by Jérôme Brechet

movie website:  - photo by Héloise Morel -

movie website: - photo by Héloise Morel -

movie website:  - photo by Héloise Morel -

movie website: - photo by Héloise Morel -

movie website:  - photo by Héloise Morel -

movie website: - photo by Héloise Morel -

CUT 4 - Teaser

For the last two months, I shot half a part of the french tv show "CUT" season 4.

(70x26''- broadcasted on France Ô/France Television channel).

A beautiful shooting under the sun of the indian ocean island, La Réunion.

Great challenge to keep a look consistent during the 7 weeks of shooting with the intensive rhythm of 18 min of program a day. To do this, we used the Sony FS 7, great to handle the high contrast situations, lightweight for shoulder work, kind with mixed skin tones situation and able to give some interesting images up to 4000 iso (in Pro Res 422hq).

Thanks to all the crew members, more specifically, my gaffer Gregoire Jablonsky and my camera assistants Eric de Mecquenem and Victor Aubert. 

Here is the teaser:

And some bts pictures: 


Two weeks ago I shot a very interesting music video for the artist "Colt Silvers". The concept itself was to use video mapping and project the artist's face (shot earlier) onto the real face of a store mannequin.  The video mapping was executed by Josselin Beaumont from the collective AvExciters. (here their website:

The very interesting things was about the ability to video map very precisely onto the face by moving and adjusting some part of the video live feed. So for each shot everything was about: "where is the camera ? Then where is the video projector ?" And after that, Josselin could adjust the face's geometry for each angle. The tricky thing was always the nose shadow, trying to avoid it by all means !

Here some pics of the shoot. 


Last week I shot a 2 days commercial for the hotel company NOVOTEL. The idea was to make a 360° tour into a 25 square meter room, with a digital arrow guiding the visitor and showing all the furniture options. 

We used steadicam, (operated by Mathieu Verdier), Alexa Mini and most of the time a 14 mm/16mm Master Prime. The ceiling was standard, 2,60m high. The movie was framed for 1.78 ratio, so most of the time everything was in the frame: 3 walls, a part of the ceiling and a big part of the floor. I planned to use 6 x Aladdin BiFLex Led 30x30 cm ( at some very specifics points of the ceiling. That was the perfect tool for us because we couldn't use bar or truss to hang anything. To keep the main light consistent through the window, (7th floor, no access from outside, no cherry picker) my gaffer (Alexis Grahovac) suggest me to use a technic that we both experimented together before: stack something very bright, large and thin with a big diffusion in front of it at the window. Usually we use a bunch of KinoFlo's but here we tried 4 x SL1 SWITCH from DMG lighting ( )  2cm thin and very powerful.

So everything was about LED in this setup !



I discovered this book visiting the "Micro Salon AFC" at Femis school, Paris, last week. On the Camerimage stand, this book about Pierre Lhomme. Such beautiful pictures, movie stills, movie set images inside, and very intimates texts about his life and career. 


A commercial for Dior. Packshot setup. Top shot. In a corner of the studio was this mini static camera stand with pneumatically dampened column (a new tool for me I never though to use it before!). Very common for portrait photography and very useful for us too because of our need to be high, top, and steady without huge grip crew or equipment. 


One of my favorite lens for packshot work: VANTAGE 65 mm T1.

T1 - Very very soft. 

T1.3 - A little bit of softness 

T2.0 - The lens become as sharp as modern lenses do. 


In Praise of Shadows (Eloge de l'ombre)

One of my last reading. A truly inspiring book, written by Junichirô Tanizaki at the beginning of 20th century, the book discuss traditional Japanese aesthetics.

Comparison between western and asian culture, one searching for light and clarity, the other looking for more subtlety, shadows, and the use of darkness as an embellishment...


Another short film, and the last one for 2015. Directed by Daniel Brunet and Nicolas Douste, and produced by ASM.

I always loved using colors, and for that one, an intensive use of the gel True Blue 196 Leefilters. 


Last october shooting, "Rocambolesque", a short film directed by Loic Nicoloff and produced by Avalon Production.  Thanks to all the crew members and Vantage Camera.