I started in 1993 by filming boats, from a helicopter, or balancing on a rubber boat, from the Round Europe Yacht Race to the America’s Cup, including transatlantic races and records.
In 1996, as a cameraman and editor, I joined the Arte’s editorial office in Paris. 7 ½, 8 ½, Arte Info, Arte journal, Arte Culture, Arte Reportage, Metropolis and more recently Square, several hundred reports therefore, which allowed me amazing encounters.
Very quickly came the longer reports, 26 ‘or 52’ for Canal +, M6, TF1, France 3 Thalassa… and then especially for 20 years, a lot of documentaries for ARTE, from Iran to North Korea, from Argentina to Russia … and that I had the chance to co-directed for some.
As of 2013, the drone, as a grip accessory, slipped naturally into my tool kit. Of course I have the license to fly legally.
At the same time, as a cinematographer, I have always made fiction, many shorts, medium-length and a few feature films…
In all of this, there were commercials and music videos as well as a good series of corporate films.
More recently, we have created with Emmanuelle Jary, the program « C’est meilleur quand c’est bon » broadcast on social networks and which has met with some success, with more than 100 million annual views on Facebook.
You get it, I like the diversity and the back and forths. And I see that each experience in a field, a domain, enhances the practice of others.
And even if, as Bruno Podalydès’ character says so well in his movie Comme une avion: “Yes, it’s true, I attach great importance to gear”, what I remember from theses 30 years of filming is mainly the range of meetings, passing in the same day, from the President of the Republic to jojo the homeless, from Alain Bashung to the Priest of Notre-Dame, from Massoud to the dancer at the Lido…
+ a full set of fixed and varable focal length (Canon, Sony, Samyang …) from 14mm to 800mm
+ a set of soft and fresnel LED lighting + a set of microphones including 4 HF systems
+ other grip tools such as stabilizers, sliders, mini-jibs, drones …